The Dead Don't Hurt

The Dead Don't Hurt may sound like the standard issue story of revenge and small town corruption but its greatest strengths lie in how it prioritises its characters and their relationships over any action or exploitation. It didn't need to be told in a non-chronological structure however, it's still able to find its rhythm and become an engaging slow burning western.

Even though it has a few recognisable faces, the film is held together by two quietly commanding performances. Viggo Mortensen & Vicky Krieps both carry the film by themselves at certain points as they internalise most of their feelings whilst showing how they really feel in subtle ways. Together, they make for a believable couple who's quickly blossoming bond has a real tenderness to it.

Viggo Mortensen shows he's a jack of all trades by writing, directing, and composing the score as well as starring in it. His direction is beautiful as he uses Marcel Zyskind's cinematography to gently glide through the sets and display the gorgeous locations in all their natural glory, keeping that going throughout the end credits as well. His mournful western score is a natural fit for the intimate proceedings.

6/10 for this western based love story, written and directed by Viggo Mortensen, it's a visually great looking film but the characters and story just don't really grip at all. And feels very long and gets long in the tooth. Acting is good, but can't save the sloth like action, a disappointing film, not the worst out there this month, but worth the trip, maybe not. Viggo, I think, can make a good director, and the music, also by him, works well, but the story, just did not do much for me, and this is the first of the western film genre films, coming out this year, not the best start, who will go see this film??

I always dream of a return of the great cowboy movie. Not that there haven't been honorable attempts - Lawrence Kasdan, Ron Howard, Tom Selleck. Now we have The DEAD DON'THURT. Hopes rise as we open with drunken psychopath Solly McLeod exiting the saloon, where he's shot four people, and taking down a wounded local and the agreeable boy deputy on his way. Star-director-writer-producer-musician Viggo Mortensen pulls his weight there, making McLeod the nastiest bad guy in memory. Frank Faylen, in WHISPERING SMITH, shooting people just to see them jump, seems neighborly by comparison.

Ah but there's more. The frontier proves to be in the hands of avaricious land grabbers with a side line in vice. The admirable Danny Huston's speech about expanding the one saloon to house "sporting ladies" sets the tone. There's Ray McKinnon's bought judge contrasted with the indignant girl who has to be silenced when she is the one person to stand and speak out in his court or the appalled town doctor who refuses to charge for his ominous visit. There is a complete world here, one that's subtly different from the ones we know from earlier films, more savage, more connected to the earth.

Mortenson is really good with performers. Putting him opposite now star of the moment Vicky Krieps makes this one compulsory viewing. We first see her bored with the well dressed suitor who will not stand for that, dismissing her as "not the freshest either." It sets her up nicely as the idealised frontier woman, a suitable mate to roll in manure with fellow European migrant, war veteran Mortenson.

The film is full of nice pieces of staging - Viggo initiating his courtship by offering Krieps a slice of salmon on the flat of his Bowie knife, the pair of them reaching the isolated house he has used his carpenter skills to build in what seems an inexplicable choice among all the empty Nevada land ("What do you do?" "As little as possible.") her dropping her two bags as she faces the horses she has loaded her chair onto, - even the lamp wick dimming after the assault. He manages the use of the convincing Heaven's Gate-like setting - boots ringing on the timber board walks, the shadow of the rain on window glass falling on faces or scenic panoramas like the striking (Mexican) rock outcrops that telegraph the fact that we are going to see bullets impacting them.

Viggo has kind of crept up on us, doing support parts in conspicuous movies for forty years until he became someone whose efforts automatically rated our attention. I hate to say that there's too much Viggo here but as a producer, he should have congratulated himself on his stringed instrument skills, gone off to one side and told himself director Viggo needs more editing discipline.

The DEAD DON'T HURT is plagued by unwelcome elaboration. Throwing the military medal off the cliff just doubles up on the lead's view of the Civil war, moving from "fighting against slavery" to "not what I expected." The whole flashback structure just makes it hard to follow and dissipates the action movie energy. The knight in armor is mystifying at first and dim when it's explained - the Indian girl with the fish? Joan of Arc?

Somewhere buried in the over-length The Dead DON'T HURT there is a superior, atmospheric example waiting to take its place in the new cycle of ultra sadistic westerns, along with The BONE TOMYHAWK or The HATEFUL EIGHT I kind of feel I was cheated out of it.

The frame of this film is ingenious, beautiful landscapes and most of the score played by a string ensemble with piano. Acting is also great with the main characters saying more with their glances than a thousand words.

The negative thing is this film takes ages to get to the meat of the plot, namely when Olsen leaves Vivienne to rejoin the army consecutively showing what happens to her while he's away.

Just before that we were at the point to stand up from our seats and leave the cinema hall. Luckily I held on to my principle to watch films to the end, even if they're bad, so in the end we had an enjoyable afternoon at the cinema.

Despite the fact that the plot has plenty of holes, this western just about works. It's all about the determined "Vivienne" (Vicky Krieps), very much a woman in a man's world of pioneering in the 1860s. She encounters the honest and thoughtful "Olsen" (Viggo Mortensen) and travels to his remote, and rather ramshackle, shack where they begin to make an home for themselves. He takes a job as their sheriff and she, a little to his chagrin, starts working in the saloon. He is restless, though, and with the American civil war looming large, he decides that he ought to use his Danish army training and go enlist. She's not enamoured of the idea, but off he goes and that leaves her alone and firmly in the sights of spoilt local "Weston" (the rather un-menacing Solly McLeod). When "Olsen" returns from the war quite a few years later he is presented with a few shocks! Subsequent events take an even more tragic turn, and now he must face his demons and settle accounts. This is a grand looking romantic drama that takes it's time to get going and that allows Krieps to invest strongly in the maturing elements of her character. That he would just saunter off for years and leave her alone and unprotected does beggar belief a bit, and there's no denying that does negatively impact on the plausibility of what, rather obviously, comes next. Still, there is enough meat on the bones of the story, an effectively sparing amount of dialogue and a soupçon of chemistry between the two at the top of the cast that gives some indication of just how tough and lawless life was and at how difficult it was to be decent!