Review of Dead Man Walking (1995) by John A — 15 Dec 2008

Salvation, redemption, forgiveness. What do they all mean? Are they given or earned? Is it human reward? These are profound themes for any work of art to even attempt to approach, but Tim Robbins death penalty film 'Dead Man Walking' achieves startling truth with great responsibility, affecting nuance and genuine, wrenching drama. It is a picture that, through the most disturbing actions and morally haunting ideas, leaves you truly thinking, truly feeling.

Sister Helen Prejean lives in a poor community, working with local children and her friends in improving the lives of those she can. She simply wants to do well, spread goodness and listen to the word of God. She's no religious fanatic, full of respect for almost everyone. But the true essence of her soul is tested when she is invited to see convicted murderer Matthew Poncelent, and work to help him repent for his heinous crimes.

This is an intense and provocative screen relationship that avoids clichéd romance or expected repentance by identifying two vastly different people as real human beings, with raw, unwavering emotions. Susan Sarandon and Sean Penn give absolutely superlative performances, of the highest calibre; as Sister Helen Sarandon exudes a quiet vulnerability unprepared for the levels of hate she has never been exposed too, and Penn excels as the sadistic, nasty murderer who hides a loneliness and need for acceptance between layers of macho persona.

Robbins may have his opinion on the use of the death penalty, but while they can be deduced, they are certainly not preachy or excessively ladled on our conscience. The director never manipulates our mindset, exploits political stance or takes sides. The film doesn't resort to sentimental tactics to rouse emotions, but draws us into conversation and debate, dialogue that entrances us, even if only momentarily, to believe in the characters words, and so endearingly want to empathise with almost everyone. It is a challenging, mature screenplay of the highest level.

The direction is also flawless; Robbins uses reflection, flashback and barrier as marvellous technical symbols, and has created a compelling and absorbing film with an unfathomable sense of grief and wretchedness, one that balances both arguments to a point of gratifying frustration. He appreciates the complexities of reality, and his drama is as realistic as one is likely to come across - it contains black humour, awkward pause and a great sadness that we, as the film, are almost unwilling to express for fear of opening our minds, or hearts, to particular individuals.

And despite such sorrow, anguish and desperate need for fulfilment, the film manages to end on a perfectly acceptable, appropriate high note, uplifting as it needs to be; for as Helen says in the final scene "Perhaps, together, we can find a way to overcome our hate". It's the spiritual philosophy of doing what is right that Robbins is at pains to subtly encourage; that he, Penn and Sarandon can convey such mutually harrowing and poignant drama wrapped in the most important of messages is a testament to all their talent and courage. 'Dead Man Walking' throws your mind and soul into impossible debate, with your heart struggling to avoid intervention. Redemption, salvation, forgiveness. Definitions are immaterial; the search for meaning is inevitable.