A riveting tale of a Union soldier and survivor of the Battle of Antietam, my great-great-great-grandfather's story set the stage for my viewing experience of Viggo Mortensen's film "The Dead Don't Hurt". Pushing beyond traditional Western depictions of violence, this film dwells on interpersonal relationships heated under the strain of an 1800s reality.
"The Dead Don’t Hurt" is Mortensen's second directorial venture, following his familial drama, “Falling". This tale, set amid the US Civil War era, paints a fresh perspective, diverging from conventional components of the genre. Housing characters such as the ominous psychopath dressed in black, intriguing townsfolk, a fair yet formidable sheriff, Holger Olsen played by Mortensen, and his resilient wife, it acknowledges the period's common character types. However, it models a more lifelike story without the usual inclinations towards lengthy gunfights, explosions, and dramatic heists. The film's exploration of violence is realistic yet sparing, focusing more on the enigmatic nature of unfolding events rather than their graphic detail.
Holger, the sheriff of a small town in the American West, embarks on a journey to San Francisco, returning with Vivienne Le Coudy (Vicky Krieps), a flower seller. Despite her initial dismay at Holger's simple life, Vivienne endeavors to build a life for the couple and their future son. The town, under the control of powerful men, houses a saloon that changes hands through violence, leading Vivienne to begin working there.
"The Dead Don't Hurt" is not a straightforward plot. Mortensen's script employs a nonlinear narrative style, shifting between the past and present without following conventional plot development. His characters are refreshingly distinct, often shattering initial perceptions. Holger is a sensitive, educated man, not the traditional stern hero.
Krieps’ character, Vivienne, steals focus with her self-reliant, resilient yet modern portrayal. Never falsely “feminist" as many amend historical female characters, Krieps establishes a compelling connection with the audience through her balanced display of hopelessness, determination, and joy.
"The Dead Don't Hurt" is a rare breed of a film, drawing parallels with works like "The Ballad of Cable Hogue" or "Deadwood". It presents a rare honesty, disregarding stale rituals of the genre, replacing high impact moments with meaningful character interactions devoid of contemporary impositions. Mortensen's deft framing of key moments, leaving others to off-screen implications or cuts, generates a more genuine cinematic approach.
At 65, Mortensen treads on territory not unlike Clint Eastwood's "Unforgiven", presenting a less welcoming Western genre, yet he might just emerge as one of its finest directors if given a chance to explore further.
