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It helps to understand that the hero of "Ghost Dog: The Way of the Samurai" is crazy. Well, of course he is. He lives in a shack on a rooftop with his pigeons. He dresses like a homeless man. "He has no friends and never talks to anybody," according to the mother of the little girl in the movie. Actually, he does talk: to the little girl and to a Haitian ice cream man. The Haitian speaks no English and Ghost Dog speaks no French, so they simply speak in their own languages and are satisfied with that. What's your diagnosis? Ghost Dog ( Forest Whitaker ) is a killer for the mob. He got into this business because one day a mobster saved his life--and so, since he follows The Way of the Samurai, he must dedicate his life to his master. The mobster is named Louie ( John Tormey ). He orders hits by sending Ghost Dog messages by carrier pigeon. Ghost Dog insists on being paid once a year, on the first day of autumn. When the mob bosses want Ghost Dog rubbed out, they're startled to discover that Louie doesn't know his name or where he lives; their only contact is the pigeons.
It seems strange that a black man would devote his life to doing hired killing for a group of Italian-American gangsters after having met only one of them. But then it's strange, too, that Ghost Dog lives like a medieval Japanese samurai. The whole story is so strange, indeed, that I've read some of the other reviews in disbelief. Are movie critics so hammered by absurd plots that they can't see how truly, profoundly weird "Ghost Dog" is? The reviews treat it matter of factly: Yeah, here's this hit man, he lives like a samurai, he gets his instructions by pigeon, blah . . . blah . . . and then they start talking about the performances and how the director, Jim Jarmusch , is paying homage to Kurosawa and "High Noon." But the man is insane! In a quiet, sweet way, he is totally unhinged and has lost all touch with reality. His profound sadness, which permeates the touching Whitaker performance, comes from his alienation from human society, his loneliness, his attempt to justify inhuman behavior (murder) with a belief system (the samurai code) that has no connection with his life or his world. Despite the years he's spent studying The Way of the Samurai , he doesn't even reflect that since his master doesn't subscribe to it, their relationship is meaningless.
I make this argument because I've seen "Ghost Dog" twice, and admired it more after I focused on the hero's insanity. The first time I saw it, at Cannes, I thought it was a little too precious, an exercise in ironic style, not substance. But look more deeply, and you see the self-destructive impulse that guides Ghost Dog in the closing scenes, as he sadly marches forth to practice his code in the face of people who only want to kill him (whether he survives is not the point).
Jarmusch is mixing styles here almost recklessly and I like the chances he takes. The gangsters (played by colorful character actors like Henry Silva , Richard Portnow , Cliff Gorman and Victor Argo ) sit in their clubhouse doing sub-Scorsese while the Louie character tries to explain to them how he uses an invisible hit man. Ghost Dog, meanwhile, mopes sadly around the neighborhood, solemnly recommending Rashomon to a little girl ("you may want to wait and read it when you're a little older") and miscommunicating with the ice cream man. By the end, Whitaker's character has generated true poignance.
If the mobsters are on one level of reality and Ghost Dog on another, then how do we interpret some of the Dog's killings, particularly the one where he shoots a man by sneaking under his house and firing up through the lavatory pipe while the guy is shaving? This is a murder that demands Inspector Clouseau as its investigator. Jarmusch seems to have directed with his tongue in his cheek, his hand over his heart, and his head in the clouds. The result is weirdly intriguing.
Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.
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Ghost Dog: The Way of the Samurai (2000)
Rated R For Strong Violence and Language
Forest Whitaker as Ghost Dog
Henry Silva as Ray Vargo
Tricia Vessey as Louise Vargo
John Tormey as Louie
Written and Directed by
- Jim Jarmusch
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Ghost Dog: The Way of the Samurai
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An African-American Mafia hit man who models himself after the samurai of ancient Japan finds himself targeted for death by the mob.
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Ghost Dog The Way Of The Samurai (1999)
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Why Jim Jarmusch’s “Ghost Dog: The Way of the Samurai” Endures as an Unlikely Classic
An unconventional leading man. a revolutionary score. a cross-cultural triumph..
Ghost Dog: The Way of the Samurai (IMDB)
All filmmakers reflect the world around them, but few have captured the zeitgeist like director Jim Jarmusch, a soft-spoken New York transplant from Cuyahoga Falls, Ohio, with the philosophy, “Life has no plot, why must films or fiction?”
