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Unfortunately, I apprehension that many people who seek “Ghost Dog: The Device of the Samurai” will not bask 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, rank — type of film, like a heinous between “Friday” and a John Woo film. It is initially easy to consider that, yes, the film is an eclectic syncretism of many genres and film formulas; but out of this mixture comes a recent and refreshing invention, a film worth seeing that will no doubt sustain open-minded viewers stimulated and awe-inspired.

I walked away from “Ghost Dog” quietly hailing it as the best and most fresh film I’ve seen this year. When friends asked me what this film was “about,” I honestly couldn’t give a straight acknowledge.

“Ghost Dog” is like a vast poem, meticulously structured and detailed with loving touches, rich with multilevelled meanings. The art direction is subtle yet dauntless, with a color palate to suit every scene; the RZA’s musical soundtrack, which you will want to beget, is detached and exquisite, exciting dream-like and meditative head-bobbing; the film’s well-timed screwball-caliber sense of humor is incredible (you may well get yourself laughing droll at unexpected moments) ; the film pirouettes effortlessly through a variety of themes: urge relations, literature, loyalty, and even hip-hop; and, above all, “Ghost Dog” is filled with enormous 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 shocked) calmness, a flickering sense of compassion. In addition, Whitaker’s lyrical readings from the “Hagakure: Book of the Samurai”, with his gravelly yet fluid announce, 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 protest any of the film’s other details or surprises. Like any masterful art, “Ghost Dog: The Scheme of the Samurai” is meant to be experienced rather than merely described. While many will net 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 unique and interesting entertainment.

“Ghost Dog: The Procedure of the Samurai” is an experience, and like all mammoth films it feels too short. In a time when most mainstream films leave many of us hungry for unique images, smarter stories, and gigantic 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 spy. All of them are plain and uninteresting, but I esteem them anyway. Unlike all his earlier work, Ghost Dog is easily accessible yet tranquil definitely a “Jim” movie.

Buy,Download, Or Stream Ghost Dog – The Way of the Samurai! Click Here

Buy,Download, Or Stream Ghost Dog – The Way of the Samurai! Click Here

The subtle beauty of this movie is rapid realized within the first few minutes of the film. The open 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 sparkling his work, you realize this is because he hates showing the audience what to sight at. It is fair one of the few things Jarmusch does that makes him the best. But, assist 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 glowing in every scheme. Jarmusch once again uses poetry to effect visuals that go along with his shapely dialogue. This movie probably has the most dialogue of any of his movies, yet it collected isn’t grand. There are things that rob getting passe to and seem like they are not distinguished to the position, but for some reason they are objective really huge scenes. A worthy 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 do a boat in an alley for no apparent reason. There seems to be no logic to this scene, yet it has a obvious charm that objective 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 set together before. In this, he combines Eastern Philosphy, The Dying Mob Scene, and the Hip Hop generation all into one epic. 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 customary (and a few Itchy & Scratchy) cartoons that seem to be foreshadowing, how can you go unsuitable? Plus, the addition of carrier pigeons as communication, GENIUS! You must understand that this movie is probabaly his funniest yet (tied with Expressionless Man) with the addition of Rapping Mob bosses and overall exquisite 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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