Dead
Man Walking (1995)
Cast: Susan Sarandon, Sean Penn, Celia Weston, Robert
Prosky, Raymond J. Barry, R. Lee Ermey.
Director: Tim Robbins
Script: Tim Robbins
Based on the Book of the same name by Sister Helen
Prejean
Director of Photography: Roger Deakins
Music: David Robbins
Pop songs: Johnny Cash, Bruce Springsteen (title song
over end credits), Eddie Vedder sings on a few tracks,
Ry Cooder plays on a few tracks.
Based on true incidents of Sister Helen Prejean's
work with death-row inmates, "Dead Man Walking" became
prominent in the public consciousness when numerous
Academy Award nominations came it's way. Lauded by critics
as well, the film was a project which teamed communal
spouses' Tim Robbins, who wrote and directed, and Susan
Sarandon, who starred. This was their first collaboration
since they worked on "Bull Durham," where he became
involved behind-the- scenes.
Sarandon is, as usual, terrific here. She brings her
typical subdued approach to the drama and impacts us
emotionally with her honest and wide-eyed approach to
the character. Robbins opts to show us her in her natural
surroundings, at home where she lives with another nun.
He gives us numerous insights to her character, her
thoughts and emotions without using words. Numerous
flashbacks, which are obviously Sister Helen's dreams
based on incidents in her childhood, stand alone without
any discussion or dialogue. Sarandon is, however, not
mute in the film. She shows us many facets of her character
thanks to Robbins' script. She is shown to have a great
sense of humor as well as an overwhelming conscience.
Most importantly, Sarandon makes Sister Helen, a nun
- an easy stereotype, a human being. She is allowed
to bring us her human characteristics before her religious
nature becomes more prominent. This is also the way
she deals with Sean Penn's character, Matthew Poncelet.
By showing us sister Helen in the same manner Penn sees
her, with her humanity coming before her spirituality,
we come to trust her and like her first. This allows
us to except her spiritual side very easily because
we are reacting to her as a human and not as a projection
of dogmatic religious beliefs. Sarandon, as we expect,
works her magic easily within this framework.
Penn, who has his first prominent role since becoming
a director himself, is almost too good here. We see
him through Sister Helen's eyes throughout the movie
as Penn grows and evolves quite miraculously during
this time. his only problem is - he's too good an actor.
His accent is thick, and he mumbles, much as this character
would, throughout the film. When we come to the climactic
moments with he and Sarandon in the film's closing,
it's almost too difficult to understand him. his accent,
his soft spoken nature and his emotional outburst muddle
his important words. Still, Penn is such a powerful
performer, we still cannot help but be impacted emotionally
by what we and hear here.
Robbins work is outstanding here. We know him as a
fine actor but his first directorial effort, "Bob Roberts,"
a satirical look at politics, didn't lead us to expect
such an emotional picture from him. Still, this films
fits what we expect from the impassioned Robbins. We
know he can brings us this story easily because we know
he feels a connection with the material. Robbins trusts
us as an audience and trusts his actors. His film, often
quite verbose, can speak volumes without words just
as easily.
If Robbins makes any mistake it is in his use of music
which can be quite distracting at times. Scored by David
Robbins, a relation we assume, the film is filled with
off- kilter warblings set to sparse musical tracks.
The vocals easily move from American mumbling to Middle
Eastern chanting without skipping a beat. At times it
is too much for the film. It catches our attention as
"that" kind of music which is often used in films like
this. It's a little too typical to be acceptable in
such an, otherwise, exemplary film.
Still, "Dead Man Walking" is a classic. In the end,
during a time when Robbins shows us Poncelet's execution,
he also flashes back to the murder his is convicted
of committing. While some might see this as Robbins
showing us the crime which lead to a state sanctioned
execution and therefore, an act of violence leading
to another (cause and effect), others will see it as
two wrongs, two equals, two deaths. Robbins, slyly,
doesn't tell us which way to feel. His film is like
that. It presents facts. It shows us the victims' families'
sorrow as well as the murder's sorrow as well. Robbins
doesn't tell us what to think. "Dead Man Walking" makes
you think for yourself.
Note:
Penn's character Matthew Poncelet is based on a composite
of those Prejean has worked with.
Robbins also acted as one of the producers on the
project.
Sarandon, Penn and Robbins were all nominated for
Oscars as was Springsteen for his title song. Sarandon
won.
Review written in 1996
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