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Dead Man

  • 1995
  • 14A
  • 2h 1m
ÉVALUATION IMDb
7,5/10
107 k
MA NOTE
POPULARITÉ
4 694
468
Johnny Depp in Dead Man (1995)
Trailer
Liretrailer1 min 34 s
1 vidéo
92 photos
AventureDrameOuestAventure en montagneComédie noireDrame d’époqueDrame psychologiqueLe passage à l’âge adulteQuête

En fuite après avoir assassiné un homme, le comptable William Blake rencontre un étrange Amérindien appelé Personne qui le prépare à son voyage dans le monde spirituel.En fuite après avoir assassiné un homme, le comptable William Blake rencontre un étrange Amérindien appelé Personne qui le prépare à son voyage dans le monde spirituel.En fuite après avoir assassiné un homme, le comptable William Blake rencontre un étrange Amérindien appelé Personne qui le prépare à son voyage dans le monde spirituel.

  • Director
    • Jim Jarmusch
  • Writer
    • Jim Jarmusch
  • Stars
    • Johnny Depp
    • Gary Farmer
    • Crispin Glover
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,5/10
    107 k
    MA NOTE
    POPULARITÉ
    4 694
    468
    • Director
      • Jim Jarmusch
    • Writer
      • Jim Jarmusch
    • Stars
      • Johnny Depp
      • Gary Farmer
      • Crispin Glover
    • 394Commentaires d'utilisateurs
    • 91Commentaires de critiques
    • 62Métascore
  • Voir l’information sur la production à IMDbPro
    • Prix
      • 6 victoires et 14 nominations au total

    Vidéos1

    Dead Man
    Trailer 1:34
    Dead Man

    Photos92

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    Rôles principaux31

    Modifier
    Johnny Depp
    Johnny Depp
    • William Blake
    Gary Farmer
    Gary Farmer
    • Nobody
    Crispin Glover
    Crispin Glover
    • Train Fireman
    Lance Henriksen
    Lance Henriksen
    • Cole Wilson
    Michael Wincott
    Michael Wincott
    • Conway Twill
    Eugene Byrd
    Eugene Byrd
    • Johnny 'The Kid' Pickett
    John Hurt
    John Hurt
    • John Scholfield
    Robert Mitchum
    Robert Mitchum
    • John Dickinson
    Iggy Pop
    Iggy Pop
    • Salvatore 'Sally' Jenko
    Gabriel Byrne
    Gabriel Byrne
    • Charlie Dickinson
    Jared Harris
    Jared Harris
    • Benmont Tench
    Mili Avital
    Mili Avital
    • Thel Russell
    Jimmie Ray Weeks
    Jimmie Ray Weeks
    • Marvin, Older Marshal
    Mark Bringelson
    Mark Bringelson
    • Lee, Younger Marshal
    John North
    John North
    • Mr. Olafsen
    Pete Schrum
    Pete Schrum
    • Drunk
    • (as Peter Schrum)
    Mike Dawson
    • Old Man with 'Wanted' Posters
    Billy Bob Thornton
    Billy Bob Thornton
    • Big George Drakoulious
    • Director
      • Jim Jarmusch
    • Writer
      • Jim Jarmusch
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs394

    7,5106.6K
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    Avis en vedette

    7tetractys

    An illuminating existential cautionary tale

    First of all, you have to be a Jarmusch fan. If you walk comfortably through that door, you'll find he does a bang-up job with this existential Western. So does Johnny Depp, who plays the lead--a lost unemployed accountant in the old west who happens to be named William Blake. Gary Farmer, the Indian from Ghost Dog and The Score, calls himself Nobody because he doesn't like his given name that means "one who talks much and says nothing." Nobody serves as William Blake's savior, doctor, guide and boatman "across the river." Neil Young wrote and performed the score. Blake's nemesis is played by Lance Henriksen as a terse cannibalistic bounty hunter. Delightful cameos include Robert Mitchum, Crispin Glover, Gabriel Byrne, John Heard and others.

