Or, Why the Revenge of the Spaghetti Western
is a Dish Best Served Not Quite So Cold (Or, Was a Spaghetti Western the
first postmodern film?) ::: Click here to read the full text.
I'm not sure "lifted" is what I was after; "making a nod to" is maybe more like it. And as to WHY Jarmusch would make a nod to largely forgotten 30-year-old spaghetti western, in the best of all possible worlds, it would be because he agrees with me it's a really great film which deserves to be remembered : )) But what persuades me of this is I think he could've make his Blakian film without naming the Gary Farmer character "Nobody," or having the kind of relationship they have that is so much like MNIN. Does that serve a Blakian end that you know of? As far as them meeting in the middle of nowhere, I think that's about par for the course for Nobody's story arc, when you think about how fantastic it has been thus far. It's just surreal for us because we're plopped down in the middle of it- which is kind of classic Jarmusch, and I'm not sure is necessarily in service of the Blake ideal.
So, if I'm understanding right, the main point of this article is that Jarmusch lifted at least a portion of Dead Man from a spaghetti western? One that's over 30 years old? Point taken, but being a novitiate to Blake, I'd appreciate some more insights into the why's: Did Depp have to die? Did Nobody have to die? Was Depp named William Blake, and Nobody happened to be a William Blake fanatic, and they just happened to run into one another in the middle of nowhere?
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