The cult hero status accrued by Jarmusch is born from his keen social observations, even when it’s sometimes difficult to decipher what he’s trying to say. That’s particularly true of Ghost Dog: The Way of the Samurai (1999), his urban samurai mob movie classic, which plays at the Hollywood Theatre on Feb. 25.
A film that fascinated movie fans by viewing subcultures through a surreal lens, Ghost Dog ’s seemingly accidental success is arguably due to its groundbreaking score (by RZA) and leading man (Forest Whitaker). “You see, I start with actors that I want to make a character for,” Jarmusch said in a 2011 interview with Louder Than War. “I don’t know what the story is or where it’s going at all. I just sort of jump in and start. In fact, I think I do it backwards.”
Ghost Dog was the product of a chance encounter between Whitaker and Jarmusch at a Super 8 camera store. And Jarmusch didn’t just hire an actor most filmmakers would have scoffed at for such a role: He specifically made the role for him.
Together, the pair concocted a character we’re compelled to root for despite the moral ambiguity and brutality of his job. A hit man with a samurai’s code, the protagonist known only as “Ghost Dog” has a sense of purpose that’s somehow inspiring. And then there’s Whitaker himself, whose portrayal seers the consciousness with little dialogue.
“There’s something about Forest that goes right to my heart,” Jarmusch said in a behind-the-scenes documentary. “There’s something very human and beautiful about his presence.”
Ghost Dog was big in the Black community due to a familiar Afro-Asian cultural theme born from East Coast summer scorchers driving urban Black youths of the ‘70s into air-conditioned grindhouse theaters for double-feature combos like Black Caesar and The Five Fingers of Death .
These Blaxploitation and martial arts films had a profound impact on kids seeing nonwhite heroes for the first time. That led to the emergence of the first Black martial arts leading man, the incomparable Jim Kelly, and a generation of young moviegoers raised to see themselves fighting back against The Man through music and movement.
Enter RZA, founding member of the Wu-Tang Clan, whose music was shaped by those theaters and became the sound Jarmusch sought for the atmosphere of Ghost Dog . At the time, RZA just so happened to be looking for a project to score, spurred by a conversation he’d recently had with Quincy Jones (having never scored a film before, he looked to Peter and the Wolf and Sergei Prokofiev for guidance).
In Ghost Dog , we witness the protagonist’s unyielding loyalty to a feckless gangster (John Tormey) from a crew hanging on to relevance during the waning days of the Italian Mafia. “If one were to say in a word what the condition of being a samurai is, it’s basis lies first in seriously devoting one’s body and soul to his master,” Whitaker narrates from Hagakure: The Book of the Samurai by Yamamoto Tsunetomo.
Jarmusch compared Ghost Dog’s sense of devotion to that of Don Quixote, but it all boils down to finding security in a sense of purpose. In a rapidly changing world that rarely makes sense, it’s a comfort knowing someone like Jarmusch is still diving headfirst into the randomness we struggle to make sense of and taking notes.
The film speaks to so many of us. And like the Ghost Dog’s French-speaking Haitian-immigrant best friend (Isaach de Bankolé), we may not always know what’s being said, but we understand.
SEE IT: Ghost Dog: The Way of the Samurai , rated R, plays at the Hollywood Theatre, 503-493-1128, hollywoodtheatre.org. 7 pm Saturday, Feb. 25. $8-$10.
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Ghost Dog: The Way of the Samurai Reviews
It almost feels like we’re in another world: Jarmusch [blurs] out everything else so the movie becomes a meditation on the impulse to moralize one’s misdoings by subscribing to rigid definitions of “honor.” [...] A bone-deep reflective masterpiece.
Full Review | Nov 25, 2023
what might sound like an ordinary gangster picture is in fact a rich amalgam of crisscrossing genres, where East meets West and culture itself follows more than one Way.
Full Review | Nov 17, 2023
Jarmusch mixes the two styles for a very street-level appeal...
Full Review | Mar 2, 2023
The film's calculated weirdness can't redeem a stale story.
Full Review | May 27, 2022
Ghost Dog is one of Jim Jarmusch's coolest features in an oeuvre featuring some of the slickest characters ever. We may not need to understand everything we see, but that's exactly the point.
Full Review | Jul 27, 2021
Another Jim Jarmusch title, another opportunity to add some eccentric twists to a fairly ordinary story.
Full Review | Original Score: 3/4 | Nov 27, 2020
Freely mixes and matches Bushido philosophy, Mafia and samurai flicks, Ryunosuke Akutagawa, and lo-fi hip-hop into a sly and dreamy comedy about role-playing.
