The Dead Don’t Hurt, directed and written by Viggo Mortensen, made its debut at the Toronto International Film Festival. In this film, Mortensen showcases his versatility as a multihyphenate by not only directing but also starring in and composing the score for the movie. Set in the 1860s in a sparsely populated town in Nevada, The Dead Don’t Hurt is a refreshing take on the classic western genre, offering more sensitivity and depth than one might anticipate.
The film begins with a juxtaposition of two events. First, we witness the final moments of Vivienne, portrayed by Vicky Krieps, as she dreams of a knight on horseback—an elegantly poetic touch that reoccurs throughout the movie. Simultaneously, a man in a long black coat massacres the bar’s patrons and the deputy sheriff, creating an immediate sense of dread and chaos. Sheriff Olsen, played by Mortensen himself, resigns and departs from the town with his young son due to the absence of justice. This dual opening sequence effectively captures the viewer’s attention and sets the stage for the events to come.
An Intertwined Tale of Love and Survival
While The Dead Don’t Hurt contains all the classic western elements one would expect, including wide-brimmed hats and swinging saloon doors, its focus lies on a more tender love story rather than a revenge-driven lawman vs. blackhat narrative. Throughout most of the film, we follow Vivienne’s journey from her childhood to her immigration to America. After meeting Olsen, a Danish immigrant, in San Francisco, they embark on a trip to his humble abode in Nevada. Krieps delivers an excellent performance as the resilient and resourceful Vivienne, who breathes life into Olsen’s wooden barn, works at the saloon to earn money, and holds the fort while Olsen enlists in the Civil War. The forging of their relationship and their attempts to build a home together form the heart of the film, offering a quietly compelling narrative that is both heartwarming and heartbreaking.
A Visual Masterpiece
One cannot help but be captivated by the film’s meticulous production design, costumes, and breathtaking cinematography by Marcel Zyskind. The landscapes serve as more than mere backdrops; they are an integral part of the story, embracing and enveloping the characters and their experiences. Every shot is beautifully composed, allowing the audience to fully appreciate the scenic beauty of the surroundings. The deliberate slow pace of the film allows ample time for viewers to soak in the stunning imagery, creating a sense of appreciation and gratitude.
While The Dead Don’t Hurt offers a fresh take on the western genre, not everything is flawless. Some of the dialogue occasionally feels cliché and overly reminiscent of classic western tropes. The appearance of three supporting actors from Deadwood also adds to this sense of familiarity. Furthermore, the main antagonist, Weston Jeffries, portrayed by Solly McLeod, lacks nuance and becomes somewhat one-dimensional as a villain. Although still effective in evoking a desire for justice, a more layered portrayal would have added depth to the character.
A Welcome Departure
Despite its flaws, The Dead Don’t Hurt brings a much-needed breath of fresh air to a genre that has struggled to stay relevant. Mortensen’s film is less brutal and punishing compared to his directorial debut, Falling. Instead, it offers glimmers of hope and showcases the abundance of natural beauty found within the American West. Sheriff Olsen, though occupying his position briefly, subverts the typical portrayal of a lawman with dignity, quiet authority, and restraint. Mortensen’s performance leaves a lasting impression, leaving viewers with the impression that he would excel in real-life law enforcement if given the opportunity.
The Dead Don’t Hurt is a Western that defies expectations and adds a layer of sensitivity and authenticity to the genre. Through beautiful cinematography, compelling performances, and a heartfelt love story, Mortensen crafts a film that lingers in the mind of the audience long after the credits roll. While it may have a few flaws, its unique approach and the refreshing spin it brings to the genre make it a highly worthwhile cinematic experience. Although its release date is still unknown, The Dead Don’t Hurt is a film eagerly anticipated by Western enthusiasts and cinephiles alike.
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