A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
In Jersey City, an African American hit man follows "Hagakure: The Way of the Samurai." He lives alone, in simplicity with homing pigeons for company, calling himself Ghost Dog. His master, who saved his life eight years ago, is part of the local mob. When the boss' daughter witnesses one of Ghost Dog's hits, he becomes expendable. The first victims are his birds, and in response, Ghost Dog goes right at his attackers but does not want to harm his master or the young woman. On occasion, he talks with his best friend, a French-speaking Haitian who sells ice cream in the park, and with a child with whom he discusses books. Can he stay true to his code? And if he does, what is his fate? Written by
Jim Jarmusch stated in an interview that he wrote the role of Ghost Dog specifically for Forest Whitaker, and if Whitaker hadn't taken the role, the film probably would not have been made. See more »
When Ghost Dog shoots Handsome Frank, Ghost Dog points his gun with a laser pointer at him. After he shoots Frank for the first time, the laser beam can be seen and the we can see where it's coming from, and the line created by the beam comes from somewhere from the right and not from where Ghost Dog is with his gun (behind the camera). See more »
Among the maxims on Lord Naoshige's wall, there was this one: "Matters of great concern should be treated lightly." Master Ittei commented, "Matters of small concern should be treated seriously."
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Written by R. Diggs and C. Woods
Produced, mixed and arranged by RZA for Wu-Tang Productions, Inc.
Published by Careers-BMG Music Publishing, Inc.
On behalf of Ramecca Music and Wu-Tang Publishing (BMI)
Featuring Ghostface Killah, Cappadonna and Raekwon
Raekwon appears courtesy of Loud Records See more »
a fascinating, strange hybrid of black, Japanese and Italian culture, with a perfectly detached, somber lead in Forrester
Jim Jarmusch is one of the few filmmakers in Hollywood able to make bodies of work that are challenging, thoughtful, and with a distinctive voice. Like the Coen Brothers, it's hard to make his films accessible to the public like many other films at the cineplexes, and that's part of the joy in watching a film such as Ghost Dog. It's such a strange kind of story, but it's a story that extremely well crafted, even when some of the characters aren't developed enough past a certain point. While I can't really say that it's a great film, there are plenty of great things about it.
Such as a pulsing, rhythmically engaging soundtrack (I'm not a big fan of rap and hip-hop, but the artists on here are better than expected) with the RZA behind the seat. Delicate, finite cinematography by Robby Mueller (who's other superb collaboration with Jarmusch was on Down By Law). A performance from Forrest Whitaker, as the dedicated, un-hinged-from reality 'samurai' known as Ghost Dog, which ranks among his best and shows in plain sight that he can carry an action film with patience and cool. And the film also carries a fine sense of humor to many scenes - the fact that these gangsters (one of which Dog's boss) watch more cartoons than take care of business is as funny as the way they interact sometimes. While it tends to streak on parody, in the characters there's still the fascinating Jarmusch has in mixing the cultures.
It's a hard film to classify, for even though it's a martial-arts movie, the only sight of a sword is used for practice and not a blood-bath in Kill Bill. It's a gangster movie, but every five minutes or so there's philosophical notes on the way of the samurai that seems more in place in a (good, thematically engaging) art film than a (good, shoot-em-up) Hollywood actioner. It's a movie about urban-life, yet the only signs of Urbana are shown from a distance, where the only two who will talk to Ghost Dog are a Haitian ice cream guy (who provides a wonderfully weird scene on the roof with Ghost Dog), and a little girl who likes to read. But it's this mixture that can keep a viewer on his or her toes, especially once you realize the psychological state of the lead as much as his spiritual state.
Parts of the film might turn off one group, but the other parts of the film might keep the same group enthralled. In fact, it's as interesting a comparison to be made to Kill Bill (itself a hybrid) as it is in the spiritual and stylistic parent, Le Samourai by Melville. Like those films, at the least, Jarmusch's film asks to be looked at more than once...Anyway, three cheers for Garry "Nobody" Farmer!
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