デッドマン

**A somewhat surrealist film, which has value, but which is not for everyone's taste.** This film is a little disconcerting. It is an uncompromising Western, frontal, very raw and sometimes difficult to understand. It all starts with William Blake, an accountant from the East Coast, taking a train to a remote place in the West, to accept a job in the company of an unscrupulous industrialist. It turns out that the vacancy was filled by someone else: at the end of the day, unmotivated, he goes to bed with a prostitute and ends up killing a man who tried to kill her out of jealousy. This man was the son of the factory owner, who sends henchmen after Blake, who is unaware of this and runs away, ending up in the company of a strange Indian named Nobody. The film has great artistic note. It has excellent black and white cinematography, makes intelligent use of light, shadow, angles and filming framing. The sets and costumes are very good: they are not particularly rigorous from a historical point of view, the film was not concerned with being strictly framed in time and space, so that aesthetics prevails over the realism of the recreation. However, the aesthetic value is remarkable, and it gives us a raw, rough and dirty vision of the West. Jim Jarmusch ensures effective management that makes the most of what's in its hands. There are a good number of visual effects and the soundtrack, based on the electric guitar, is atmospheric and somehow fits into the film effectively, even if it is never one of the soundtracks that we will want to have on CD. The film has a series of good actors, of which Johnny Depp stands out in an almost natural way. He was still young here, but he already showed his taste for playing the most bizarre characters. However, and perhaps because of the bizarre nature of the film itself, it is not one of the actor's greatest works. Iggy Pop, Robert Mitchum and Crispen Glover are also here, and they do an interesting and sincere job, in rough, tough characters, with few lines and a lot of presence and impact. The big problem with the film – and it really is a big one – is that it is so apparently complex and almost surreal. At various times it is suggested that the character played by Depp is a man who is already dead, and there is almost a synesthesia between the accountant and his British namesake, who was an artist and poet and who would be, at the time of the events of the film, really dead! It's very strange, and such strangeness makes this not a film for everyone's taste.