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Dead Man (BFI Modern Classics) Paperback – August 26, 2000
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When it was released in 1995, Dead Man puzzled many audiences and critics. Jim Jarmusch's reputation was for directing slick, hip contemporary films. And Dead Man was a black-and-white Western. As time has passed, though, the number of its admirers has grown rapidly. Indeed Dead Man, with its dark and unconventional treatment of violence, racism and capitalism, may be Jarmusch's finest work to date.
This is Jonathan Rosenbaum's view. For him, Dead Man is both a quantum leap and a logical next step in Jarmusch's career. Starring Johnny Depp as the uprooted accountant William Blake and Gary Farmer as his enigmatic Native American companion, Nobody, and with startling cameos from Robert Mitchum, John Hurt and Iggy Pop, Dead Man is by turns shocking, comic and deeply moving. This book explorers and celebrates a masterpiece of 1990s American cinema.
- Print length96 pages
- LanguageEnglish
- PublisherBritish Film Institute
- Publication dateAugust 26, 2000
- Dimensions5.44 x 0.25 x 7.65 inches
- ISBN-100851708064
- ISBN-13978-0851708065
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Product details
- Publisher : British Film Institute
- Publication date : August 26, 2000
- Edition : 2000th
- Language : English
- Print length : 96 pages
- ISBN-10 : 0851708064
- ISBN-13 : 978-0851708065
- Item Weight : 6.4 ounces
- Dimensions : 5.44 x 0.25 x 7.65 inches
- Best Sellers Rank: #648,948 in Books (See Top 100 in Books)
- #162 in Video Reference (Books)
- #210 in Movie Reference
- #302 in Movie Guides & Reviews
- Customer Reviews:
About the author

Jonathan Rosenbaum grew up in a Frank Lloyd Wright house in Florence, Alabama (1943-59), the son and grandson of movie exhibitors. Attended The Putney School (1959-61), Highlander Folk School (summer 1961), Washington Square College (1961-62), Bard College (1962-66, the best part of his education, along with Highlander). Wasted three years in graduate school, mainly draft-dodging (1966-68, State University of New York at Stony Brook, English & American Literature, M.A.+ everything but a dissertation). Moved to Paris in 1969, finished second unpublished novel and started working as a film critic. Hired by the British Film Institute to work for Sight and Sound and Monthly Film Bulletin; moved to London in 1974. Returned to the U.S. in 1977 to replace Manny Farber for two quarters at the University of California, San Diego. 1978-1979, wrote first book to be published, Moving Places: A Life at the Movies (Harper & Row, 1980), moved to New York and then to Hoboken.1983, taught for one semester at Berkeley, then moved to Santa Barbara to teach there. Basically, 1977-1987 was a decade in the wilderness, mainly working as an exploited freelancer. 1987-2007, lead film critic for the Chicago Reader, a wonderful job. Retired in 2007, started jonathanrosenbaum.com (later succeeded by jonathanrosenbaum.net); has been working as a mainly non-exploited freelance writer and teacher ever since.
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- Reviewed in the United States on February 21, 2024Format: PaperbackVerified PurchaseNever that impressed by Jim Jarmusch’s movies, I still decided to go see Dead Man when it was playing at a local theater in town. I am glad I did. The movie was wonderful in that psychedelic, trippy sort of way. Based on it alone, I might explore deeper into this director in hopes that my initial impression was misguided.
This little book published by BFI, like the movie, was also worthwhile. After an initial introduction to Jarmusch and his work followed by the story of the movie itself, the author explores Dead Man through various lenses: tobacco, violence, music, the acid western, and frontier poetry. None of the sections are overly long and thankfully are free of the pretentious lingo of too many film analyses. Each provides an interesting aspect through which to gain a better understanding, and a better appreciation, for the movie.
