Dead Man

Originally from Cleveland, William Blake gets a job as an accountant in a place called "Machine Town". Already in the train that takes him to the Dickinson wood factory an "unknown guy" warn him against the place he is going to. It is not fortune that awaits him but Death. Indeed the first night in "Machine Town", Blake is shot at and wounded. From this point on start a long journey of wandering in company of Nobody, an Indian and a philosopher.

This black and white film is mesmerizing. Obviously the black and white marks a rupture between what you are used to…So in essence this rupture is between let say classic Western and Jim Jarmush western as he re-visit the genre. It is also a way to keep the audience to what is essential…Color is a filter that can distract you, the sobriety of black and white will not.

But what exactly is essential in that movie? Beside the fact that Mr. Jarmush depict a brutal and impulsive America, the movie opposes a new born civilization that is already collapsing and a dying one that is still shining…But more than that the journey of William Blake is a metaphoric and circular voyage from misunderstanding to certitude. The guide Nobody, himself trapped between the two civilizations can not provide a cure to the passing man but may very well provide a path to a curing one. This journey from Machine Town, the "anti chamber" of hell to the sea, first step to Heaven is tremendously poetic and emotional. Also emotional is the evolution from misunderstanding to comprehension between Nobody and William Blake who eventually settles on what is essential reaching a common ground, clarity…

Help by a haunting and beautiful score from Neil Young and an extraordinary cast the film succeed in transforming the wood wagon of hell in which William Blake embarks to the wooden vessel to heaven in which he will lie.

One of the best films from Mr. Jarmush, Dead Man manages to take the audience in one of cinema most poetic journey

What a movie!... didn't want to see it at first.. But, then, when it begins, you take the trip with Blake to the big sea.

So beatiful pictures, such poetry in every single one of them. Hypnotic black and white scenes, still and vast nature, music that takes you down the other side.

It's the unconsious trip of one man to death, slowly descending to another level, deeper into nature. Or is he already dead and is not aware of it? Rivers, trees, animals and spirits to guide him along the way. This is a trip to self-knowledge, a hallucinational, sweet and slow resignation from needs and senses.

Amazing directing, incredible photography and an also amazing Johnny Depp, sunk in his own visions and thoughts, excellent in his portrayal of a man's abdication to parrallel levels of consiousness.

Thank god there is the indie american film making, that we see such beatiful movies.

Dead Man is a unique piece of film. As this is my first taste of Jim Jarmusch, I had no idea of what to expect, but even if I had; I reckon that this film wouldn't have conformed to them. Dead Man is a surreal and trippy western that peels itself away from the staples of the genre and succeeds in creating something truly one-off and self-styled. Lead by a score written by Neil Young, Dead Man is continually satisfying and powerful; and you get the impression that every scene has been fully thought through, and is perfectly realised as the auteur intended. For this reason, Dead Man captivates it's viewer from the moment it starts until the moment it ends, and as it descends into full blown trippy weirdness, you can do nothing but stare in admiration of this strange gem of cult cinema. The plot is thin on the ground and it largely lacks meaning, but it doesn't matter because Dead Man is a purely aesthetic experience. Still, it follows William Blake (Johnny Depp), an accountant from Cleveland that arrives in a town to take a job offer, only to find that the vacancy has already been filled…

Dead Man is filmed in very stark black and white, which only adds to the surrealism of the story. Had this film have been done in colour, it would not have captured the same atmosphere that the black and white gives it; and so this decision was an inspired one indeed. One staple of the western genre that Jarmusch is keen to retain is the use of close-ups. The director spends a lot of time caressing Depp's facial features with his camera and, at times, even focuses on his lead actor when the action doesn't concern him. Aside from keeping in with the western tradition, this also allows Jarmusch to keep the focus on the main character, which keeps the viewer focused on his plight. For this film, Jarmusch has put together a cast of B-movie icons that will have B-movie fans foaming at the mouth. Crispin Glover, Robert Mitchum, Billy Bob Thornton, Lance Henriksen, Gabriel Byrne, John Hurt, Alfred Molina and even Iggy Pop feature and it's great to see so many faces in the same movie. The cast is, of course, lead by a man who is perhaps today's best actor; Johnny Depp. Depp's name on a credit list speaks for itself, and I don't need to tell you that his performance is great; nor do I need to point out the effortless cool that this movie exudes, largely thanks to the great man's presence. My only advice is see it...see it now.

