As the extremely withdrawn Don Johnston is dumped by his latest woman, he receives an anonymous letter from a former lover informing him that he has a son who may be looking for him.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.
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
Many consider this to have been a "definitive role" for Whitaker. In a manner similar to his preparation for Bird, he again immersed himself in his character's world; he studied Eastern philosophy and meditated for long hours "to hone his inner spiritual hitman." Jarmusch has told interviewers that he developed the title character with Whitaker in mind; the New York Times review of the film observed that "It's hard to think of another actor who could play a cold-blooded killer with such warmth and humanity. See more »
When Louie is driving from the mansion, at several times it is obvious that he is not really driving the car. When the car is going straight ahead, he often turns the wheel, and vice versa. This is most obvious just after Vinnie has died, and Louie is asking "Vin? Hey, Vin, you with me over there?". The car is then going through a 90 degree bend in the road, but Louie does not move the steering wheel at all. 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 »
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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