Full Review | Original Score: 8/10 | Nov 24, 2020
Ghost Dog has retained all of the cool, the quirk, the profundity it captured in a bottle in 1999... One gets the sense that never before Ghost Dog could this film have been possible, and, never since.
Full Review | Nov 21, 2020
The film is a rare oddity in that is very much of its period, yet is absolutely timeless. It's not just that the poetry Jarmusch pulls from Hagakure ... it's that the film constantly creates a simultaneous sense of something ending and beginning.
Full Review | Original Score: 4.5/5 | Nov 11, 2020
You don't have to "get" Ghost Dog to enjoy it; it's an experience more open to interpretation.
Full Review | Jan 18, 2020
Even when aware of all the strange, disparate elements, it still surprises.
Full Review | Aug 25, 2018
Jarmusch's original film, which deconstructs the mobster genre as seen through the eyes of a Samurai, is by turn eccentric, mysterious, and mythical, defying viewers expectations
Full Review | Original Score: B | Feb 3, 2011
Full Review | Original Score: 4/5 | Aug 7, 2008
One of the coolest movies to come down the pike in years.
Full Review | Original Score: A+ | Feb 13, 2008
At once a tribute to traditional notions of honour, loyalty, friendship and professionalism, and a stylish, ironic pastiche inspired by the likes of Melville and Suzuki, it's very funny, insightful, and highly original.
Full Review | Jun 24, 2006
Jarmusch blends these disparate themes into a cohesive film that combines humor and truly unique characters with Eastern philosophy, mobster flick and shoot-'em-up western.
Full Review | Original Score: B- | Apr 9, 2005
Visually creative film with a remarkable use of color and music.
Full Review | Jan 24, 2005
I can scarcely think of ways to improve this engrossing, original, near-brilliant production.
Full Review | Original Score: B+ | May 22, 2003
Ghost Dog himself is so remote and focused on his path, it's hard to drum up a lot of identification or sympathy.
Full Review | Original Score: 2/4 | May 20, 2003
An act of pure, unadulterated creativity that boasts its narrative gambles and poetic whimsy as badges of honor... One of the most improbably gorgeous films of the year.
Full Review | Original Score: A | Jan 10, 2003
Ghost Dog: The Way of the Samurai
Cast & crew.
Isaach de Bankolé
- Reviews 104
© 1999 PLYWOOD PRODUCTIONS, INC. ALL RIGHTS RESERVED
Copyright © 2024 Apple Inc. All rights reserved.
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Ghost Dog: The Way of the Samurai
I t is now some years since Jim Jarmusch was asked by an interviewer if he was not in some way the white Spike Lee, and he gravely replied that this title would be an "honour". A little of the unreadably deadpan in that remark - and something of its flourish - is detectable in Ghost Dog: The Way of the Samurai, Jarmusch's arresting new serio-comedy about a professional killer, Ghost Dog (Forest Whitaker), who lives alone in a rickety loft, and communicates with his single employer, a wheezing Mafia hood, by means of the carrier pigeons he keeps.
Always, he devoutly follows the way of the samurai warrior. In between tuning up his weaponry and slouching with Antarctic cool around the tough city streets, Ghost Dog studies an ancient samurai text in his ascetic lair, and its lessons and saws are periodically flashed up on the screen as captions.
It is a movie with Jarmusch's intriguing unlocatability of tone. Forest Whitaker's Ghost Dog is glacially, massively serious in everything he does and says. As he unsmilingly pads the sidewalk with a mean rolling gait - head, neck and spinal column perfectly straight while each shoulder rocks up in turn almost touching the side of his face - Ghost Dog gets respect from everyone on the street, underscored by a soundtrack from RZA of the Wu-Tang Clan.
And yet this gangsta poise coexists with a weirdly playful quality. Unlike Jean-Pierre Melville's Le Samourai or John Sturges's The Magnificent Seven, something distinctly whimsical is at work in this grafting of Eastern martial codes on to the gun-for-hire culture of the United States. After Ghost Dog takes someone out, it is his custom to wave his gun-plus-silencer around in the air, describing the circular figures an ancient samurai might have done, before returning it to his scabbard.
One of his few friends is French-speaking ice-cream salesman Raymond, likeably played by Jarmusch regular Isaach de Bankolé - and Ghost Dog doesn't speak any French. His only other friend is Pearline (the precocious Camille Winbush), a little girl who inaugurates a little reading club with him, with Ghost Dog in the Oprah role, discussing literature on a park bench: Rashomon, Frankenstein, The Wind in the Willows. The effect is comic and a little absurd, and the movie is almost daring us to laugh at, or maybe with, Ghost Dog and the eccentric belief system he has constructed for himself.
