Jim Jarmusch's Dead Man is a truly one of a kind film, a film that I have been entranced for over a decade by, and constantly revisit it's haunting beauty, poetic absurdities and stark, gorgeous black and white cinematography (holla to Robby Muller). Johnny Depp basically plays a meek, downtrodden east coast boy mired in a wild, violent and confusing journey through a western outpost town and after a love triangle ends in murder, possibly his own, he embarks on a strange, spiritual walk through a Pacific Northwest netherworld of pine trees, outlaw bounty hunters, and oddball characters, led by a Native named Nobody (the excellent Gary Farmer). Is he dead? Was he even there to begin with? Jarmusch abandons logic for an expressionist approach, and the film ends up as a hypnotic tone poem and visual palette of events that don't really make sense, and may frustrate some. But to those open to its idiosyncratic writing and determined, enigmatic style, oh what a film it is. The cast is absolutely to die for. Depp is incredible in the best performance of his extremely uneven career. The character arc he inhabits here is wonderful, taking a feeble, checkered suited mess of a man and morphing him into a ghostly, predatorial, terrifying wilderness archetypal bandit, a force of nature among the trees and mountains. Haunted eyes, quick draw kill streak, moody contemplation, it really is his finest work. Michael Wincott steals his scenes as a chatty assassin and Lance Henriksen is scary as hell, playing a hired killer who "fucked his parents, then cooked them up and ate them." (Don't ask, just go with the film's demented flow). Gabriel Byrne, Iggy Pop, Billy Bob Thornton, Robert Mitchum, Milli Avital, John Hurt and an especially weird Crispin Glover all nail their cameos, and Neil Young's beautiful, melodic, elemental score is the beating heart of the film. Dead Man isn't a traditional film in any sense, and in fact seems to take place in a cliché free, bizarro alternate western dream universe where the rules don't apply, but all the beauty, mysticism and rugged frontier intrigue of the genre still remain. Fine with me. One of my all time favourites.

There is so much symbolism and allegory in the picture that it's impossible to comment on it all. Reviewer 'Soul Western' does an excellent job detailing a handful and I recommend reading it.

I was struck by Nobody's (Gary Farmer) story of his childhood and capture by white men who paraded him like a zoo animal in a cage. Unwittingly, Nobody marvels at the idea that people from one city would all simultaneously move to the next city before he arrived there so they could see him again. This observation perhaps is meant to convey an apparent condemnation of group-think or herd mentality that settles on a population that has been numbed into acquiescence by popular culture or technology. A movie like "Dead Man" then, invites the viewer to consider ideas outside the parameters of what one might consider normal.

The accompaniment of Neil Young's guitar provides a disjointed, fractured framework that's disorienting as much as it is guttural, portending a finality that the picture's journey takes us on. At virtually any point along the way, one might consider that William Blake (Johnny Depp) is already dead to a world that rejected him as soon as he stepped into the town of Machine. Nobody instinctively knows this, reinforced when he observes Blake's face as a skeleton, a symbol used extensively in the story with multiple animal skulls on display in Machine, and again in the walled Indian village just prior to Blake's journey into the beyond.

My summary line is taken from a sign in the remote trading post where Blake was accosted by the shopkeeper - "God damn your soul to the fires of hell" he says, recognizing Blake's face from a Wanted Poster. Knowing that there's no turning back now, Blake replies "He already has". The rest of Blake's journey will symbolically take him back to the place from which he came.

Dead Man is a unique piece of film. As this is my first taste of Jim Jarmusch, I had no idea of what to expect, but even if I had; I reckon that this film wouldn't have conformed to them. Dead Man is a surreal and trippy western that peels itself away from the staples of the genre and succeeds in creating something truly one-off and self-styled. Lead by a score written by Neil Young, Dead Man is continually satisfying and powerful; and you get the impression that every scene has been fully thought through, and is perfectly realised as the auteur intended. For this reason, Dead Man captivates it's viewer from the moment it starts until the moment it ends, and as it descends into full blown trippy weirdness, you can do nothing but stare in admiration of this strange gem of cult cinema. The plot is thin on the ground and it largely lacks meaning, but it doesn't matter because Dead Man is a purely aesthetic experience. Still, it follows William Blake (Johnny Depp),an accountant from Cleveland that arrives in a town to take a job offer, only to find that the vacancy has already been filled…

Dead Man is filmed in very stark black and white, which only adds to the surrealism of the story. Had this film have been done in colour, it would not have captured the same atmosphere that the black and white gives it; and so this decision was an inspired one indeed. One staple of the western genre that Jarmusch is keen to retain is the use of close-ups. The director spends a lot of time caressing Depp's facial features with his camera and, at times, even focuses on his lead actor when the action doesn't concern him. Aside from keeping in with the western tradition, this also allows Jarmusch to keep the focus on the main character, which keeps the viewer focused on his plight. For this film, Jarmusch has put together a cast of B-movie icons that will have B-movie fans foaming at the mouth. Crispin Glover, Robert Mitchum, Billy Bob Thornton, Lance Henriksen, Gabriel Byrne, John Hurt, Alfred Molina and even Iggy Pop feature and it's great to see so many faces in the same movie. The cast is, of course, lead by a man who is perhaps today's best actor; Johnny Depp. Depp's name on a credit list speaks for itself, and I don't need to tell you that his performance is great; nor do I need to point out the effortless cool that this movie exudes, largely thanks to the great man's presence. My only advice is see it...see it now.