The Assassination of Jesse James by the Coward Robert Ford (2007)
A newspaper man in an old John Ford film once proclaimed that when legend becomes fact, you oughta print the legend. Well, they've been printing the legend of Jesse James now for over a hundred years. He's been a Robin Hood at times, a cold blooded killer others. It's the old wild west conundrum: for every tale of outlaw heroism is a tale for outlaw ruthlessness.
And now here's a tale that is as decidedly conflicted as the legends themselves. In Andrew Dominic's The Assassination of Jesse James by the Coward Robert Ford, Jesse James is no hero, even shown to kill a man in the same manner that supposedly made Ford a coward. But at the same time, James is also shown to be a doting and loving husband and father. His paranoia has made him ruthless. Though he does now have his reasons to be to be paranoid, its that very paranoia which has alienated those around him.
The picture seeks to dissect the legend, not necessarily to get to the facts, but the essence of reality. In a way, it's striving for what Werner Herzog calls ecstatic truth. Though that's not necessarily aimed at James himself, but his assassin, Bob Ford. Yes, that is the legend that is most steeped in hyperbole.
Was Ford a coward? The title would lead you to be believe such, but that's the irony. If there has ever been a more matter of fact title, I've not heard it. Some of said the title says it all in this case, but nothing could be further from the truth.
Casey Affleck steals the show in his portrayal of Robert Ford, the young man who idolized, then feared, and finally assassinated Jesse James. He gives a mannered but electrifying performance. Brad Pitt portrays Jesse James as a contemplative but quietly menacing man, troubled by his increasing ruthlessness. Sam Rockwell plays close James friend, and brother to Bob, Charlie Ford. Elsewhere, in one of my favourite performances of the film, Paul Schneider plays the outlaw and notorious womanizer Dick Liddel. It's a film full of excellent performances, though none match that of Affleck's.
The plot is lingering and lyrical. When the film debuted it played in a four hour version (there have been rumblings about a future release of this version, but other than a few select screenings there have been no solid leads). The picture goes off in different directions, with the ultimate aim of eventually coming back together, but without force or haste.
The film opens with a train robbery, the last of older brother Frank James (Sam Shepard) who is weary of Bob. But Jesse takes him along, not so much because he trusts him, but perhaps because he enjoys the flattery of Bob's idolization. Eventually Jesse begins knocking off those who he suspects of going against him. Dick Liddel has been teamed up with another team member working on their own scores. Although he is close with the Fords, he reminds Bob at bullet proof not to betray him.
Wood Hite (Jeremy Renner), Jesse's cousin, shows up at the Ford home one snowy winter day. Hite has it out for Liddel, who's living there, after he slept with his father's young new wife. Hite storms the bedroom and he and Dick shoot it out. Just as Hite has Liddel in his sights, Bob pulls the trigger. They must hide that Wood has been killed, knowing that Jesse would kill them for sure now. Slowly, fearfully, and regretfully, the Ford's are enlisted to conspire Jesse's arrest. Only after they it absolutely dire does Bob commit his infamous deed. Though we know it's coming before we even enter the theatre, the assassination scene's grace and poignancy are unexpected. And the way Jesse meets his end prods existential queries. Throughout the film action is frequently narrated in a calm manner by Hugh Ross, often simply telling us in words what is happening in screen. Where in many films that may seem trite, here it feels uniquely transcendental.
Director Dominic is not satisfied to simply dissect the legend. The film is, quite frankly, one of the most stunningly beautiful films in recent years. Dominic and Roger Deakens capture the action with an unabashedly artistic eye. Chilling sky blues blend with the golden wheat of Alberta, evoking the aesthetic qualities of Days of Heaven. That film was admittedly a huge influence on the visual style of the picture. Dominic not only shot the film in the same fields, but hired the same costume designer (Patricia Norris). To top off the stunning look and mood of the film is Nick Cave and Warren Ellis' beautiful score. Cave is proving himself not only an immensely talented singer-songwriter, but a wonderful composer as well.
If there is one word to describe The Assassination of Jesse James, it is undoubtedly beautiful. Which is not to say that it's all look: the substance is also quite remarkable. The film held me in its grip for every minute of its length. Though I have not read the source material, the storyline and approach to the legends of Jesse James and Bob Ford I suspect owes much to the book. Much of the narration sounds like it may have been taken verbatim from the book.
This is a highly ambitious film, and one that I will unreservedly stand behind. There are usually only a few films that hint at a lasting reputation for greatness. I think this is one of them, and that will be recognized in time. And I'll stand by that.