It all creates for this film a taste which has to be rolled around the mouth for a little while to see if you like it and, in terms of type, it is pretty well sui generis . But the effect Jarmusch achieves is so enjoyable and distinctive, and it shows something individually and engagingly developed in its approach to cinema gangland - something which our dire Britpack, with its callow, saucer-eyed reverence for gangsters, could study.
The chief complexity, or maybe the chief implausibility, of the film is the relationship of the black hero, Ghost Dog, to the white Italian-American who is employer or "retainer". Ghost Dog is supposed to have formed this romantic loyalty - albeit one he is well paid for - when Louie (John Tormey) stops Dog from being beaten up by some white guys in an alley. Ghost Dog evidently thinks it no dishonour to be the bonded servant of Louie and the Italian wise guys who are his ultimate masters: a trio of crackling performances from Cliff Gorman as Sonny Valerio, Henry Silva as Vargo, and Gene Ruffini as an Old Consigliere. No explicit comment about the racial politics of his situation passes Ghost Dog's lips, but Ruffini's Consigliere, a man given to strange Tourette-squawks, jeers that he is "just another nigger".
Ghost Dog effectively reclaims his self- respect - if that is, in fact, what he has lost - when the mafiosi turn on him, and he has to take them out with his usual inscrutable self-possession. But not before Jarmusch has established a kind of rapprochement between their two cultures and codes of honour. They are, says Ghost Dog, like two ancient tribes, who in this film come to accord each other, if not exactly friendship, a kind of wary recognition. Sonny muses that "all these black guys" give themselves street names like Ghost Dog, and that's like the "Indians" who call themselves Red Cloud or Running Bear - or, as it ironically turns out, like mafiosi who call themselves things like Sammy the Snake. And Sonny himself turns out to have a bit of a penchant for Flavor Flav of Public Enemy.
In Summer of Sam, Spike Lee stepped back and made the white wise guys the heroes of a classic New York story; for his part, Jarmusch envisions a kind of guarded respect between the black and Italian tough guys of urban and celluloid history. But always with this strange element of comic deflection: a sense that at least some of the fable of Ghost Dog is tongue-in-cheek. Some may find this mixture of genre and tone thin or unsatisfying; I found it increasingly beguiling - it really grows on you. Jarmusch finds in the brutal world of the professional killer not merely black comedy but sadness and his own strand of wistful poetry.
- Jim Jarmusch
Ghost Dog: The Way of the Samurai (1999)
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Why Ghost Dog: The Way of the Samurai Is the Weirdest Samurai Movie Ever Made
Ghost Dog: The Way of the Samurai is Jim Jarmusch's unconventional take on the samurai principles, brought to an urban New Jersey scenario.
- Ghost Dog: The Way of the Samurai is an unconventional tribute to the samurai philosophy, bringing it into a contemporary urban setting.
- Director Jim Jarmusch mixes different languages, races, and ethnic backgrounds in his films, emphasizing multiculturalism.
- Jarmusch's films often challenge traditional narrative structures and play with established movie genres, offering unique perspectives on familiar themes.
Ghost Dog: The Way of the Samurai is Jim Jarmusch's unconventional approach to the philosophy of samurai, brought to a contemporary scenario. The film has a fairly simple storyline: a lonely hitman, known as Ghost Dog (played by Forest Whitaker), finds himself trapped in a dangerous mob scheme when a hit goes terribly wrong. As the mob rushes after him, Ghost Dog patiently carries out a plan to get back at his enemies, meeting a range of peculiar characters on the way.
Jarmusch is one of the best directors working today , and his greatest attribute is how he uses movies to pay homage to whatever inspires him the most. Entranced by the moral code of the samurai, the filmmaker encounters subtlety and delicacy in a rather violent lifestyle, adapting a distinctive philosophy from Japanese culture to the alienated urban scene of New Jersey.
