"Ghost Dog: The Way of the Samurai" (1999) - Movie Review

Apart from various codes and cultural significance in Jim Jarmusch’s “Ghost Dog: The Way of the Samurai”, it runs a parody of assassins movie and be one too. This adds the already supplied humour by the Mafia character, Sonny Valerio (Cliff Gorman). As always with his love for his way of movie making, Jarmusch ropes in Forest Whitaker as Ghost Dog, a clean cut hit man following rigorously the code of Samurai.

A professional assassin or a cold hearted killer in films should (a) have an animal or plant to be loved upon and even confide sometimes for no other reason (b) a little girl who he finds irritating but eventually likes (c) does not talk at all and when he does, it is less than or equal to two words like “Good Bye”. Ghost Dog does every one of those but still stands apart breaking that immediately. He nurtures pigeons and more than the love for it, uses them as messengers which keeps him in the hide. He does find a little girl Pearline (Camille Winbush) who is not irritating but extremely well read. He does not talk much but converses when necessary. He does it quite generously and each with precise value of wisdom and humility. Out of this Jarmusch creates a unique killer from the used up characters in various other films.

Many references can be linked (obviously) to Japanese ancient teachings and the films based upon it. The book of “Rashomon and Other Stories” wanders in the possession of many characters finding it way back to the source of it. Particular sections of philosophical wisdoms from the book “Hagakure” having comprised commentaries of 16th century Samurai Yamamoto Tsunetomo are embedded in between scenes. It is noble and runs the theme the picture is built upon. As with any Jarmusch’s film, plot is a layer of hidden meaning and interpretations which can be read to complete its significance. Yet the film has its content which flows on for its artistic and comical sequences.

Ghost Dog as per the Bushidō code respects and serves his one time saviour Louie (John Tormey) who belongs to the Mafia family of Ray Vargo (Henry Silva). As the orders given to Louie in turn to Ghost Dog, the hit is on Handsome Frank (Richard Portnow), Vargo’s own member but pays the price of being intimate with Vargo’s daughter Louise (Tricia Vessey). Ghost Dog makes the kill but the daughter is not supposed to be there. More than their cover up, the Mafia needs to follow their rule book, vendetta for their lost man. Comedy of rules that they order the hit but want to tally it in their killing account to take off Ghost Dog, the killer. The war begins and Ghost Dog is caught up in between performing his duties to his “retainer” Louie and also paving way to make him perform the code of Mafia.

While it has the plot, it is about the making, the chemistries, the dialogues and the mannerisms which are the traits of an individual film maker. The love of art from him that Jarmusch sometimes makes movie with no concern for any one but his idea of representation. And that is not a bad thing but a characteristic of a true artist. And when you see Mafia, we get doubts of a director falling for the Hollywood luring of type cast movies, but he invents a new side of this aging trend. His ears for the music to pick out the Wu-Tang Clan’s RZA are the icing for a film which blends Eastern Culture into African-American culture.

It is a contrast of both the traits, Samurai and Mafia. Both are loyal killers. The people differ but end of day they are cold blood killers. But Samurai seems to be pure and immaculate. The dedication he exhibits migrates beyond anything at all. In a world of even a good deed involving a selfish closure, his strict ethical adherence to the code is selfless as the word can only be used for him alone.

The film cannot be appreciated by all. I too was distracted by the banal scenes sometimes but the slice of characters the film gives at various instances cannot be replicated or reenacted by any other creator in other movies. The Mafia is getting old and outdated. They are in financial burdens and in the verge of falling flat in these modern times (I strongly suggest to look into “Out takes” in DVD which has the “Bankruptcy” sequence). But the people are not able to bend accordingly. And that is given in one of the best funny moments possible in even if a spoof is created. Cliff Gorman’s Sonny is irresistibly funny. Call me ridiculous but an old Italian Mafia King rapping to the songs of Flavor Flav from Public Enemy is a priceless moment.

It is a parallel analogy of two codes. One ancient and one formed later in the current trend. It is how both manage the test of times. The ancient one even though old school has its words written in the history transforming into life lessons for any one and does not need to be a Samurai. Strangely enough Mafia’s code encompasses the people in it and it is more of survival technique. It is self centered into one family and honour associated with it. One as a physical form survives in the film and demise marks the other but we know which stands the test of times once it is over.