Hagakure of the Ghetto - University of Pennsylvania



The Hagakure Lives in the Ghetto

Jim Jarmusch’s 1999 film Ghost Dog: Way of the Samurai is a dark comedy which juxtaposes the seemingly disjoint cultures of the American mafia and the Japanese samurai. The main character, Ghost Dog, is a present day African-American hit-man who follows strictly the idealized samurai code of conduct as written by Yamamoto Tsunetomo in his 18th century treatise Hagakure. Ghost Dog is fiercely loyal to his master, Louie, a Mafioso who, years before, saved Ghost Dog’s life. Louie and his fellow mafia members adheres to their own code of conduct as well, founded in the early 20th century by the likes of Al Capone. These two sets of “ancient ways” are pitted against each other in modern New Jersey. Through the actions of the Ghost Dog and the mafia Jim Jarmuch has created a film which faithfully and adeptly brings the values of the Hagakure to life in a modern setting.

From the beginning of the movie, Ghost Dog is a very quiet and peaceful man; he does not look like a highly skilled killer nor does he look like a highly spiritual man. His inconspicuous nature illustrates one of the more salient points of the Hagakure, “In the highest level a man has the look of knowing nothing.” (pp. 26) This theme is illustrated by the actions of Mr. Vargo, the mafia don, as well. He continues to be revered by his underlings and clearly cares for his daughter’s future, as evidenced by his transfer of his assets to her trust fund; he is not a dull witted man, yet he is very reserved, and watches cartoons almost continuously. Within his social context this man is the greatest of all even though his outward appearance is that of a fool.

The emphasis on Ghost Dog’s love of his pigeons brings depth to a character which might otherwise have been considered a cold blooded killer. Hagakure, in several places, emphasizes the need for a true samurai to be compassionate in addition to excelling in martial skill. The subtle expression of happiness on Ghost Dog’s face while watching his pigeons shows that within this imposing modern samurai there is kindness.

Ghost Dog’s master, Louie can be seen to exemplify the compassionate aspect of the Hagakure as well. It’s clear that his fellow mobsters have racist tendencies, but Louie seems not to. He takes offense at the use of the word “nigger” by the mafia under bosses in reference to Ghost Dog. He can’t voice his displeasure because of his position as an underling, but his facial expressions show his feelings plainly. Louie also saved Ghost Dog from an apparently race-related beating by shooting the assailant. In doing this, Louie exposed himself to mortal danger to save someone he had never met. Yamamoto Tsunetomo would call this the compassion of a true samurai.

The condition of Ghost Dog’s rooftop shack hardly fits with the Hagakure’s emphasis on outward appearance and cleanliness. However, the story of the man from Taku shows that even though one might live and battle in squalor, it is “a cleansing act to throw away his life for his master.”(pp.109) It is unclear if Ghost Dog even finds his abode unclean which may make the point moot. Ghost Dog does realize that an emphasis on appearances is an important aspect of the Hagakure. He is prepares to assault the Vargo estate by stealing a formal suit of clothes. While doing this Ghost Dog recalls the passage about powdered rouge from the Hagakure. (pp. 75)

By wearing a suit when he assaults the mafia, Ghost Dog is dressing to impress those who will see him. The Hagakure emphasizes the need to “consider the circumstances, and after deliberation speak in a way that will not injure the man’s feelings” (pp. 75) This can be read as not only a rule for speaking, but a general maxim for tailoring ones demeanor and appearance to the situation as well. As Ghost Dog moves about his neighborhood, he garners respect because he acts and dresses in the epitome the Thug style. Though his dress my look unkempt from one perspective, Ghost Dog adapts himself like a true samurai.

Ghost Dog’s French speaking friend, Raymond, communicates his view of Ghost Dog as he reads a description of a bear to Pearline:

“Bears are solitary animals, adaptable to all sorts of climates and conditions. They are without any predatory instincts at all, but when surprised or threatened they can become a formidable adversary.”

This statement summarizes Ghost Dog’s character very well and in doing so exposes the first place where the film very clearly deviates from the Hagakure. This deviation stems from Ghost Dog’s solitary nature. A samurai is supposed to consult with others to help him make to make the right decisions. (pp. 19-20) Ghost Dog appears to most people, as explained by Pearline in her initial conversation with him, as someone without friends who talks to no one.

Perhaps adaptability is the weakest suit of the mafia as it is portrayed in this film, but a concern with preserving outward appearances regardless of the situation is overwhelming. The Vargo mafia is failing financially because the old ways of making money as gangsters simply don’t work in modern New Jersey; they can’t even afford the rent for their hideouts. Yet, Sonny, the under-boss, maintains his appearance of a cool and collected Mafioso even when coming up short for his rent, saying with an air of unconcern and a shrug, “I’ll get the rest for you tomorrow. No problem.” Exchanges like this and the out dated suits each of the mobsters wears are used to dark comedic effect in the film; the viewer can not help but feel sorry for these men who are acting like tough guys when in reality, everything behind the façade is in shambles. However comic in this situation, keeping one’s head held high in dire circumstances is a theme throughout the Hagakure.

The passage, “the end is important in all things.”(pp. 71) from the Hagakure applies to both Ghost Dog, and his mafia enemies. Louie’s good friend Vinnie is mortally wounded in Ghost Dog’s final assault on the mafia mansion. As they are driving away from the massacre, Vinnie turns to Louie and says “You know what’s good about this Ghost Dog? He’s taking us out the old way, like real fucking gangsters.” For mobsters like Vinnie there is something special about going out shooting, it is like the beautiful death samurai of the Hagakure long for. In the same battle Mr. Vargo is killed by Ghost Dog and demise epitomizes the noble death theme of the Hagakure. Confronted with Ghost Dog, who has killed all of his retainers, Mr. Vargo stands up, buttons his jacket, straightens his tie, then once shot three times, sits down in his chair and dies. Mr. Vargo’s haunting last words “I’ve been expecting you,” hint that perhaps the mafia don has intentionally incurred the wrath of Ghost Dog so that he and his fellow mobsters can end their lives the way they had always wanted to live them: by the gun.

The shoot out between Ghost Dog and Louie is also a fairly clear reference to the need of a retainer following the Hagakure to die in the service of his master. In this scene Ghost Dog has clearly already made up his mind to die; he shows no hesitation or fear while walking unarmed towards a man who clearly intends to kill him. By killing Ghost Dog, Louie satisfies the need for revenge prescribed to him by the code of the mafia. By allowing Louie to kill him Ghost Dog fulfills his duty as a samurai retainer to give up his own life in order to preserve the honor of his master.

In Ghost Dog: Way of the Samurai the “ancient tribes” of the mafia and the samurai are portrayed in non standard ways. A black samurai and old, poor, powerless mobsters are not by any stretch traditional archetypes. However, the characters’ actions show and underlying devotion to a set of ideals called by Ghost Dog “ancient ways” which are out of place in the modern setting. The codes of the mafia and the samurai as portrayed in this film are remarkably similar and both are representative of the most powerful themes of the Hagakure.

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