GHOST DOG [1999] review
May 23, 2008 · Print This Article
Like GHOST DOG said, it’s all about moments. Just a series of moments. It really struck me when GHOST DOG read that from the code of the samurai he follows so truly, for all my life I’ve been just setting up a series of moments. You can’t keep everything perfect forever, but for a single moment, you can. And then it passes, as does GHOST DOG.
I was totally IN for this movie. Loved the silent no dialogue opening, just GHOST DOG walking between people in rhythm, they didn’t even notice him as he slipped between open door, sidewalk and trash can. I could feel him feeling it. RZA’s score punctuated every image on the screen.
Amazing that the director, Jim Jamarsh, let scenes breath like the first time GHOST DOG talks to young Pearline. … They are just letting a scene between GHOST DOG and a little girl go on like that talking about books? … Total human moment, which served to humanize the previously ghost-like GHOST DOG.
…Loved how he and French speaking only Ray assumed absolutely correctly what each was saying every time.
…Just because there aren’t many of them left. Exactly the reason why you shouldn’t.
GHOST DOG is a powerful poem/meditation/haiku/imprint of a movie. … As RZA’s last piece of music played over the credits, I stood out upon my balcony surveying the vastness of Tokyo before me, and could feel the fading spirit Ghost Dog talked about.
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(1 votes, average: 3 out of 5)
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I am confident that I either recommended this movie to you, or should have. The first time I saw it was right around the time you moved away, and then I watched it again earlier this year. I love his comfort with the path of solitude, knowing that he is being true to his code.
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You might have recommended it Dy, or most def you should have. I can’t think of anything more important than having a code, and then being true to it, no matter what that code is. I can respect that, maybe even if I don’t agree with the code on a personal level.
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