J. Spencer King
3/9/2016
Page 1
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.
J. Spencer King
3/9/2016
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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 racerelated 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.
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3/9/2016
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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
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3/9/2016
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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.