Ghost Dog: The Way of the Samurai Is an Unconventional Warrior Tale
One of Jarmusch's best directorial trademarks is how multicultural his movies are, constantly mixing many different languages, races, and all sorts of ethnic backgrounds. In Ghost Dog: The Way of the Samurai , the filmmaker brings the principle of Hagakure , a complete spiritual guide for warriors seeking the way of the samurai, to one of the busiest New Jersey districts. Jarmusch's warrior has no direct connection to Japanese culture; Ghost Dog is an ordinary Afro-American who spends his days taking care of pigeons, then moonlighting as a hitman. At least half of the movie is simply mood: Jarmusch puts the viewer in Ghost Dog's shoes as he drives around at night, silently listens to hip-hop, or shares ice cream with his only friend Raymond, a French immigrant who doesn't speak English. That's Jarmusch's samurai right there: a lonely soul guided solely by an ancient call that doesn't regard him.
Still, the essence of Ghost Dog: The Way of the Samurai is following the hitman's attempts to live up to his honor and get the most out of Hagakure. There's a reason why Jarmusch spends so much time just capturing his protagonist's routine; he wants the audience to ask themselves what's the purpose of Ghost Dog's life. The reality is that Ghost Dog is being pushed by the strong strings of fate, and the journey of the hero descends into a singular turning point, a point in which the warriors must transcend into glory like in a traditional samurai movie.
Related: Best Samurai Movies of All Time, Ranked
Yet again, Ghost Dog: The Way of the Samurai might be the weirdest samurai movie ever made. More than anything, the film is a tribute to tradition , an ode to the old ways, but every aspect of it feels new and fresh, let alone the urban scenario. Ghost Dog isn't an anti-hero like any other; his sympathy has much more to do with his tenderness than his charisma. To him, the nature of violence must be patient and serene. The glory doesn't lie in an act of vengeance, but rather in the honor of remaining loyal to oneself.
What makes Ghost Dog: The Way of the Samurai so different is how all these philosophical matters, and the journey of the hero itself, are interposed in Jarmusch's homage to the present. He's arguing, quite angrily, that just like one must learn to adapt to a changing world, tradition should not be left overlooked — it might as well adapt too. In a world ravaged by so many misunderstandings, pointless acts of violence, and lack of communication, Ghost Dog stands still, faithful to his soul. He finds meaning in his duty, and like a good old-fashioned samurai, he would rather die before the corruption of a meaningless future takes over his principles.
Related: 5 Reasons Samurai Movies Adapt So Well Into Westerns
How Jim Jarmusch Plays With Movie Genres
Ghost Dog: The Way of the Samurai isn't the first time Jarmusch delivers an unconventional take on well-established movie genres, in fact, the majority of his career is an attempt to play with tradition. Jarmusch's best movies lack any typical narrative structure that benefits from a beginning, middle, and end, often leaning on the absurdity of chance to dictate the path of his characters. His wavering, dialogue-heavy stories explore the beauty of immediacy and the laziness of time like no other director, yet Jarmusch is at his best when he brings this challenging style to straightforward genres that have always relied on clear directions.
His first attempt at the feat took place in 1995 with the movie Dead Man , starring Johnny Depp as an ordinary businessman turned gunslinger. Jarmusch deconstructs the western genre by leaving up the nature of men to their predetermined fate, a philosophy that would be revisited in Ghost Dog: The Way of the Samurai . Westerns usually don't offer a clear distinction between good and bad, constantly reminding the audiences of the lawless state these characters live in. On the other hand, Dead Man delivers an impressive meditation on human nature and how getting to know one's soul is more important than the fate of the body; putting instinct over morality.
In 2013, Jarmusch used a highly existential approach to the vampire subgenre in Only Lovers Left Alive . In the movie, eternity is regarded as not such a good thing after all, as it destructs any chance of genuine human connection. In the case of a couple of vampires Adam and Eve, their love supposedly is enough to give them a reason to live, but they're merely feeding on each other's souls. When one has lived so many centuries and seen it all, very little remains; only fragments of people, places, memories. What's the point of living so long if one's existence quickly wears thin? In the hands of Jarmusch, the vampire's most glorious aspect, that of eternal life, becomes a curse rather than a gift.
Ghost Dog: The Way of the Samurai
: Ghost Dog, a down-on-his-luck hit man, gets hired by some mobsters to do a job, only to find he's been double-crossed.
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Ghost Dog, a down-on-his-luck hit man, gets hired by some mobsters to do a job, only to find he's been double-crossed.
