The Dead Don’t Hurt (2023) Review!!

Synopsis – Set in the 1860s, the fiercely independent French Canadian Vivienne Le Coudy embarks on a relationship with Danish immigrant Holger Olsen.

My Take – Though he gained widespread international fame for playing Aragorn in the blockbuster The Lord of the Rings trilogy, for the better part of the last two decades, Viggo Mortensen has mostly stuck to starring in mid to small budget films.

Receiving acclaim for his collaborations with filmmaker David Cronenberg in the thrillers A History of Violence (2005), Eastern Promises (2007) and Crimes of the Future (2022), while scoring Academy Award nominations for his leading roles in Captain Fantastic (2016) and Green Book (2018).

For his sophomore directorial effort, following the so-so reception of Falling (2020), Mortensen, who also wrote, co-produced and provided the score, has helmed a graceful, meticulous and moving art house western focusing on a mature love story between two foreigners who are trying to make it in America during the Civil War era.

Yes, it mostly follows the tradition rules of the genre, but there’s a lot to admire in a western where the brutality of the frontier and its masculine rules are mostly a backdrop to the realistic story of two independent spirits and a relationship that tugs on our heartstrings.

Those expecting an exciting horse chase and shootout will get that in the final act, but for the most part, this is more of a quiet reflective drama with a deliberate pace and a non-linear screenplay that manages to hold its weight with modest success.

Set on the western U.S. frontier in the 1860s, the story follows Vivienne LeCoudy (Vicky Krieps) a steely and determined Franco-Canadian woman, who after breaking off her liaison with a wealthy but controlling romantic suitor Lewis Cartwright (Colin Morgan) finds herself attracted to an older Danish immigrant Holger Olsen (Viggo Mortensen) and the two quickly embark on a love affair.

They even travel together to the quiet dusty town of Elk Flats, Nevada with an aim to start a life together. But their time together is short-lived when Holger enlists for the Union Army as the Civil War breaks out, leaving Viviene to fend off for herself in a perilous place run by unscrupulous men.

There’s the crooked mayor Rudolph Schiller (Danny Huston), powerful shady rancher Alfred Jeffries (Garret Dillahunt), and his demented, violent son Weston (Solly McLeod). Weston immediately sets his sights on Viviene when she takes a job at the local saloon bar and he isn’t the kind of man who takes no for an answer, which doesn’t bode well for Viviene.

The story is largely told out of order, set across the better part of a decade in a manner where the motivations and nature of the characters are obscured by a lack of context that is gradually revealed. However, the main thrust of the film is the dynamic between Vivienne and Holger, a mature romance between two adults, given a gentleness by the palpable chemistry between Krieps and Mortensen.

Their relationship was presented in a way that felt understated and profound. There were many scenes where the depth of feeling they have for each other was shown through simple actions and gestures.

Both are fascinating characters, with clear strengths and desires. Vivienne has a clear motivation to escape her world from the outset, and finds shelter with Holger, even if his motivations are weak early in the story’s timeline. The film kicks off dramatically as the Civil War begins to eclipse the story, and tragedies beset the family that push it to its breaking point.

Surprisingly, the most remarkable aspect of the film is how old-fashioned it all feels. The film does not attempt to comment or subvert the tropes of the classic genre, but rests easily among them. There’s something extremely admirable about its individuality, its lack of concern with following current fashion. The kind of film that is wholly itself, and asks you to meet it on its terms, not the other way around.

Indeed, the film’s biggest trouble is its frequent time-skipping. There are flashbacks within flashbacks that are confusing, mainly because it’s hard to know why they’re included in the first place. For example, we see a few flashbacks to Vivienne’s childhood at moments that might make sense for the character but not for the story. The varied pacing between these scenes hamper the overall effect of the film.

It’s particularly notable that as a composer Mortensen relies on ambient noise in place of music, which really enhances the sensory experience. The score itself is lovely, not overbearing. Filmed in Mexico and British Columbia, the visuals are grand and awe-inspiring with cinematographer Marcel Zyskind capturing some of the most beautiful landscapes I’ve seen this year.

No stranger to playing strong women characters, Vicky Krieps commands the screen and is consistently the most interesting thing in the film. Thanks to Krieps’ grounded, pure performance, Vivienne is a relatable, easy-to-root-for type of character. Undoubtedly, this is her film.

Viggo Mortensen once again plays the stalwart leading man of weathered good looks and appealing reserve. His performance feels a bit muted at first, but then he has a couple of heartwarming moments later, allowing him to show off his proven dramatic chops.

In supporting roles, Danny Huston, Garret Dillahunt, Colin Morgan and W. Earl Brown are reliable, while Solly McLeod fully commits to the despicable over-the-top villain role. On the whole, ‘The Dead Don’t Hurt’ is a visually striking modest slow-burn Western drama that is both touching and thoughtful.