On the run after murdering a man, accountant William Blake encounters a strange Native American man named Nobody who prepares him for his journey into the spiritual world.On the run after murdering a man, accountant William Blake encounters a strange Native American man named Nobody who prepares him for his journey into the spiritual world.On the run after murdering a man, accountant William Blake encounters a strange Native American man named Nobody who prepares him for his journey into the spiritual world.
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- 6 wins & 14 nominations total
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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.
This black and white film is mesmerizing. Obviously the black and white marks a rupture between what you are used to So in essence this rupture is between let say classic Western and Jim Jarmush western as he re-visit the genre. It is also a way to keep the audience to what is essential Color is a filter that can distract you, the sobriety of black and white will not.
But what exactly is essential in that movie? Beside the fact that Mr. Jarmush depict a brutal and impulsive America, the movie opposes a new born civilization that is already collapsing and a dying one that is still shining But more than that the journey of William Blake is a metaphoric and circular voyage from misunderstanding to certitude. The guide Nobody, himself trapped between the two civilizations can not provide a cure to the passing man but may very well provide a path to a curing one. This journey from Machine Town, the "anti chamber" of hell to the sea, first step to Heaven is tremendously poetic and emotional. Also emotional is the evolution from misunderstanding to comprehension between Nobody and William Blake who eventually settles on what is essential reaching a common ground, clarity
Help by a haunting and beautiful score from Neil Young and an extraordinary cast the film succeed in transforming the wood wagon of hell in which William Blake embarks to the wooden vessel to heaven in which he will lie.
One of the best films from Mr. Jarmush, Dead Man manages to take the audience in one of cinema most poetic journey
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.
10/10
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
Storyline
Did you know
- TriviaNeil 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.
- GoofsConway 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.
- Quotes
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.
- Crazy creditsAlthough 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.
- ConnectionsEdited into Catalogue of Ships (2008)
- SoundtracksBilly Boy
(uncredited)
[Played in the saloon]
- How long is Dead Man?Powered by Alexa
Details
- Release date
- Countries of origin
- Official site
- Languages
- Also known as
- Hombre muerto
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $9,000,000 (estimated)
- Gross US & Canada
- $1,037,847
- Opening weekend US & Canada
- $104,649
- May 12, 1996
- Gross worldwide
- $1,085,079
- Runtime2 hours 1 minute
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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