Cast and Crew
Starring: Forest Whitaker , John Tormey , Henry De Silva
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Jim Jarmusch’s 90s classic GHOST DOG: THE WAY OF THE SAMURAI, gloriously restored in 4K and making its UHD debut, is a superbly sharp, unique thriller featuring a magnificent lead performance from Forest Whitaker (Bird) in an iconoclastic mix of hip-hop, gangster movie and martial arts, with influences from Kurosawa, Suzuki and Melville. Forest Whitaker (Ghost Dog) lives above the world, alongside a flock of birds, in a homemade shack on the roof of an abandoned building. Guided by the words of an ancient samurai text, Ghost Dog is a professional killer able to dissolve into the night and move through the city unnoticed. When Ghost Dog’s code is dangerously betrayed by the dysfunctional mafia family that occasionally employs him, he reacts strictly in accordance with the Way of the Samurai. Featuring moody cinematography by the great Robby Müller (Paris, Texas), a sublime score by the Wu-Tang Clan’s RZA, and a host of colourful character actors (including a memorably stone-faced Henry Silva), GHOST DOG: THE WAY OF THE SAMURAI plays like a pop-culture-sampling cinematic mixtape built around a one-of-a-kind tragic hero. Described by Time Out as “very funny, insightful and highly original”, the film was nominated for the Palme d’Or at Cannes, and remains one of Jarmusch’s best-loved films. Please note that only the 4K disc is region free, the blu-ray disc is region B locked.
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Director : Jim Jarmusch
- Actors : Forest Whitaker, Henry Silva, John Tormey
- ASIN : B0CLT396P9
- #9,634 in Action & Adventure Blu-ray Discs
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Ghost Dog: The Way of the Samurai
The following weapons were used in the film Ghost Dog: The Way of the Samurai :
- 1.1 Astra A-100
- 1.2 SIG-Sauer P220
- 1.3 Ruger MK II
- 1.4 Flashpaper Beretta Inox
- 1.5 Beretta M1934
- 1.6 Taurus PT92/100
- 1.7 Beretta 92FS
- 1.8 Stainless M1911A1
- 1.9 Bruni ME-8 Police (Walther PPK Stand-In)
- 2.1 Dan Wesson PPC
- 2.2 Smith & Wesson Model 36
- 3.1 Ruger Mini-14 GB-F
- 3.2 Unknown Rifle
- 4.1 Sawed-off Shotgun
- 4.2 O/U Shotgun
Ghost Dog ( Forest Whitaker ) uses an Astra A-100 9mm with a laser sight and suppressor as his main sidearm. You can see it best when he gets the drop on his boss Louie ( John Tormey ).
A mobster goon at the mansion shootout has what appears to be a SIG-Sauer P220 , possibly a rubber prop.
Ruger MK II
Ghost Dog's other pistol is a suppressed Ruger Mk II .
Flashpaper Beretta Inox
In the flashback where Ghost Dog and Louie meet, Louie fires what appears to be a flashpaper firing Beretta Inox Non-Gun replica (note how the barrel is lower than that of a regular Beretta 92F).
The thug that threatens to kill Ghost Dog in the flashback is armed with a Beretta M1934 .
Louie's gun for the rest of the film is a stainless Taurus PT100 . In the last scene the barrel markings on the left side read ".40 caliber," and the gun has a frame-mounted safety.
Marini is seen with a Beretta 92FS .
One of the goons we see on screen several times carries a stainless M1911A1 .
Bruni ME-8 Police (Walther PPK Stand-In)
Handsome Frank's weapon during the first assassination scene is a Bruni ME-8 Police , a 8mm blank-fire replica of the Walther PPK .
Dan Wesson PPC
A Dan Wesson PPC is used by Snake when he and Uncle Joe harass the Cayuga Indian on the rooftops.
Smith & Wesson Model 36
Ghost Dog takes a Smith & Wesson Model 36 with faux-pearl grips from Raymond ( Isaach De Bankole ) and unloads it to prevent his friend from interfering in the showdown with Louie.
Rifles / Carbines
Ruger mini-14 gb-f.
Ghost Dog retrieves a Ruger Mini-14 with a folding stock from under his floorboards after the mobsters kill his pigeons. Like his other weapons, he fits it with a homemade suppressor. He is about to snipe Mr. Vargo ( Henry Silva ) outside his mansion with this rifle when his shot is disrupted by a finch landing on the suppressor and blocking his view through the scope.
Seen in the back of the poachers' truck. The older poacher (Jonathan Cook) makes a grab for it before Ghost Dog kneecaps him.
An ultra-shortened Sawed-off Double Barrel Shotgun is used by Uncle Joe ( Joseph Rigano ), make/model unknown.
The bear hunter (Tracy Howe) who threatens Ghost Dog pulls an Over/Under Shotgun from his truck bed.
- Action Movie
- Martial Arts