``Permanent Vacation'' Jim Jarmusch's debut film from his student days.

The "anti-drama" spirit at the root of Jarmusch's films

Now, what kind of actions does the main character, Ally, take in the movie? Actually, she does nothing. Unable to sleep, he wanders through the deserted backstreets of New York, then wanders back to the apartment of Leela, the girl he lives with, and plays a be-bop record and dances in the small room. He visits his mother who is hospitalized in a dilapidated mental hospital. He enters a movie theater where Nicholas Ray's ``The Ballen'' (1960) is being shown (starring Anthony Quinn and co-starring Yoko Tani) and hears a joke about the Doppler effect from a black junkie in the lobby. On the street at night, a saxophone player (John Lurie, Jarmusch's close friend and important collaborator as a musician and actor) improvises and gives a beautiful performance.

Eventually, Allie crosses paths with a young French man who comes to New York, and gets on a boat to go to Paris. (reminiscent of the school experience). The 75-minute film ends with a simple account of his two and a half days. In the tone of a completely rambling cine essay or prose poem.

"Permanent Vacation" (c)1980 Jim Jarmusch

As we have seen above, the core of Jarmusch's work is an ``anti-drama'' spirit. For example, the three-act structure of a screenplay is taught in numerous instructional books as the golden rule for a ``selling movie'' -- a unique theatrical technique that has nothing to do with Hollywood-style storytelling, and which is unconventional.

For him, life itself is a journey, and he imbues even the most ordinary everyday life with a certain kind of fantasy, elevating it into a fable. Jarmusch's filmography includes ` `Night on Earth '' (1991), `` Ghost Dog: The Way of the Samurai '' (1999), ` `Broken Flowers '' (2005), ` `Only Lovers Left Alive '' (13), etc. ...This basically explains everything, including the series of mini skits `` Coffee & Cigarettes '' (2003).

"Permanent Vacation" (c)1980 Jim Jarmusch

One of the clues may be Yasujiro Ozu. In ``Stranger Than Paradise,'' the names of the horses in the horse races pay homage to `` Late Spring '' (49), `` Dekigokoro '' (33), and `` Tokyo Story '' (53). It may be possible to present a formula that Jarmusch is an original fusion of Beatnik (wandering/freehand) and Ozu (everyday/constructed beauty).

Turning his back on upward mobility and careerism, he continues to make "small films"