The Assassination of Jesse James by the Coward Robert Ford Review
Posted by Chad Webb on 10.06.2007
Brad Pitt's picturesque new Western has a title almost longer than my teaser.
Brad Pitt: Jesse James
Mary Louise-Parker: Zee James
Brooklyn Proulx: Mary James
Dustin Bollinger: Tim James
Casey Affleck: Robert Ford
Sam Rockwell: Charlie Ford
Jeremy Renner: Wood Hite
Sam Shepard: Frank James
Garret Dillahunt: Ed Miller
Paul Schneider: Dick Liddil
Zooey Deschanel: Dorothy Evans
Hugh Ross: Narrator
Written/Directed By: Andrew Dominik
Release Date: September 21, 2007
Running Time: 160 minutes
Rated R for some strong violence and brief sexual references.
It was reported several months ago that The Assassination of Jesse James by the Coward Robert Ford had been delayed due to disputes on how the final cut would churn out. Producers Ridley Scott and Brad Pitt had one idea, and the Director, Andrew Dominik, had his own image. The film was known to have been as long as over three hours. It remains unknown who exactly won the argument, but viewers can figure this out for themselves I suspect. This is a long Western with a longer title, occupying a different wavelength than the successful 3:10 to Yuma. However, Dominik’s patience and bravery are commendable, and he crafts an addictively elegiac poem filled with brilliant introspective performances.
The story begins in early September of 1881 where the James gang are about to commit a final train robbery ending a crime spree of twelve long years. The group has diminished over time because of deaths, prison sentences, or other reasons, but Jesse (Brad Pitt) and his brother Frank (Sam Shepard) remain. Several men are associated with the James family. Charlie Ford (Sam Rockwell) is one trusted man, and his brother Robert (Casey Affleck) really wants to join. This is because he idolizes Jesse, and has read stories about him since he was young. Jesse resists in bringing him into the fray. The problem is Jesse is the world’s most notorious outlaw, and the reward money for his capture looms over his enemies and allies. He is understandably paranoid, but still tries to eliminate all those against him. As he gradually attempts to lay out a new robbery, his dependence rests with two men, the Ford brothers. Unfortunately for Jesse, he does not fully realize how Charlie and Robert are conspiring.
The previous two roles from megastar Brad Pitt have evoked a wise, mature, and nuanced side of his acting. In Babel he proved how much depth he can locate, and in Ocean's Thirteen, he knows how to relax and let the entertaining portrayal fall into place. As Jesse James, the infamous outlaw, Pitt is primarily masterful, but periodically shaky. He never struggles with the material, but sometimes fails to find the proper niche. Truth be told, he was on his way to an award worthy effort. He exhibits all the emotions that adequately complete his character. He is subdued, yet conceited and suspicious, yet intelligent. James instills intimidation to his lackeys whenever he strides into a room. All he has to do is swing an inquisitive glance in one direction, and it worries the receiver. In spite of any faults, Pitt shows why he was meant to play Jesse James through pungent facial expressions.
Casey Affleck has all of a sudden sprung from left field, and has made a break for the upper echelon. This is one of two films in which he is obviously striving for some long overdue attention. It's about time. He steals the show as Robert Ford, the creepy and obsessive runt that follows Jesse James around. He is a timorous and submissive brat of a person, and the eloquently glorious Affleck is arousing as he elicits the best of his abilities. With this triumph under his belt, and Gone Baby Gone looming, Affleck's status can only be augmented.
The exquisite supporting cast has a vastly under appreciated Sam Rockwell as Charlie Ford. His scheming hillbilly innocence is genuinely stirring and comical as he shows Jesse how loyal and supportive he can be. The always commandingly august Sam Shepard is mesmerizing, and not seen or heard enough. Mary Louise-Parker is Zee James, who suits the atmosphere convivially, but only steps out of obscurity during the concluding half. The smooth and engaging narration from Hugh Ross infuses a folklorish documentary timbre to the story. His voice drives the ghostly composure of the picture competently forward.
Based on the 1983 book by Ron Hansen, The Assassination of Jesse James is faithful to the source, yet saturated in a spicy array of influences. Most critics are referencing Terrence Malick when analyzing Dominik's style. Well, this is because the director stated he wanted his sophomoric submission to echo Malick. It does provoke a mixture of Badlands and Days of Heaven, but I was reminded more of Robert Altman's catalogue and manner when admiring Dominik's keen stroke. He is aided by the outstanding cinematographer Roger Deakins, whose work speaks for itself on countless classics (The Shawshank Redemption, A Beautiful Mind). He manipulates light and shadow like a magician through the green pastures, wheat fields, and melancholy skies.
Dominik's approach predominantly concerns presence and mood, not action. It oozes suspense in certain areas as well. For instance, the unfolding of the train robbery is just an unbelievable combination of one stunningly epic take after the other as the clan runs down through the woods and greet the oncoming locomotive with lanterns raised. Another great example transpires as particularly terrifying when Jesse slowly rides behind Ed Miller, a man who has wronged him. The gun shot that explodes from the barrel will rattle the very core of your bones.
The Assassination of Jesse James indeed seizes the common tropes of the western genre, but it also was meant to subtly reflect our own culture. This is a heartfelt and paramount portrait examining the connection between the prominence and depravity, or myths and reality. It is a refreshingly somber elegy with deliberate and imperturbable pacing that is slow, but never sluggish. In addition, the haunting score from Nick Cave and Warren Ellis cleanses and swells the vibes to tremendous efficiency. Every crew member seemed to unify as a team rather naturally, and regardless of some awkward editing, the positives outweigh the negatives with no trouble. With all the salutes blending together, the result has Dominik ironing out and folding his achievement into a crisp and raw offering of a new pedigree.
The public’s infatuation with having to scrutinize every movement by celebrities (of all sorts) has gotten way out of hand. This Western addresses this topic by filtering it through this brooding lucubratory saga on the centerpiece of the James gang. Andrew Dominik understands our universe, but more importantly, has penetrated the world these characters reside with a penetrating and graceful determination. This is not merely a daring vision, but a firm grasp on a specific personality. The disturbing silence of the night, the gorgeous landscapes, the tranquil violence, and the miraculous depictions create an absolutely enthralling experience.
The 411: Looking at this running time, and knowing the substance is dramatic in nature, it probably turned a lot of people off, but if you're reading this do not let that throw you. The Assassination of Jesse James by the Coward Robert Ford is the best Western of the year, one that is packed with magnificent acting, skilled filmmaking, and absorbing storylines. Is it perfect? Not quite, but it comes close. With some polishing and touch up work, who knows how excellent this could have been. I recommend seeking this picture out wherever it’s playing near you. The more I think about it, the more I like it.
