Ghost Dog - Il codice del samurai

This is a great film; it has pretty much everything a great film needs: a great score, great actors, great performances, etc. The film revolves around Ghost Dog, perfectly portrayed by Forest Whitaker. He is a assassin who lives by the code of the Samurai. Apart from him, we also follow the fate of several mafia men(though nowhere near as intimately as we follow Ghost Dog). These two very different groups, Samurai and mafia, are both depicted reasonably well, giving us insight to how the groups work, and, more importantly, their code. Both groups live and die by the code, and this is probably the most important thing in the movie, and it's shown with respect with both Samurai and mafia; I'm not entirely sure that it's correct all the way through, but that's not what's most important, anyway. The film has reasonably little action, but it's not supposed to be an action film, by any means. It's fairly slow throughout the film, but it never really bores you to the point of not watching any more; I've seen the film at least five times now, so believe me, I know. The film is very stylized and cool throughout, which definitely has some part in keeping you interested, but the theme and story/plot plays a bigger part, I think. The plot is pretty good, and though it keeps a fairly slow pace throughout the film, it also keeps your interest for the entire duration of the film. The acting is all good, though not everyone pulls off as excellent a performance as Whitaker. Isaach De Bankolé portrays Ghost Dog's best friend, and he does gives a great performance. So does Camille Winbush, who portrays a girl who Ghost Dog befriends and discusses books with. The characters are well-written and(mostly) credible. I'm not entirely sure that the film does provide a totally correct version of the Code of the Samurai. The soundtrack is great; it's made by the hip-hop artist RZA, but most of it will be enjoyable to people who aren't into hip-hop. Also, I guess it's more of a score than a soundtrack; there isn't any time where the music feels out of place in a scene. All in all, a great film, but not for all tastes. Don't go in expecting an action film; don't go in expecting a very deep an entirely intellectual film; don't go in expecting a regular movie; go in expecting to see a decent(if not good) representation of both the mafia code and the Samurai code. I've heard some people describe the ending as an anti-climax; I don't know what they were expecting... I won't say that I saw it coming, but I wasn't disappointed when it happened. It had to end it, and I think the director, Jim Jarmusch made a good decision on that. I recommend this film to people with an interest in Samurai, fans of Jarmusch and people looking for a reasonably deep film. I don't recommend this to fans of action movies, as there's fairly little action in the film. No matter who you are, if you're going to see this film, make sure you have the patience for it; it's worth sitting through the two reasonably slow hours for. 8/10

Jarmush takes a Far Eastern approach to the Mob hit man genre , whose title character pledges himself to small-time hood Loui in the tradition of the Samurai after Loui saves his life. Ghost Dog (Forest Whitaker) lives alone - except for his friendly homing pigeons - on a rooftop in New York, a self made, modern Samurai warrior who has attached himself to a master in the form of a middle ranking gangster (John Tormey) who once saved his life in an alley brawl. When one of his hits goes awry, Ghost is targeted for elimination, which leads to many dead bodies. Ghost Dog lives strictly by the Samurai code, even when his life is in danger, such as when Mr Vargo (Henry Silva) demands Ghost Dog's execution with the help of Ghost Dog's own master. But Ghost Dog executes his vendetta against the mobsters (Victor Argo, Cliff Gorman) . All assassins live beyond the law... only one follows the code !. Live by the code !. Die by the code !.

