This review was made possible by watching an early preview thanks to Escapes supported by the BFI and the National Lottery for organising free nationwide screenings designed to encourage everyone to rediscover the joys of independent cinema alongside Signature Entertainment for providing an advance screener.
In a cinematic landscape dominated by flashier, more ostentatious productions, “The Dead Don’t Hurt” is a refreshing reminder that sometimes the most powerful stories are the ones that unfold with quiet intensity and conviction. Viggo Mortensen’s Passion Project is a masterclass in storytelling, weaving a complex tapestry of romance, revenge, and redemption that will leave you breathless. The film burrows deep into the human psyche, excavating the complexities of love, resilience, and the unyielding pursuit of justice. This poignant Western, set against the unforgiving backdrop of the American frontier in the 1860s, is a tender exploration of star-crossed lovers Vicky Krieps and Mortensen himself, whose chemistry is electric.
Vivienne Le Coudy (Vicky Krieps) is a fiercely independent woman who embarks on a relationship with Danish immigrant Holger Olsen (Viggo Mortensen). After meeting Olsen in San Francisco, she agrees to travel with him to his home near the quiet town of Elk Flats, Nevada, where they start a life together. The outbreak of the Civil War separates them when Olsen makes a fateful decision to fight for the Union. This leaves Vivienne to fend for herself in a place controlled by corrupt Mayor Rudolph Schiller (Danny Huston) and his unscrupulous business partner, powerful rancher Alfred Jeffries (Garret Dillahunt). Alfred’s violent, wayward son Weston (Solly McLeod) aggressively pursues Vivienne, who is determined to resist his unwanted advances. When Olsen returns from the war, he and Vivienne must confront and make peace with the person each has become. Both a tragic love story and a nuanced depiction of the conflict between revenge and forgiveness, The Dead Don’t Hurt is a portrait of a passionate woman determined to stand up for herself in an unforgiving world dominated by ruthless men.
The film’s narrative is a deliberate departure from traditional Western tropes, opting instead for a non-linear, flashback-driven approach that masterfully weaves together the past and present. This structural experimentation pays off handsomely, as throughout I was treated to a rich tapestry of emotions and events that unfold with quiet assurance.
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In his feature directing debut, “Falling” (2020), Mortensen demonstrated his versatility as a performer by taking on the complex role of a gay man grappling with the care of his ailing, bigoted father. Now, with “The Dead Don’t Hurt” ” inspired by an image of his mother, Mortensen crafted a narrative that drew upon the medieval adventure stories of his childhood. The film, “The Dead Don’t Hurt,” is a testament to his ability to reimagine the Western genre, injecting new life into its conventions while remaining faithful to its core.
However, what truly sets “The Dead Don’t Hurt” apart is its thoughtful exploration of themes that are still all too relevant today. He employs a historical narrative to tackle pressing contemporary issues as Mortensen’s script delves into the complexities of immigrant relationships, the ongoing struggles of gender-based violence and the struggle for identity and agency in a world dominated by men. These are weighty topics, with themes of innate human evil, white privilege, and the unyielding perseverance of women in the face of adversity are timely and thought-provoking. Mortensen’s vision is refreshingly uncompromising, refusing to shy away from the harsh realities of life in this era.
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Through the character of Vivienne, Mortensen masterfully explores the tension between assimilation and cultural heritage, as she navigates her life as an American settler while proudly embracing her French-Canadian roots. This poignant portrayal is underscored by Vivienne’s nostalgic reminiscences of her mother’s stories about Joan of Arc, a symbol of female empowerment and nonconformity that resonates deeply with Vivienne’s quest for self-discovery.
At the heart of this magnificent film is Vicky Krieps, whose performance as Vivienne is nothing short of phenomenal. Her portrayal of a feisty, resilient woman determined to stand up for herself in an unforgiving world is nothing short of remarkable. “The Dead Don’t Hurt” is a story about Vivienne, a fiercely independent French-Canadian florist, played by Krieps with breathtaking nuance. Her character’s indomitable spirit shines brightly throughout the film, as she navigates the treacherous terrain of a male-dominated society with unwavering determination. Mortensen’s performance as Holger Olsen, her Danish-born carpenter love interest, is equally impressive, imbuing his character with quiet strength and vulnerability. Their romance blossoms in a tender, slow-burning dance that will leave you rooting for them.
Krieps’ performance truly steals the spotlight. Her Vivienne is a beacon of hope and resilience, shining brightly in the darkest of times. Her character’s love for Olsen is authentic and tender, making their romance all the more heart-wrenching when confronted with the cruel realities of their world.
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With its wide-open vistas and 19th-century setting, The Dead Don’t Hurt has the look of a classic western. The film is stunning, capturing the rugged beauty of the American frontier in the 1860s. The score, composed by Mortensen himself, is equally impressive, adding depth and emotion to the narrative without ever overpowering it. But it’s not just the visuals that make “The Dead Don’t Hurt” stand out – it’s the attention to detail, the care with which every aspect of the film has been crafted. From the costumes to the production design, every element feels carefully considered and deliberate. Throughout, the film was primarily captured on location in the picturesque town of Durango, Mexico, a renowned hub for Western productions since the 1960s and ’70s. In collaboration with cinematographer Marcel Zyskind, production designers Jason Clarke and Carol Spier, and costume designer Anne Dixon, who had all previously worked on Falling, Mortensen drew upon his extensive knowledge of Westerns to shape the visual aesthetic of the drama.
The film’s extensive shooting schedule also took crews to the breathtaking landscapes of Eastern Canada, where the rugged terrain and untamed wilderness provided an ideal backdrop for the story. Additionally, the production team ventured to Western Canada, where the majestic mountains and sprawling valleys served as a dramatic canvas for the narrative’s unfolding events.
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FINAL THOUGHTS
Ultimately, “The Dead Don’t Hurt” is a testament to the power of love and human connection in the face of adversity whilst also being a masterclass in emotional depth and nuanced storytelling. It’s a bittersweet Western that will leave you breathless and moved to tears. With its soaring score, exquisite cinematography, and outstanding performances from its leads, this film is an absolute must-see for anyone who loves cinema, It’s an instant classic western that deserves to be seen on the big scree.
Signature Entertainment presents “The Dead Don’t Hurt” exclusively in Cinemas from Friday 7th June