A newspaper man in an old John Ford film once proclaimed that when legend becomes fact, you oughta print the legend. Well, they've been printing the legend of Jesse James now for over a hundred years. He's been a Robin Hood at times, a cold blooded killer others. It's the old wild west conundrum: for every tale of outlaw heroism is a tale for outlaw ruthlessness.
And now here's a tale that is as decidedly conflicted as the legends themselves. In Andrew Dominic's The Assassination of Jesse James by the Coward Robert Ford, Jesse James is no hero, even shown to kill a man in the same manner that supposedly made Ford a coward. But at the same time, James is also shown to be a doting and loving husband and father. His paranoia has made him ruthless. Though he does now have his reasons to be to be paranoid, its that very paranoia which has alienated those around him.
The picture seeks to dissect the legend, not necessarily to get to the facts, but the essence of reality. In a way, it's striving for what Werner Herzog calls ecstatic truth. Though that's not necessarily aimed at James himself, but his assassin, Bob Ford. Yes, that is the legend that is most steeped in hyperbole.
Was Ford a coward? The title would lead you to be believe such, but that's the irony. If there has ever been a more matter of fact title, I've not heard it. Some of said the title says it all in this case, but nothing could be further from the truth.
Casey Affleck steals the show in his portrayal of Robert Ford, the young man who idolized, then feared, and finally assassinated Jesse James. He gives a mannered but electrifying performance. Brad Pitt portrays Jesse James as a contemplative but quietly menacing man, troubled by his increasing ruthlessness. Sam Rockwell plays close James friend, and brother to Bob, Charlie Ford. Elsewhere, in one of my favourite performances of the film, Paul Schneider plays the outlaw and notorious womanizer Dick Liddel. It's a film full of excellent performances, though none match that of Affleck's.
The plot is lingering and lyrical. When the film debuted it played in a four hour version (there have been rumblings about a future release of this version, but other than a few select screenings there have been no solid leads). The picture goes off in different directions, with the ultimate aim of eventually coming back together, but without force or haste.
The film opens with a train robbery, the last of older brother Frank James (Sam Shepard) who is weary of Bob. But Jesse takes him along, not so much because he trusts him, but perhaps because he enjoys the flattery of Bob's idolization. Eventually Jesse begins knocking off those who he suspects of going against him. Dick Liddel has been teamed up with another team member working on their own scores. Although he is close with the Fords, he reminds Bob at bullet proof not to betray him.
Wood Hite (Jeremy Renner), Jesse's cousin, shows up at the Ford home one snowy winter day. Hite has it out for Liddel, who's living there, after he slept with his father's young new wife. Hite storms the bedroom and he and Dick shoot it out. Just as Hite has Liddel in his sights, Bob pulls the trigger. They must hide that Wood has been killed, knowing that Jesse would kill them for sure now. Slowly, fearfully, and regretfully, the Ford's are enlisted to conspire Jesse's arrest. Only after they it absolutely dire does Bob commit his infamous deed. Though we know it's coming before we even enter the theatre, the assassination scene's grace and poignancy are unexpected. And the way Jesse meets his end prods existential queries. Throughout the film action is frequently narrated in a calm manner by Hugh Ross, often simply telling us in words what is happening in screen. Where in many films that may seem trite, here it feels uniquely transcendental.
Director Dominic is not satisfied to simply dissect the legend. The film is, quite frankly, one of the most stunningly beautiful films in recent years. Dominic and Roger Deakens capture the action with an unabashedly artistic eye. Chilling sky blues blend with the golden wheat of Alberta, evoking the aesthetic qualities of Days of Heaven. That film was admittedly a huge influence on the visual style of the picture. Dominic not only shot the film in the same fields, but hired the same costume designer (Patricia Norris). To top off the stunning look and mood of the film is Nick Cave and Warren Ellis' beautiful score. Cave is proving himself not only an immensely talented singer-songwriter, but a wonderful composer as well.
If there is one word to describe The Assassination of Jesse James, it is undoubtedly beautiful. Which is not to say that it's all look: the substance is also quite remarkable. The film held me in its grip for every minute of its length. Though I have not read the source material, the storyline and approach to the legends of Jesse James and Bob Ford I suspect owes much to the book. Much of the narration sounds like it may have been taken verbatim from the book.
This is a highly ambitious film, and one that I will unreservedly stand behind. There are usually only a few films that hint at a lasting reputation for greatness. I think this is one of them, and that will be recognized in time. And I'll stand by that.