    Symbolism abounds--there are shooting stars, down-shots of a hellish factory where Blake wanders looking for a way out, mines and factories of "white-man's metal," plenty of dead animals, including a small doe that Depp lies down with after decorating his face with its blood.

    But the movie doesn't fall into the trap of making white men the fall guys for everything wrong with the world in which Blake and Nobody try to make a living. Nobody mistreats Blake's bullet wound and is arguably responsible for his ultimate predicament. Nobody isn't worldly, despite having seen Europe in his youth. He believes the same white people were in every town he visited. The northwest tribe visited at the end were petty people who obviously thought Blake and Nobody were not worth their attention, evidenced by Nobody's imprecations to "walk proud" to the mortally-wounded Blake, and his nervousness at what might happen if he didn't. And of course, there is Nobody's innocent belief that the hapless accountant is the historical poet and artist.

    Held together with Young's musical score--mixed a tad loud for my taste--and the deterioration of the finances and health of William Blake, Dead Man is more than a picaresque, but the overall theme is elusive. Motifs are another story, and are liberally sprinkled throughout. Perhaps that's the point, ultimately--in the face of death, nothing else matters, and all the symbols and themes add up to nothing, driving the story from existential to nihilistic. Personal friendship, religion, wealth, work, technology, tribe, humanity, God, love--all mean nothing or are actively detrimental. For a movie named "Dead Man," that's not an unreasonable interpretation.

    Depp is an ideal actor to portray the reluctant gunslinger, and his personality does more to hold the film together than any other single factor. The camera loves him, and his ability to portray a variety of responses to his predicaments, from confusion, surprise and anger to amusement, disappointment and ultimately resignation is the heart of this thoroughly enjoyable film.
    9Siradakis

    Magical trip to demise

    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.
    sundevil-pictures

    Inescapable Doom at the End of the Line

    Heading towards a metalworks factory at the edge of the known universe, a pristine, young accountant named William Blake steps into the ungodly, mechanical hell that is the town of Machine. And so begins this man's descent into purgatory...in the wrong place, at a point where time itself is nonexistent.

    Blake arrives in Machine after a demented, tireless train ride through what may be his own self. Spanning the beauty of epic horizons and dense forests, yet ending in the bleak misery of the barren desert, we meet this out-of-place traveler in a tiring, strange situation. His frailty is evident: alone, without a living heir, struggling to make his way amidst the freaks and grim destination that awaits. As expected, the town itself begs no welcome, as the malevolent rumors prove true, and leave Blake face to face with the dusty spines of inexorable destiny. In more ways than one, the Wild West awaits...

    From this point on, Blake embarks on his surrealistic journey into nothingness, as he becomes a marked man running from nearly everyone and everything. Trusting in a Native friend (appropriately named `Nobody'), the descent into Blake's rejection is juxtaposed with the realities of a truly inescapable destiny. As such, the notions of ill fate and bad luck are separately defined alongside each other. Soon enough, however, Blake learns to cope with the road to ruin, and from his relationship with Nobody, he begins to transform into the gunslinging poet he never was.

    In these aspects - the premise, the cinematic device, and the endless attention to narrative and metaphoric detail - the film is simply brilliant. Watching Johnny Depp's character transformation amidst Jim Jarmusch's artistic direction of both beauty and brutality is simply exceptional, despite any problems the film may contain. A feeling of purgatorial confinement is truly achieved as humor is mixed with suspense, and uneasiness blends with inevitability. This is definitely one of the few movies that strangely seizes the disposition, toying with it until sufficiently queasy.