Extensive wit, knowing how to depict an attractive story with humor, intelligence, delicious details and a lot sensitivity. Jarmush's engagingly outlandish variation of thre hitman thriller finds Ghost Dog under threat from the wiseguys who've been using his ultra efficient services after the boss's daughter witnesses one if his killings. On to his basic script , Jim grafts an unlikely but coherent variety of motifs, moods, themes and gags: the Mob , though themselves memorably eccentric, simply can't cope with a Afro-American murderer who communicates by carrier pigeon and lives by the ancient code of Japanese samurai. Like most Jarmusch offerings this one's quirky, disjointed and not for everyone, but Whitaker's acting and the off-the-wall humor make up for a lot . Al once a tribute to traditional notions of loyaly, conmradeship, honour, friendship and professionalism, and a stylish, ironic pastiche inspired by the likes of Melville and Suzuki. It is very insightful, funny and highly original, proving that Jarmusch has lost none of his wit, warmth or invention. Great camerawork by prestigious Robby Muller, Win Wenders' regular cameraman, along with a peculiar score by score RZA and stunning bird footage, too.

The picture was professional and originally directed by Jim Jarmusch, getting success enough at box office. His films often involve travelers as well as life after midnight, shows and views the American landscape from a non-commercial viewpoint. The narrative structure of his films mostly lack clear plot progression and focus more on mood and character development. Jarmusch doesn't allow his movies to be dubbed for foreign movie markets, they are mostly shown with subtitles in other countries, his only films that were dubbed are Down by law (1986) which was dubbed in French and this The dead don't die (2019) which was dubbed in French and Spanish. Jim is a notorious writer and director, known for: ¨Mystery Train, Coffee and Cigarettes, Down by law, Night on Earth, Dead Man, Year of the Horse, Ghost Dog, The Limits of Control, Broken Flowers, Gimme danger, Only Lovers Left Alive, Paterson, The Dead Don't Die¨, among others. Rating: 7.5/10, better tan average. A captivating film for completists of the interesting and hit career of Jarmusch.

Ghost Dog is an excellent ode to Hip-Hop and samurai movies, molded into a framework of European film making. It is a meditation on philosophy, literature, the banality of violence, and on miscommunication. As such, this is a great movie with a strong independent feel to it. The story is very simple. A man (Forest Whitaker) who was once saved by a mobster, lives a life dedicated to perfection of the martial arts guided by the Hagakure, the code of the samurai (Hagakure roughly means "Hidden Leaves" or "Hidden By Leaves" and was written by Yamamoto Tsunetomo, a samurai who was denied seppuku and lived out his life as a buddhist monk, which is when he wrote his book). Whitaker is a hitman with only one employer (the geriatric mobster who saved him) and can only be contacted by carrier pigeon. When a hit turns bad, he is forced to fight off the mobster and his fellow geriatric "made men" (who are less Al Pacino in The Godfather, than Al Pacino in Donnie Brasco). They personify the same dying way of life that Tsunetomo represented when he wrote his book, which is as much an obituary to a dying ethic, as the samurai class needed to adapt itself even during the Tokugawa shogunate (let alone after the Meiji Restoration in the 19th century).

If you're looking for a fast action movie with lots of hyperrealistic blood and guts, you will be disappointed.

However, if you are interested in the interaction of movies and literature, violence and miscommunication, honor and philosophy, and culture clashes (not in the least the director's slow moving European style superimposed on one of the world's fastest cities, New York), this is a wonderfully set out masterpiece. At turns hilarious, camp, profound, I found the action actually pretty good. In this movie, it isn't about luck or superfast guns, but it is the person who is most prepared to kill who wins.

Forest Whitaker, Camille Winbush, John Tormey and the rest of the cast give performances that range from very nice to great.

The movie is about codes of conduct, with 2 main codes that are dying out or are dead.

One is the code of the Mafia the other is the Samurai.

The basic plot is this. One of the Mafia wiseguys must be killed as he is having an affair with the daughter of the Mafia Don.

The person they get to do it is an African American who lives by the code of the Samurai and goes by the name of Ghost Dog. To be honest, I have met many Japanafiles so this is not so unbelievable.

But the code of the Mafia means that if you kill a wiseguy then you must be killed or the Mafia person who hired him must be killed.

Jim Jarmusch makes movies where the characters close relations based on only very small things. The Mafia wiseguy saved Ghost Dogs life, so now he must be his retainer. He lives off the land (lives on a roof, steals the cars and equipment he needs to do a job). There is also a friendship between 2 people who don't speak the same language. It is the connection between people that is so important here.

