Once in a while a film comes along that is so profound, that you actually feel a better person for watching it. GHOST DOG is one such film, a totally unique movie experience that carries out a familiar story in a way that has never been filmed before or will ever be filmed again. An art-house movie masquerading as a conventional thriller, this effort from director Jim Jarmusch is outstanding in every department. Of course, as is usually the case with the best films, it seems to have totally slipped by the mainstream audience for a small, unadvertised video release where it can be savoured by those wise enough to pick it out from the trash.
Forest Whitaker is awesome in the leading role of Ghost Dog, a literature-loving hit-man who has been reborn as a samurai and leads his life according to strict rules which must be obeyed at any cost. Ghost Dog's home is on the roof of a building, surrounded by his beloved pigeons. His best friend is an ice cream vendor who can't speak English, just one of the many deeply human and interesting characters in this atypical thriller. Although the plot is simple and straightforward, the characters involved in the story are deep, thoughtful and all too realistic in some cases. Drama and social interaction is blended nicely with the thriller aspects of the story. Here's a film where long talk about books is just as exciting as a violent shoot-out and I don't think many movies can achieve that effect.
Aside from Whitaker's excellent turn in the lead (it really is a once in a lifetime performance), there are a dozen other great performances in the movie. The mafia family who act as the villains of the piece (refreshingly the black community isn't portrayed as a violent, hate-ridden society) are actually fleshed out; instead of being hard men, ruthless killers, they are instead ageing, tired, very human characters who have to act the way they do. Just like Ghost Dog's Samurai, the Mafia for them is a way of life. Henry Silva makes a surprising appearance as the mafia don and his performance is also superb, I loved his impression of an elk. Despite Silva's advanced years he's still capable of giving great performances and it's a shame we don't see him in more mainstream movies these days.
GHOST DOG also fulfils itself as an action thriller with some irregular but fascinating action scenes which are magnificently shot; the pinnacle being the shoot-out at the country mansion. These bloody gun battles remind me of the climax of CARLITO'S WAY, De Palma's similarly excellent crime drama. But such action is only part of the story and the best bits are those which don't have violence or even dialogue; witnessing Ghost Dog's interactions with his best friend (the two characters brought together through common understanding rather than speech) and his almost tutor-like interactions with the young black girl. The ending is surprisingly poignant but also very fitting. A great movie which deserves a wider audience, GHOST DOG is a fascinating and intelligent piece of art which easily transcends the boundaries of film-making itself. I don't think I've seen a film in which every single shot has been beautifully composed before.
Forest Whitaker is awesome in the leading role of Ghost Dog, a literature-loving hit-man who has been reborn as a samurai and leads his life according to strict rules which must be obeyed at any cost. Ghost Dog's home is on the roof of a building, surrounded by his beloved pigeons. His best friend is an ice cream vendor who can't speak English, just one of the many deeply human and interesting characters in this atypical thriller. Although the plot is simple and straightforward, the characters involved in the story are deep, thoughtful and all too realistic in some cases. Drama and social interaction is blended nicely with the thriller aspects of the story. Here's a film where long talk about books is just as exciting as a violent shoot-out and I don't think many movies can achieve that effect.
Aside from Whitaker's excellent turn in the lead (it really is a once in a lifetime performance), there are a dozen other great performances in the movie. The mafia family who act as the villains of the piece (refreshingly the black community isn't portrayed as a violent, hate-ridden society) are actually fleshed out; instead of being hard men, ruthless killers, they are instead ageing, tired, very human characters who have to act the way they do. Just like Ghost Dog's Samurai, the Mafia for them is a way of life. Henry Silva makes a surprising appearance as the mafia don and his performance is also superb, I loved his impression of an elk. Despite Silva's advanced years he's still capable of giving great performances and it's a shame we don't see him in more mainstream movies these days.
GHOST DOG also fulfils itself as an action thriller with some irregular but fascinating action scenes which are magnificently shot; the pinnacle being the shoot-out at the country mansion. These bloody gun battles remind me of the climax of CARLITO'S WAY, De Palma's similarly excellent crime drama. But such action is only part of the story and the best bits are those which don't have violence or even dialogue; witnessing Ghost Dog's interactions with his best friend (the two characters brought together through common understanding rather than speech) and his almost tutor-like interactions with the young black girl. The ending is surprisingly poignant but also very fitting. A great movie which deserves a wider audience, GHOST DOG is a fascinating and intelligent piece of art which easily transcends the boundaries of film-making itself. I don't think I've seen a film in which every single shot has been beautifully composed before.