MovieChat Forums > Il mio nome è Nessuno (1974) Discussion > this movie & Jim Jarmusch's Dead Man

this movie & Jim Jarmusch's Dead Man

posted 21 years ago by cocreate
2 replies | jump to latest

This is a duplicate of what I posted on the Dead Man board.

"Possible connection to a fine old western...

...And one that also was more than it seemed on the face of its superficial implausibility. I'm talking about "My Name is Nobody," the Sergio Leone film with Henry Fonda and Terence Hill (yeah, the "Trinity" guy) circa 1970. First, it's interesting that neither "Nobody" is called that just as a random mocking nickname or some kind of pun. There is more significance to it, and in each case that is explicated in the film. Dead Man's Nobody elaborates that the Indian meaning is "he who talks much, says nothing" referring to his tales of being in England, etc. and the white man's learning which alienates him from his people and ultimately marks him as a person of no worth. MNIN's Nobody identifies himself as a nobody in his culture because he hasn't earned his spurs, so to speak, especially in comparison with a legendary gunman like Jack Beauregard.

But there's more to it than this. What really persuades me that Jarmusch might've been making a nod to this largely slagged off older film is the actual nature of the relationship between the Nobodies and the "dead men." (It may take a minute to agree with my characterization of Beauregard as "dead," and I'll admit it doesn't pervade the movie from the get-go like in Dead Man.) But back to my point. Both Nobodies idolize a man they believe to be of mythic proportions, both attach themselves to him for no apparent reason initially, and both serve as a teacher or a mentor or a guide to him and in the process secure immortality (or more immortality) for him. The biggest difference is MNIN's Nobody turns out to have some rather pedestrian reasons mixed in with his higher purposes (some might argue that he's only been self-motivated throughout, although I'll contend that if that was the case, he'd have just killed Beauregard outright.) Dead Man's Nobody's motives remain more obscure. Still, I can't help thinking that MNIN must've influenced Jarmusch a bit in making Dead Man. I'd love to hear the opinions of others who've seen both movies.

[–] andros12 20 years ago

I agree with your analysis cocreate. In "Dead Man," the initial appearance of the man on the train at the film's beginning with the very metaphysical look to his eyes and chisled bone structure bears possibly more than a coincidental resemblance to the youthful Terence Hill. The train man's discussion with Blake during which he prophesies Blake's tragic ending gives the impression of keeping alive the "Nobody" tradition. Eventually, of course, the reins are taken over in "Dead Man" by the Gary Farmer "Nobody."

Jack Beauregard eventually refers to Hill as his "blue eyed angel" who in effect watches over him as does the Farmer "Nobody" character with Depp's Blake. At one point Hill is noticed by Beauregard in the cemetary praying over the dead. Both "guardian angels" are alienated and somewhat disassociated from normal societal norms and mores and their similar missions appear to be to help to lead their individual subjects in a "dignified" way to their ensuing destinations. Both "angels' have symbolically "died to themselves" as notable identities to a "wordly" audience and their primary purpose is to "serve."

It's always been a point of interest to me how Terence Hill went from studying the classics at a university in Rome to acting in comedic roles in westerns. One would think his regal bearing would have been ideally suited for historical films. Yet, interestingly enough, Hill's Trinity movies also have a spiritual, although comedic representation; in one with a group of cloistered monks, in the other with a group of Quakers. The word Trinity, of course is usually a religious symbol.

The heavy symbolism of the murdered lawman with the halo effect in "Dead Man" was superseded only by Depp's long walk "carrying the cross" of his wounds in the Indian Village. The position of the body with his "crown" in the canoe as he floats off into the sunset quietly ends his trials.

I must admit I find Morricone's score somewhat dated with partially irritating orchestral effects. Neil Young's seemingly similar chord structures being played over and over at too loud a volume was also a distraction. Possibly both scores could be aided tremendously with simply a bit of contemporary remixing ingenuity.

[–] andros12 20 years ago

Near the beginning of the "My name is Nobody" film, when Nobody enters the cafe carrying the "basket" (containing the bomb symbolizing death?) he is wearing a long flowing "off-white" coat and hat. He supports on his back a saddle with the white interior turned outward toward the viewer giving the impression of a pair of "wings." He maintains this posture during the entire conversation with Beauregard during which they begin their initial discussion of Beauregard's life history. (Image DVD: Scene 4 - By the numbers)

This scene is followed immediately by the graveyard scene during which there occurs additional discussion of Beauregard's life history as well as the reference to prayer and the dead, many of whom Nobody appears to know on a first name basis. (Image DVD: Scene 5 - Sharpens the wits)