The Western genre has always been misunderstood as a simplistic, racist (and misogynistic) traditional genre due to the many mediocre Westerns of the 40s and 50s. However, real good Westerns have delighted us with complex stories that take advantage of the setting themes: the conflict between honor & law, wilderness & civilization, and life & death. Director Jim Jarmusch, who has achieved fame and recognition in the independent film community, uses the elements of the Western genre to create his very own poetical meditation on these themes, giving the genre his personal touch crafting a powerful and original gem.

Young accountant William Blake (Johnny Depp) seems to have lost everything as his parents have died and his fianceé left him without a reason; so he decides to take a job in Machine, a town located at the end of "civilization" in the Wild Wild West. To his misfortune, the job he applied to has already been taken and now he finds himself really without nothing. However, his life will change forever after by a series of circumstances he ends up murdering a man, becoming an outlaw, although getting badly wounded in the process. Now, traveling along an outcast native who calls himself "Nobody" (Gary Farmer), he'll begin a strange and surreal trip that'll prepare him for the next stage.

Written by Jarmusch himself, the film's story details Blake's trip guided by Nobody in a similar way to Dante's journey in "The Divine Comedy", where a series of "episodes" are used to explore different ideas and themes across the trip. Jarmusch subtlety mixes drama and comedy to deliver his philosophical meditation making the film an entertaining experience, never becoming boring or tiresome. The Western setting is used effectively to tell this story and "Dead Man" toys with the Western elements in a subtle, respectful and quite entertaining way that neither parodies it nor makes fun of it in any way.

Shot entirely in black and white, the cinematography (by Jarmusch regular, Robby Müller) captures that feeling of loneliness and emptiness that William Blake's life has, as well as his collision with the wilderness of the wild west. Jarmusch camera-work together with Neil Young's excellent soundtrack give the film a beautiful surreal look that echoes Blake's equally surreal journey across the darkness searching for light. Finally, another interesting point is Jarmusch extensive care for detail in his portrayal of the American west, as well as his respect for the Native American cultures that play an important role in his film; making "Dead Man" one of the most realist Westerns ever made.

Johnny Depp's performance is remarkable, and probably one of the best in his career. Blake's complete transformation across the film is a real challenge and Depp makes the most of it. Gary Farmer is equally excellent and he is as effective in the comedy scenes as he is in the drama scenes, showing his flexibility and talent. The supporting roles present an assortment of cameos where actors such as Crispin Glover, Lance Henriksen, John Hurt and Robert Mitchum (in his last role) appear giving outstanding performances despite the limited screen time they receive. Henriksen certainly delivers his best performance in years.

Jarmusch's film is a brilliant poetical meditation of life and death, but its episodic nature make it feel even more slow than it is, as every vignette is separated by fade outs that break the mood created. This really damages the film's atmosphere, as it feels as a forced wake up after a pleasant dream. Another problem, is that fans expecting an action-filled Western may end up disappointed, so bear in mind that this film is more about feelings rather than actions. Despite his minor problems, the film is still a very enjoyable experience and a whole new way to experience Westerns, so even non-fans of the genre will appreciate it.

To summarize, "Dead Man" is an atypical look at Westerns that presents Jarmusch's interesting views on life and death in an entertaining, attractive way. Among the revisionist westerns, "Dead Man" is a valuable gem that is worth a watch. Even non-fans of the genre will find something interesting in it. 9/10

Jim Jarmusch is one of my favorite directors, and Dead Man is probably the greatest work he has ever done. Very rarely does a film come alive with a sense of poetry. The only other film I can compare it to would be Wim Wenders' Wings Of Desire. The film moves like a dream, floating and spinning around you. Neil Young's electric score churns like a ghost train and pushes the film farther. There isn't one performance that is wrong, nor is there ever a false moment. From start to finish this film pulls you into it's dream land, and carries you along on clouds until the finish.