If you saw Dead man and like it, then you will love Ghost Dog. It is funny, serious, dark, tragic and beautiful all at the same time. Dead man missed the mark with some similar themes (though the DVD of Dead man has some deleted scenes that would have made the movie much better and reflected better the idea of small connections being strong connections).

I loved this movie, and I don't expect everyone else to. Art house movies have small audiences for this exact reason. I know a lot of people who avoided this movie because they thought it was cheesy. The answer is, yes it is, and most of the bad reviews reflect this same idea.

Also I love the sound track, with lots of Phat beats, and uses Hip Hop (African American culture) to reflect Japanese culture.

Conflating the samurai tenet within a tailing-off gangster underworld in an unnamed USA city, Jim Jarmusch's version of LE SAMOURAI is profoundly branded with his idiosyncrasies: a nocturnal cityscape tinged with retro-flair (mostly seen behind the wheels), a vibrating, mind-bending, killer soundtrack (courtesy to RZA), a perversity and absurdity presiding over the turn of events (cartoon hooked mobsters, a lethal shot fired from a drain pipe, the cameo of Gary Farmer's Nobody from DEAD MAN 1995, etc.), a tangy timbre of acedia inhabits in some of his dramatis personae (the boss's daughter portrayed with crashing nonchalance by a sylph-like Tricia Vessey) and a total abandon of anhedonia (twice, the dog's gaze is the self-reflexive bellwether of a preordained corollary).

Ghost Dog (Whitaker), a self-claimed retainer of the world-weary mobster Louie (Tormey), who has saved his life eight years ago, is a proficient hit-man abiding by the codes of HAGAKURE: THE BOOK OF THE SAMAURAI, written by Yamamoto Tsunetomo in the early 18th century, living alone in the top of a building with a bevy of messenger pigeons, his disciplined life and allegiance is challenged when the local mafia boss Ray Vargo (a deadpan Silva) and his right-hand man Sonny Valerio (Gorman), both superiors of Louie, decide to do away with Ghost Dog as a scapegoat for a mission he has adroitly accomplished, a fatuous move because they have no inking of Ghost Dog's credentials, who will become their imminent nemesis, save the wobbling Louie, who is inadvertently submitted to the receiving end of Ghost Dog's undivided loyalty, chiming in with the RASHOMON (a book which undergoes a ritualistic full circle in the end) motif, even their recollections of their first encounter are different (with clear visual aid here), which shrewdly explains the discrepancy of their attitudes, for Louie it may be merely a self-defense, yet for Ghost Dog, he roundly leaves his own life to the mercy of Louie.

An artistically knowing discord looms large between Ghost Dog's zippy choreography and efficiency to rub out his over-confident but ponderous, long-in-the-tooth rivals and a languid but cordial narrative arc encompassing Ghost Dog, his best friend Raymond (De Bankolé), a francophone-only Haitian ice-cream vandor, and a prepubescent bookworm Pearline (Winbush), to whom Ghost Dog eventually lends HAGAKURE, a deed of passing on his mantle.

Forest Whitaker superbly channels a less laconic Alain Delon in the titular role, but is far more superior in transmitting a loner's variegated inscape, hewing to his codes of honor and living by liquidation of mortals, but it doesn't necessarily negate that he can have a warm soul underneath, and truly, the warmth quotient increases whenever there is a scene between him and Isaach De Bankolé's motormouth Raymond, the latter is the bees knee for a sore eye, amusingly and edifyingly, Jarmusch points up that human beings can build a communicative bond in spite of a seemingly insurmountable language barrier, and it is this humanistic perspective gives the film an edge over its built-in romanticism of indiscriminately adhering to something exotic and gnomic, so at large, GHOST DOG is worth cherry-picking by both Jarmusch newbies and diehards.