Dead Man is a film I saw two times two years ago. It was the first film by indie filmmaker Jim Jarmusch that I had seen (it was something about the cover of the film- Johnny Depp in Indian war-paint in black & white holding a gun- that intrigued me), and the first two times I did and didn't understand what it was 'about'. I read from other comments that it was meant to be taken as a 'spiritual journey', an existentialist trip through 19th century western country. I watched it again recently, and I understood it a little more clearly, if still a little muddled. Although Jarmusch's trademark knack at pacing is evident, and the rhythm of the film is weirdly in sync with Neil Young's lonely, grungy solo electric guitar, its not as strong or moving as in his best work (Mystery Train, Broken Flowers, Down by Law).
Still, Johnny Depp gives a very nuanced, controlled performance. It's as interesting, if sometimes in almost out of curiosity, to see Depp in a role like this when he's been at his peak playing eccentrics and crazies (Fear & Loathing in Las Vegas, Pirates, Chocolate Factory). Here he is William Blake (less a running gag in the film than a down-pat comparison to the infamous poet), an accountant who gets turned down in a grimy, bad little Western town in the middle of nowhere. Aftern an altercation, he gets shot and winds up in the hands of a Native named 'Nobody' (direct reference to a Sergio Leone production, among other homages). They then go on a sort of journey as Depp's Blake is on pursuit by a trio of bounty hunters (this brings some of the best parts of the film, and funniest).
Somehow in the midst of this heavy film Jarmusch doesn't miss out on some chances for surreal humor- there is one scene that includes Billy Bob Thornton and Iggy Pop as intellectual cannibals who argue over Blake. There is also some unintentional humor in Farmer's performance of 'Nobody', who at times is profound, confusing, absurd, and very mystical in the Native tradition. Towards the last twenty minutes it is mostly just Depp looking woozily on the landscapes and Native tribe sites. It's fascinating in one way, but ponderous in another. It is always worthwhile to see a filmmaker who is putting forth a vision and letting the audience make up their mind about it, leaving things ambiguous as possible. But it's also the kind of film where you really need to be 'in the mood' so to speak to really find total artistic value in it. I'm sure I may watch Dead Man one day and come away with it some great poetic/philosophical extractions (I did on the third viewing, after getting more acclimated to Jarmusch's style and ideas). If you're more of a Depp fan though, it's hit or miss to recommend; the same teenage fan of Pirates may watch Depp in this film and wonder why he even chose the project.
Still, Johnny Depp gives a very nuanced, controlled performance. It's as interesting, if sometimes in almost out of curiosity, to see Depp in a role like this when he's been at his peak playing eccentrics and crazies (Fear & Loathing in Las Vegas, Pirates, Chocolate Factory). Here he is William Blake (less a running gag in the film than a down-pat comparison to the infamous poet), an accountant who gets turned down in a grimy, bad little Western town in the middle of nowhere. Aftern an altercation, he gets shot and winds up in the hands of a Native named 'Nobody' (direct reference to a Sergio Leone production, among other homages). They then go on a sort of journey as Depp's Blake is on pursuit by a trio of bounty hunters (this brings some of the best parts of the film, and funniest).
Somehow in the midst of this heavy film Jarmusch doesn't miss out on some chances for surreal humor- there is one scene that includes Billy Bob Thornton and Iggy Pop as intellectual cannibals who argue over Blake. There is also some unintentional humor in Farmer's performance of 'Nobody', who at times is profound, confusing, absurd, and very mystical in the Native tradition. Towards the last twenty minutes it is mostly just Depp looking woozily on the landscapes and Native tribe sites. It's fascinating in one way, but ponderous in another. It is always worthwhile to see a filmmaker who is putting forth a vision and letting the audience make up their mind about it, leaving things ambiguous as possible. But it's also the kind of film where you really need to be 'in the mood' so to speak to really find total artistic value in it. I'm sure I may watch Dead Man one day and come away with it some great poetic/philosophical extractions (I did on the third viewing, after getting more acclimated to Jarmusch's style and ideas). If you're more of a Depp fan though, it's hit or miss to recommend; the same teenage fan of Pirates may watch Depp in this film and wonder why he even chose the project.