Jim Jarmusch’s take on the western moseys on into the Criterion Collection
The Western genre has always been a cornerstone of American cinema. Unforgiving landscapes, desperadoes, and a rudimentary rule of law, providing a backdrop to people looking to strike it rich or just make a life for themselves, Often weaving in romantic notions and the opportunity for noble men to make a stand against an injustice, or deal revenge upon miscreants. The use of this era is varied in cinematic storytelling, but perhaps one of the most distinct came in 1995, as writer/director Jim Jarmusch (Only Lovers Left Alive, Paterson) used the Old West as the setting for a meditative journey, as a unfortunate accountant finds himself taking in a spiritual experience while meandering to his inevitable fate. The titular dead man.
Synopsis:
With Dead Man, his first period piece, Jim Jarmusch imagined the nineteenth-century American West as an existential wasteland, delivering a surreal reckoning with the ravages of industrialization, the country’s legacy of violence and prejudice, and the natural cycle of life and death. Accountant William Blake (Johnny Depp) has hardly arrived in the godforsaken outpost of Machine before he’s caught in the middle of a fatal lovers’ quarrel. Wounded and on the lam, Blake falls under the watch of the outcast Nobody (Gary Farmer), who guides his companion on a spiritual journey, teaching him to dispense poetic justice along the way. Featuring austerely beautiful black-and-white photography by Robby Müller and a live-wire score by Neil Young, Dead Man is a profound and unique revision of the western genre.
For several years now the work, and indeed personal life of Johnny Depp has been much maligned. From a purely acting point of view, his film choices have been questionable, while performances being little more them an embrace of wacky quirks. Criterion’s Dead Man release takes you back to a time where the man actually imbued his characters with nuance and depth. His William Blake isn’t some colorful sort, instead he’s a subdued common man, one who ends up in a perilous situation when all he strived to be was an accountant. An act of self-defense sets him on a fatal path, one he treads with a Native American guide named Nobody (Farmer), a spirit guide who is convinced his new companion is the famed English poet.
Depp is brilliantly expressive here, channeling the moments of illumination and emotion that come from his procession. Gary Farmer brings a brilliance to the film with his dry humor exemplifying much of the tone Jarmusch seeks to instill. In support, is a incredible cast, with memorable performances from Iggy Pop, Crispin Glover, John Hurt, and most notably Robert Mitchum in his final role. Punctuations of life and eccentricity in this monochrome world through which this meek accountant walks.
Jarmusch layers in humor to a cold, cruel world. Stunningly shot in black and white, it’s starkness is underlined by a haunting score from Neil Young. It’s a poetic tale, of a man postponing the inevitable, a journey of self-discovery as he faces his own mortality. The case of mistaken identity providing amusement, as well as opening up questions of identity and intelligence between the central duo. Jarmusch deftly tackles racial commentary, the crimes against the Native Americans, and their views on the encroaching Whites are woven into the fabric of the film. He also touches on aspects of environmentalism, as well as the folly of gun violence, notably in how attuned it’s depiction is in conjunction with moments of heightened emotion. Moral questions and conundrums that you’d expect from someone on a meditative journey, a spiritual experience as one man heads towards his fate.
The Package
Criterion presents a new new 4K restoration of Dead Man, scanned from the original 35mm negative. The results are at the high level you’d expect. Detail is impeccable, from foliage, faces, and everything in between. Black and white films tend to show up shortcomings in terms of contrast and grain, but nothing stands out as a weakness here. Deep blacks, a fine range of greys, and clean whites, coupled with a natural grain and not hints of damage, it’s a beauty to behold. Special features are plentiful:
- New Q&A in which Jarmusch responds to questions sent in by fans: Pretty great addition. Around 30 questions answered over 50 minutes, sent in my the public and celebrities too. Jarmusch has plenty of fun with the format, going along with the jokes, while also giving insight to more serious questions.
- Rarely seen footage of Neil Young composing and performing the film’s score: A hell of a thing to have included, showcasing 25 minutes of Young recording the film’s score. Footage shows his setup, along with the flm playing, and his efforts are also compiled into an included music video.
- New interview with actor Gary Farmer: A great interview with the actor, who opens up on many topics, notably his work with Jarmusch, musician Neil Young, as well as his experiences as a Native American within the industry. There’s a frankness, and a warmth to the man that makes for a great interview.
- New readings of William Blake poems by members of the cast, including Mili Avital, Alfred Molina, and Iggy Pop: A quirky and appreciated add, with the trio reading from Auguries of Innocence, Everlasting Gospel, and Proverbs of Hell respectively.
- New selected-scene audio commentary by production designer Bob Ziembicki and sound mixer Drew Kunin: Much of the film is covered, but the “select scene” means a few lulls. The pair largely focus on production/technical aspects of the shoot, as well as Jarmusch’s intentions during filming and end results. But the commentary is at it’s best when they delve into little details about things on screen.
- Deleted scenes: Running approx. 15 minutes, the visual quality is poor, but they showcase some extended sequences between Depp and Farmer, as well as deleted footage concerning some extra hi-jinks for the bounty hunters.
- Jarmusch’s location scouting photos: A gallery entitled Black and White in Color, which delivers what it hints at. Behind the scenes, and location scouting images for the film, in color! It’s pretty jarring/fascinating to see some of the previously lost details, notably Depp’s wardrobe design.
- PLUS: Essays by film critic Amy Taubin and music journalist Ben Ratliff: The enclosed Criterion booklet contains two beautifully rendered essays, details on the film’s restoration, as well as a number of images from the film.
The Bottom Line
Dead Man has an off-beat, mystical quality, that marks it as Jarmusch’s most alluring cinematic endeavor. Visually stunning, it’s artistic nature verges on the poetic, with whimsy tempered by the melancholic air you’d expect from a journey about mortality and enlightenment, all set against the backdrop of the old west. It’s a fantastic release from Criterion, crammed with extras, that only serves to deepen appreciation for Jarmusch’s effort.
available via Criterion from April 24th, 2018