
In the late-1800s, the meek accountant from Cleveland, William Blake, spends the last of his already meagre savings to get to the frontier community of Machine where a job awaits him. Eager to make a fresh start, Blake arrives at his destination, only to discover that the position no longer exists. Gravely wounded and on the run from a relentless trio of bounty hunters after a deadly shoot-out, William flees the inhospitable industrial town and has a chance encounter with the... (Full plot summary below)
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In the late-1800s, the meek accountant from Cleveland, William Blake, spends the last of his already meagre savings to get to the frontier community of Machine where a job awaits him. Eager to make a fresh start, Blake arrives at his destination, only to discover that the position no longer exists. Gravely wounded and on the run from a relentless trio of bounty hunters after a deadly shoot-out, William flees the inhospitable industrial town and has a chance encounter with the enigmatic Native American spirit-guide named "Nobody", who believes Blake is the reincarnation of the visionary English poet, William Blake. Now, before the endless American wilderness, the two companions embark on a peril-laden odyssey of mysticism, transformation, and spirituality, until William crosses over into the spirit world. What lies on the other side?
Leave your thoughts about Dead Man.
| Combustible CelluloidJeffrey M. AndersonA visual, poetic journey not unlike Coppola's Apocalypse Now. |
| Spirituality and PracticeFrederic and Mary Ann BrussatVisionary Western with interesting bits on the myth of the frontier, violence and artistic outlaws. |
| Eye for FilmAnton Bitela low-key classic of strangely poetic beauty - a western for sleepwalkers and dreamers. |
| Commercial Appeal (Memphis, TN)John BeifussIt seems to be Blake's name as much as anything that propels the character deep into a strange frontier where Blakean ideals of innocence and integrity have been obliterated by ignorance and cruelty. |
| PopMattersSean MurphyWhat was obvious in 1995-and the last quarter century has made increasingly clear-is that Dead Man, aside from merely being a quiet masterpiece, is one of the best American films of the late '90s. |
| Chicago ReaderJonathan RosenbaumJarmusch has said that the film's odd, generally slow rhythm -- hypnotic if you're captivated by it, as I am, and probably unendurable if you're not--was influenced by classical Japanese period movies by Kenji Mizoguchi and Akira Kurosawa. |
| TV Guide MagazineJacob LevichA slow-paced but hypnotically absorbing movie, it's buoyed by Jarmusch's trademark off-key humor and embellished throughout by an electrifying instrumental score, courtesy of Neil Young. |
| Slant MagazineZach CampbellDead Man is likely Jim Jarmusch’s most stunning achievement. |
| The Retro SetNathanael HoodIf not the best American Western of the 1990s, then certainly the most original and unusual. |
| NewsweekDavid AnsenWatching this movie has an almost hypnotic effect, like being carried along on a river past terrains both familiar and inexplicably, maddeningly odd. |