As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him. A freelance sleuth neighbor moves Don to embark on a cross-country search for his old flames in search of answers.
Two innocent people are arrested. An interesting third person, with broken English, joins them in their cell. On his idea, they decide to escape from the prison. Their journey is the rest of the movie.
This shortcut repeats the structure of Coffee and Cigarettes. This time, Iggy Pop and Tom Waits meet in a bar. But, again, we don't know why they agreed to do that in the first place, ... See full summary »
A hitman who lives by the code of the samurai, works for the mafia and finds himself in their crosshairs when his recent job doesn't go according to plan. Now he must find a way to defend himself and his honor while retaining the code he lives by. Written by
Some of the cartoons the characters watch in the movie correspond to events that occur. For example, Betty Boop calling in pigeons on a rooftop in the first cartoon. Later on in another scene, Ghost dog sees a woodpecker. The next scene shows Vargo watching Woody Woodpecker. See more »
The Pit Bull that always follows Ghost Dog around is referred to as a "He" when in fact it is a she. See more »
The Way of the Samurai is found in death. Meditation on inevitable death should be performed daily. Every day when one's body and mind are at peace, one should meditate upon being ripped apart by arrows, rifles, spears, and swords. Being carried away by surging waves. Being thrown into the midst of a great fire. Being struck by lightning, being shaken to death by a great earthquake. Falling from thousand-foot cliffs, dying of disease, or committing seppuku at the death of one's ...
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The second to last person thanked at the credits' close is Akira Kurosawa--the Japanese filmmaker who filmed one of the Ghost Dog's central texts, Rashomon. See more »
Ghost Dog certainly is an intriguing film. It breaks some new ground for writer/director Jim Jarmusch, who usually creates simple, funny, and heartfelt black and white films with many underlying themes. Ghost Dog is one of his few color films, and it is also the most out of character picture he has made to date. Instead of a slow-paced comedic drama, Ghost Dog is a slow-paced bloody crime film.
The plot deals with Ghost Dog (Whitaker), an expert mafia assassin living in present-day New York City who lives his life according to the ancient code of the Samurai.
Jarmusch somewhat reverses what Akira Kurosawa did in Throne of Blood by bringing Eastern culture to a Western setting. It's a rather fascinating idea, but I can't help but feel that Jarmusch kind of falls into a trap he teeters on almost constantly in his films: while he's so busy creating a slow, brooding atmosphere and interweaving subtle underlying themes, he occasionally forgets that this is still a movie. He still needs to keep the audience entertained. Ghost Dog sometimes moves so slowly that one becomes a little bit bored and anxious.
Another thing that doesn't work particularly well in Ghost Dog are Jarmusch's signature scenes of off-beat humor that often just come completely out of nowhere. They usually work quite well, such as Iggy Pop's and Billy Bob Thornton's blackly funny scene in Dead Man, but they just feel awkward here. E.g., Jarmusch develops a very peculiar group of gangsters in Ghost Dog, gangsters who think they're straight out of GoodFellas but are so incompetent that they can't even pay their rent nor figure out who they're trying to "whack". This is often quite amusing, but sometimes Jarmusch just goes over the top, such as when he makes one of the fifty-something Italian gangsters begin going on about how he loves rap and even start rapping his favorite verses right in the middle of a meeting of criminals. It's just uncomfortable.
Still, there's plenty to like here, and there are quite a few homages for avid film-lovers to spot, such as a cool little nod to the butterfly scene in Seijun Suzuki's Branded To Kill. Also, the acting is often spot-on. Forest Whitaker is absolutely perfect as Ghost Dog - detached, subtle, nuanced, and, most importantly, human.
Still, I hesitate to recommend this film. Jim Jarmusch is most definitely an acquired taste, but even his fans may find their patience tried during Ghost Dog.
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