    Nevertheless, while the story, acting, and cinematic composition of the film are excellent, certain directorial choices do prevent it from achieving perfection. The primary problem concerns the dreamlike quality interspersed through several drawn-out fades: while effective, they are overused, and only serve to impair the flow of the film and it's intended message. Another problem is the tempo of the action: the characters, while quick to quip and raise their weapons, engage in gunfights at the speed of snails. When a shot is fired, the attacker simply stands in place, only to be killed by the target he missed. This particular criticism can lend itself to the film as a whole, as well. In other words, had the entire pace of the film been quickened, perhaps Jarmusch's voyage into the depths of doom and despair may have been more effective. Lastly, as in many independent films, superfluous `art film' shots and indie flavor over-season the picture simply to separate it from big-studio Hollywood...though as the film progresses, these moments become less apparent.

    Overall, this film is one to be seen by anyone who enjoys a creative story with TONS of review value. Several notable faces make their way through the screen (Gabriel Bryne, Robert Mitchum, Crispin Glover, Iggy Pop, and more), and the dirty, electric twang of Neil Young's guitar fills the gaps with a dark, mechanical, Southwestern gloom.

    Enter the town of Machine, and you'll be processed as well. Just watch out for snags along the trail - they make the journey a bit annoying, and certainly longer than what is warranted by the reaches of the attention span...or simply the principles of artistic efficiency.
    mobenr

    Half the reason I became a film maker

    This film is half the reason I stopped being an investment banker and became a film-maker.

    I have seen it at least ten times, and each time I discover more depth and beauty.

    I have show this film to many people, and most unfortunately do not see in it what I see.

    I feel sorry for them that I cannot give them my eyes, because I know that what I see in this film is really there.

    For me this is one of the best films I have ever seen. Subtle in its beauty and magnificence.

    If you see it and don't love it, I say see it again.
    10jluis1984

    A wonderful journey through life and death...

    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

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      Neil Young recorded the soundtrack by improvising (mostly on his electric guitar, with some acoustic guitar, piano, and organ) as he watched the newly edited movie alone in a recording studio.
    • Gaffes
      Conway Twill sleeps with a Teddy Bear in scenes set in the late 19th century. The Teddy Bear was invented in the early 20th century, and named after US President Teddy Roosevelt.
    • Citations

      William Blake: What is your name?

      Nobody: My name is Nobody.

      William Blake: Excuse me?

      Nobody: My name is Exaybachay. He Who Talks Loud, Saying Nothing.

      William Blake: He who talks... I thought you said your name was Nobody.

      Nobody: I preferred to be called Nobody.

    • Générique farfelu
      Although Crispin Glover receives 9th billing, before Gabriel Bryne, John Hurt, Alfred Molina and Robert Mitchum, his part ends before his name appears in the opening credits.
    • Connexions
      Edited into Spisok korabley (2008)
    • Bandes originales
      Billy Boy
      (uncredited)

      [Played in the saloon]

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    FAQ

    • How long is Dead Man?
      Propulsé par Alexa

    Détails

    Modifier
    • Date de sortie
      • 24 mai 1996 (Canada)
    • Pays d’origine
      • Germany
      • Japan
      • United States
    • Site officiel
      • Official Facebook
    • Langues
      • English
      • Cree
    • Aussi connu sous le nom de
      • Hombre muerto
    • Lieux de tournage
      • Beacon Rock, Columbia River Gorge, Washington, États-Unis
    • sociétés de production
      • Pandora Filmproduktion
      • JVC Entertainment Networks
      • Newmarket Capital Group
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 9 000 000 $ US (estimation)
    • Brut – États-Unis et Canada
      • 1 037 847 $ US
    • Fin de semaine d'ouverture – États-Unis et Canada
      • 104 649 $ US
      • 12 mai 1996
    • Brut – à l'échelle mondiale
      • 1 085 079 $ US
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 1 minute
    • Couleur
      • Black and White
    • Mixage
      • Dolby Stereo
      • Dolby SR
    • Rapport de forme
      • 1.85 : 1

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    Johnny Depp in Dead Man (1995)
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