Dead Man

The black and white camera and wannabe intellectual dialogues don't necessarily make a quality and unique film, and that is exactly the case with Dead Man, which I am not afraid to describe as a heavily unengaging and absolutely repulsive borefest. All that take about having to “feel” the film is nonsense, there simply isn't much to feel. The plot is banal, the performances are somewhat dull (Depp’s being the only decent one) and the point? Nothing. Jarmusch simply throws the viewer into a pond and let them splash around up to their ears without helping or even hinting at anything, and he doesn't realize that the water in that pond is quite dirty and getting out of it is not an easy task at all. The only exception would be if they intended for it to be a pure comedy, but that doesn't fit. Two painful hours in front of the television screen. (14/11/2007)

The balance of my encounters with Jim Jarmusch's work hasn't been particularly encouraging in the last decade. He received a total of five stars for three films, and I preferred to avoid his latest piece altogether. It used to be different, and a rewatch of Dead Man, which fascinated me in the 90s, was supposed to bring an explanation of whether he had changed or if I had. It's not nostalgia, but I fell in love with Dead Man again. Jim's later titles bore me, but Dead Man is full of tension, has an incredible atmosphere, and at the same time, is not devoid of Jarmusch's typical minimalist poetics and the existential dimension of Blake's journey into nonexistence. The hero of the anti-western is not a hardened adventurer but a shy young man without knowledge of the environment, who is not looking for a cowboy job, but rather an accountant, and desperately does not fit into the surrounding world. His escape from the anger of a wealthy industrialist leads him to an Indian named Nobody, who, due to his abduction in childhood and his upbringing in a white civilization, feels the same rootlessness and loneliness as the main character. Together, they head towards the ocean, facing hired killers and preparing to accept their destiny. Jarmusch's direction gives the landscape a mystical touch, the camera sometimes has a hypnotic effect, and the overall impression is enhanced by Neil Young's simple but impressive music. Johnny Depp is the perfect fit for the lead role. His resigned, slightly absent expression fits perfectly into the Jarmusch world. Overall impression: 90%. (20/11/2019)

A black-and-white essay about a man who was born into eternal night. Two hours of visually riveting sequences that can be stopped and viewed as stylized film images. The mystical subtext of the story is enhanced by the riddles of an Indian who speaks without saying anything. Johnny Depp demonstrates the essence of economical acting, which he mostly only does with the expression of his face (well, when someone has the face for it). Jarmusch has launched a strange dream fresco about the journey toward death to which the hero is destined in his own name. At the same time, he revived a panopticon of strange faces and people who are completely against the established "wild-western" stereotype. You can't passively watch this film, it has to be savored like good tobacco... Tobacco that William Blake doesn't have. Why, actually? P.S. In retrospect, I must say that Jarmusch draws a lot from the innovative approach of Cormac McCarthy, whose harsh poetry of the path to barbarism can be heard very strongly in the film. For me personally, another reason to love this film. (31/01/2004)

The film has its own poetic quality that either resonates with you or it doesn't. It resonated with me because it features quite good gore, which I enjoy, and even in black and white, it looks quite effective. Johnny Depp doesn't draw unnecessary attention to himself but lets the film itself and Jarmusch's signature style do most of the talking. It's worth it. (22/03/2016)

My first encounter with Jim Jarmusch, which hopefully gave me a fairly detailed idea of his work. Dead Man beautifully captures the nature of the protagonists and combines the various genre elements in an interesting way, so that a western drama with a touch of fantasy should not be a big obstacle for the viewer, and thanks to the great atmosphere, the black-and-white styling and the score, every fan should feel like a fish in water. Precisely by not being afraid to inject a certain amount of absurdity into a number of scenes, Jarmusch sets a solid foundation for his somewhat lengthy narrative, based mainly on dialogue and moods. If Tarantino had made this, he would surely have injected an even greater dose of violence into the story, with more space for acting and thinking, and most importantly, he would have spiced up the slightly soporific dialogue a lot more. But that would have made Dead Man lose its specific charm and become a completely different film, which would be a great shame. In spite of the long-winded narrative and, from my point of view, a downright weird ending, this is a wonderfully twisted and unforgettable movie. 80% (20/10/2012)