Almost as old as cinema itself, the classic Western has evolved over the years into its own subgenres and many styles. The latest take on the Wild West comes from actor-turned-filmmaker Viggo Mortensen who not only directs but has written the screenplay, composed the score, and starred in his latest work. The Dead Don’t Hurt is set in the 1860s and follows Vivienne Le Coudy (Vicky Krieps) who falls in love with Holger Olsen (Mortensen), a Danish immigrant plying his trade as a carpenter. Much to her dismay, her husband leaves their Nevada home to fight in the American Civil War while she gets a job behind the bar of a saloon.
Whether it’s a Mexican standoff, a villain on a black horse, or a loner returning to town for revenge, themes and tropes are baked into films of this ilk. With sprawling landscapes and its muted mesa palette, the striking visuals are very much in-keeping with what we’ve come to expect. However, Mortensen’s script subverts expectations to a degree in a couple of ways. The main pair aren’t American for one, and the majority of the story unfolds from the point of view of the female lead. This allows for a refreshing break from tradition, and we’re allowed into the mindset of a woman who would so often be sidelined as the ‘supportive wife’ or given no screen time whatsoever. This being said, even from a fresh perspective, the plot points are as old hat as John Wayne’s threadbare Stetson.
As Vivienne takes centre stage, the film provides a canvas of emotion, upon which Vicky Krieps can express her magnificent range. She and Mortensen’s Holger share a compelling bond, playful in the beginning as their romance blossoms before growing into something with depth and nuance. By showing us the more light-hearted moments in the opening act, the intense suffering later in the film hits hard; Mortensen’s somewhat daring storytelling device sets the tone by revealing the fate of their relationship from the first few scenes. In the supporting cast, Danny Huston, Garret Dillahunt and Solly McLeod fill the roles of the antagonists and though their characters are more like archetypal etchings than fully fleshed out characters, the jet black wickedness of the latter stands out.
Carefully crafted and aesthetically pleasing, this sophomore directorial effort from Viggo Mortensen showcases his skills in front of and behind the camera. The Dead Don’t Hurt deserves some plaudits for shifting the focus of its Western lens onto the woman behind the man on the horse, even if the story itself retreads less progressive ground.
Cinema Perspective 