Homem Morto

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.

Jim Jarmusch's Dead Man is a truly one of a kind film, a film that I have been entranced for over a decade by, and constantly revisit it's haunting beauty, poetic absurdities and stark, gorgeous black and white cinematography (holla to Robby Muller). Johnny Depp basically plays a meek, downtrodden east coast boy mired in a wild, violent and confusing journey through a western outpost town and after a love triangle ends in murder, possibly his own, he embarks on a strange, spiritual walk through a Pacific Northwest netherworld of pine trees, outlaw bounty hunters, and oddball characters, led by a Native named Nobody (the excellent Gary Farmer). Is he dead? Was he even there to begin with? Jarmusch abandons logic for an expressionist approach, and the film ends up as a hypnotic tone poem and visual palette of events that don't really make sense, and may frustrate some. But to those open to its idiosyncratic writing and determined, enigmatic style, oh what a film it is. The cast is absolutely to die for. Depp is incredible in the best performance of his extremely uneven career. The character arc he inhabits here is wonderful, taking a feeble, checkered suited mess of a man and morphing him into a ghostly, predatorial, terrifying wilderness archetypal bandit, a force of nature among the trees and mountains. Haunted eyes, quick draw kill streak, moody contemplation, it really is his finest work. Michael Wincott steals his scenes as a chatty assassin and Lance Henriksen is scary as hell, playing a hired killer who "fucked his parents, then cooked them up and ate them." (Don't ask, just go with the film's demented flow). Gabriel Byrne, Iggy Pop, Billy Bob Thornton, Robert Mitchum, Milli Avital, John Hurt and an especially weird Crispin Glover all nail their cameos, and Neil Young's beautiful, melodic, elemental score is the beating heart of the film. Dead Man isn't a traditional film in any sense, and in fact seems to take place in a cliché free, bizarro alternate western dream universe where the rules don't apply, but all the beauty, mysticism and rugged frontier intrigue of the genre still remain. Fine with me. One of my all time favourites.

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.

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.

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.