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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Featured reviews
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.
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
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
Symbolism abounds--there are shooting stars, down-shots of a hellish factory where Blake wanders looking for a way out, mines and factories of "white-man's metal," plenty of dead animals, including a small doe that Depp lies down with after decorating his face with its blood.
But the movie doesn't fall into the trap of making white men the fall guys for everything wrong with the world in which Blake and Nobody try to make a living. Nobody mistreats Blake's bullet wound and is arguably responsible for his ultimate predicament. Nobody isn't worldly, despite having seen Europe in his youth. He believes the same white people were in every town he visited. The northwest tribe visited at the end were petty people who obviously thought Blake and Nobody were not worth their attention, evidenced by Nobody's imprecations to "walk proud" to the mortally-wounded Blake, and his nervousness at what might happen if he didn't. And of course, there is Nobody's innocent belief that the hapless accountant is the historical poet and artist.
Held together with Young's musical score--mixed a tad loud for my taste--and the deterioration of the finances and health of William Blake, Dead Man is more than a picaresque, but the overall theme is elusive. Motifs are another story, and are liberally sprinkled throughout. Perhaps that's the point, ultimately--in the face of death, nothing else matters, and all the symbols and themes add up to nothing, driving the story from existential to nihilistic. Personal friendship, religion, wealth, work, technology, tribe, humanity, God, love--all mean nothing or are actively detrimental. For a movie named "Dead Man," that's not an unreasonable interpretation.
Depp is an ideal actor to portray the reluctant gunslinger, and his personality does more to hold the film together than any other single factor. The camera loves him, and his ability to portray a variety of responses to his predicaments, from confusion, surprise and anger to amusement, disappointment and ultimately resignation is the heart of this thoroughly enjoyable film.
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]
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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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