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Unfortunately, I scare that many people who discover “Ghost Dog: The Procedure of the Samurai” will not luxuriate in it. When I first watched the film, a number of audience members uttered aloud, “What the hell is this movie about? ” I imagine they were anticipating a far different — and, dare I say, sinful — type of film, like a detestable between “Friday” and a John Woo film. It is initially easy to judge that, yes, the film is an eclectic syncretism of many genres and film formulas; but out of this mixture comes a unusual and refreshing invention, a film worth seeing that will no doubt maintain open-minded viewers stimulated and awe-inspired.
I walked away from “Ghost Dog” quietly hailing it as the best and most recent film I’ve seen this year. When friends asked me what this film was “about,” I honestly couldn’t give a straight reply.
“Ghost Dog” is like a titanic poem, meticulously structured and detailed with loving touches, rich with multilevelled meanings. The art direction is subtle yet valiant, with a color palate to suit every scene; the RZA’s musical soundtrack, which you will want to absorb, is collected and glowing, engrossing dream-like and meditative head-bobbing; the film’s well-timed screwball-caliber sense of humor is improbable (you may well accept yourself laughing laughable at unexpected moments) ; the film pirouettes effortlessly through a variety of themes: rush relations, literature, loyalty, and even hip-hop; and, above all, “Ghost Dog” is filled with ample peformances and memorable characters.
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Forest Whitaker, most notably, gives one of his finest performances as the film’s title character (inadequately described as an “insane but ethical assassin” by various critics) . His is a poignant portrait of a bruised and lonely soul, fire-hardened by a samurai’s discipline and sense of honor; his dynamic visage meanders smoothly from bliss to ferocity, with a haunting (and timorous) calmness, a flickering sense of compassion. In addition, Whitaker’s lyrical readings from the “Hagakure: Book of the Samurai”, with his gravelly yet fluid instruct, harmonize pure poetry with pure cinematic imagery — something to be experienced rather than described. And his soulful relationship with his best friend, a Haitian ice cream vendor who speaks French but not a lick of English (while Ghost Dog himself speaks no French), is particularly touching, arcane, and possessed of an unsayable splendor.
Out of respect for the film, I dare not snort any of the film’s other details or surprises. Like any masterful art, “Ghost Dog: The Diagram of the Samurai” is meant to be experienced rather than merely described. While many will derive the film too bizarre — especially for a palate accustomed to Hollywood’s mainstream rigmarole — I could say that, at the very least, “Ghost Dog” will certainly please filmgoers in search of a recent and arresting entertainment.
“Ghost Dog: The Procedure of the Samurai” is an experience, and like all astronomical films it feels too short. In a time when most mainstream films leave many of us hungry for fresh images, smarter stories, and large surprises — “Ghost Dog” is a film to nourish us.
After seeing all of Jim Jarmusch’s films, I have to admit not a single one of them is easy to explore. All of them are slow and wearisome, but I worship them anyway. Unlike all his earlier work, Ghost Dog is easily accessible yet aloof definitely a “Jim” movie.
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The subtle beauty of this movie is quick realized within the first few minutes of the film. The inaugurate of this film is remarkable like his earlier works, usually showing a hurry down fragment of a town with music playing overtop. They seem to be the only shots he uses that have panning and movement with the camera. After brilliant his work, you realize this is because he hates showing the audience what to survey at. It is unprejudiced one of the few things Jarmusch does that makes him the best. But, wait on to the music. Of all the soundtracks that he has had in the past 20 years, I must admit this one is the best. He allows RZA (from Wu Tang Clan fame) to add music that enhances every scene, which is different from what he normally does. These tracks are all awesome, varying from an outright Gangsta Rap song to the weirdest jazz ever created.
The rest of the movie is stunning in every plot. Jarmusch once again uses poetry to obtain visuals that go along with his resplendent dialogue. This movie probably has the most dialogue of any of his movies, yet it serene isn’t worthy. There are things that bewitch getting conventional to and seem like they are not principal to the status, but for some reason they are unbiased really tremendous scenes. A kindly example of this is the scene when Ghost Dog and his Haitian friend (who knows why Jarmusch made him not be able to communicate with his best friend? ) are watching a man produce a boat in an alley for no apparent reason. There seems to be no logic to this scene, yet it has a distinct charm that impartial adds character to all his films.
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This, like a lot of Jarmusch movies, creates a movie that brings together many different aspects never keep together before. In this, he combines Eastern Philosphy, The Dying Mob Scene, and the Hip Hop generation all into one narrative. That is something no director could pull off in a two hour movie.
As for the rest of this movie, I can’t say enough. With things like mobsters watching used (and a few Itchy & Scratchy) cartoons that seem to be foreshadowing, how can you go contemptible? Plus, the addition of carrier pigeons as communication, GENIUS! You must understand that this movie is probabaly his funniest yet (tied with Insensible Man) with the addition of Rapping Mob bosses and overall stunning acting. Robbie Muller once again proves why he’s the best filmographer in the business, Forest Whitaker finally gets a role that he deserves, and Jim Jarmusch strengthens his greatness with another masterpiece to add to his library.
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