Notable, despite the story seeming like a protracted acid trip, were the pains Jarmusch took to ensure authenticity of the Native Americans and their culture in the film. Neither overly sentimental nor dismissive, Jarmusch set about to portray them as accurately as a white man could. Based on the feedback Dead Man received, he seems to have succeeded.
Separately, relating back to the music, Neil Young’s soundtrack was almost a character in and of itself. For that alone, I am grateful to have seen this on the big screen. If you do not have that chance, I suggest getting a good sound system for your home TV.
- Reviewed in the United States on February 15, 2008Format: PaperbackA short, yet thorough study of one of the greatest postmodern american films. Rosenbaum's book is a very helpful approach to anyone who might be interested in Jarmusch's films, and a usefull tool for academic analysis and research in the most talented indepedent American filmaker and his work.
- Reviewed in the United States on September 26, 2009Format: PaperbackWhen Jim Jarmusch's DEAD MAN was released in the USA, critics and the public for the most part didn't seem to know what to make of it. Though it did get a fair number of good reviews, most of those were from the "elitist" critics - Siskel and Ebert among others weren't fans. Miramax, it's distributor, unceremoniously dumped it with a minimal release during the summer - hardly the best time for a difficult and challenging art film that nonetheless with a major star (Johnny Depp) might have turned some respectable business - because the director, Jim Jarmusch, refused to cut it into what they considered a more palatable shape.
We should all be glad that Jarmusch held his ground. In Chicago and a couple of other cities, and in France and Japan, the film did reasonably good business, and in the 13 years since has come to be considered something of a modern classic. I consider it one of the greatest of all American films and unquestionably the greatest western since the 1970s, and this little volume in BFI's "Modern Classics" series by Jonathan Rosenbaum, a Jarmusch friend and admirer and immediate champion of the film, is ideal in helping to expand on one's appreciation of this deceptively challenging work.
Rosenbaum's book is divided into chapters that detail various aspects of the film's concerns, and the director's place in the American cinema at the moment. A listing:
1 - Jim Jarmusch as American independent, DEAD MAN as dealbreaker
2 - The Story
3 - On Tobacco
4 - On Violence
5 - On Music
6 - On the Acid Western
7 - Frontier Poetry
8 - Closure
Some discussion of the director's earlier work is included, and a fair amount about the film succeeding, GHOST DOG: WAY OF THE SAMURAI. The situation of Jarmusch as a poet (as opposed to a storyteller) in cinema, as an heir to the European avant-garde, and as a radical alongside such figures as Monte Hellman from the 70s is nicely detailed; what I missed was more depth on how the film functions in relation to both the classical westerns of Mann, Boetticher, Hawks, and Ford, and the more modern "mainstream" endeavors by people like Eastwood - who I don't believe is once mentioned. Still one can't have everything in a 96-page pocket-size book that has room for some stills, and I recommend this warmly to all fans of the film in any case.
- Reviewed in the United States on November 27, 2001Format: PaperbackRosenbaum is, for my money, the best film critic out there. His original essay on "Dead Man" led me to take another look at the film, which has since become one of my all-time favorite movies. This thoughtful commentary will help you think about what is probably the best American film made in the 1990s. And, if you like this, you should follow Rosenbaum's columns in the Chicago Reader. I often disagree with him, but there's no one more thoughtful, informed, and passionate about movies; he's a treasure.
Top reviews from other countries
Fantastic quality for reasonable priceReviewed in Germany on April 27, 20245.0 out of 5 stars Fantastic supplement concern unique movie!
Format: PaperbackVerified PurchaseEverything was perfect 👌
Mike Andrew DawsonReviewed in the United Kingdom on October 3, 20113.0 out of 5 stars Relies on interviews a little too much
Format: PaperbackVerified PurchaseInteresting extended analysis of Jarmuch's seminal feature film, Rosenbaum makes many points that I'd not previously considered although I think he makes too extensive a use of his interviews with the director and reads too much into some aspects of the film. Makes me want to watch Dead Man again though.
