NOTE: Dead Man has been promoted to the List of the 366 Best Weird Movies ever made. Commenting is closed on this review, which is left here for archival purposes. Please visit Dead Man‘s Certified Weird entry to comment on this film.
DIRECTED BY: Jim Jarmusch
FEATURING: Johnny Depp, Gary Farmer, Lance Henriksen, Michael Wincott, Robert Mitchum, Crispin Glover, Iggy Pop, Billy Bob Thornton, Mili Avatal, Gabriel Byrne
PLOT: Mild-mannered accountant Bill Blake heads west, becomes a wanted man after he
shoots a man in self defense, and, wounded, flees to the wilderness where he’s befriended by an Indian named Nobody who believes he is the poet William Blake.
WHY IT’S ON THE BORDERLINE: Dead Man is a lyrical and hypnotic film, and one that comes about as achingly close to making the List on the first pass as is possible. The quality of the movie is no obstacle to its making the List, but the weirdness, while there, is subtle and must be teased out by the viewer. There is a mystical and dreamlike tinge to Blake’s journey into death, but the strangeness is almost entirely tonal; Jarmusch’s artiness aside, it’s possible to view the movie as a rather straightforward, if quirky, indie Western.
COMMENTS: Dead Man begins on a locomotive as a naif accountant is traveling from Cleveland to a the western town of Machine to begin a new life. We see him on the train playing solitaire or reading a booklet on beekeeping. He looks up to survey at his fellow passengers, who meet his glance with indifference. The train’s whistle blows as the scene fades to black, accompanied by twanging chords from Neil Young’s guitar (sounding like abstract, electrified snippets stolen from a Morricone score). The scene repeats and fades back in again and again, each time with the traveler glancing around the compartment to find his companions slowly changing: their dress becomes more rustic, their hair longer and more unkempt; female passengers become less frequent, firearms more common; the indifference in their eyes turns into quiet hostility.
Dead Man tells the story of an innocent who becomes a refugee after being caught in the wrong place at the wrong time. It’s a standard story, but the way Jarmusch tells can be strange indeed. This opening scene sets the rhythm for the movie: it proceeds in a series of slow pulses punctuated by fadeouts and anguished bursts from Young’s guitar, and it slowly shifts locale from the civilized to the wild. The continual fading out and Continue reading LIST CANDIDATE: DEAD MAN (1995)