Dead Man Walking

The film, Dead Man Walking (1995), centers on the interpersonal relationship between convicted murderer and death row inmate, Matthew Poncelet (Sean Penn), and his newly found spiritual counselor, Sister Helen Prejean (Susan Sarandon). Attempting to appeal his upcoming execution date and to provide Poncelet with support, Sister Prejean begins to meet with him on a regular basis. As the film continues, distinctive and noteworthy changes begin to occur within the characters. Poncelet replaces his egocentric and intolerant viewpoints with a more sympathetic and accepting attitude while Sister Prejean alters her religious beliefs to foster caregiving over vengeance. Although each character is influenced individually by the events leading up to

The change in language plays a noticeable role in the film because it demonstrates Poncelet’s willingness to accept and understand differing viewpoints. Initially, Poncelet discusses his crimes with a detached and emotionless tone of voice. In his first meeting with Sister Prejean, he consistently denies his involvement in the crime and refuses to take any accountability for his actions (Robbins, Dead Man Walking). Moreover, when speaking about African-Americans, Poncelet routinely makes generalizations regarding their culture and applies language that is offensive and prejudice. These examples paint the picture of a personality that has a predisposition towards subjective thinking. Moving on, the greatest contribution to Poncelet’s shift in language usage comes from conversations with Sister Prejean. Throughout the film, there are multiple examples of her taking a subjective comment made by Poncelet and altering it so that he is the focal point of that opinion. This method of responding and questioning by Sister Prejean forces Poncelet to reflect on his perceptions and to give honest feedback about how that situation would make him feel. By giving him the opportunity to walk in another’s shoes, he is able to understand empathy and become more

At the onset, Sister Prejean is reserved in the allocation of the physical distance between her and Poncelet. She displays an aroused body position which suggests a more formal and administrative affiliation rather than a close personal involvement (Floyd, 186). However, as their connection becomes more extensive, we start to see her become relaxed and more likely to reduce the distance between them while talking. This relaxed posture and a closer physical distance is evident of an emotional investment in the other person. This trend is relevant because the emotional investment and inviting nonverbal cues that Sister Prejean displays toward Poncelet, inadvertently inclines him to be more open and expressive in his conversations. A second, nonverbal cue that is briefly shown in the film is touch. During the final walk to the execution chair, Sister Prejean places her hand on Poncelet’s shoulder (Robbins, Dead Man Walking). Since affectionate touching is “a powerful way to communicate love, commitment and safety to another person” (Floyd, 195), this small gesture of placing her hand on his should is a good indication of the emotional connection that was built between