The Assassination of Jesse James by the Coward Robert Ford

Directed by: Andrew Dominik

Written by: Andrew Dominik (screenplay), Ron Hansen (novel)

There exists a large division between art films and star-powered features. "The Assassination of Jesse James by the Coward Robert Ford" manages to exist in the small area where the two can overlap. It's also amazing that the film is thoroughly entertaining despite the fact that the title gives away the outcome of the film.

Facing the end of his career, Jesse James (Pitt) takes in Robert Ford (Affleck) as part of his gang for his last few robberies, though it turns out that Ford has an unhealthy obsession with James's mythology. Later, as James's cautiousness deteriorates into paranoia, Ford is presented with an opportunity to collect a large reward to assassinate his hero.

This movie is big and grand, both in terms of its scope and in terms of its story. The movie may have bitten off more than it could chew - but most importantly, it feels that way.

Stylistically, the film is impressive. It's beautiful. The story is beautiful, the acting is beautiful, the cinematography is beautiful. It's all beautiful. But, even with all that beauty, it manages to maintain the grit and grime of the time period. It feels like the 1800s.

The performances of both Pitt and Affleck are fantastic, as has been discussed elsewhere. Pitt is especially powerful, given the limited amount of screen time he is given. He manages to evoke the overpowering presence of Jesse James, which is no easy feat.

The length of the film does become a bit of an issue. In the attempt to make a deep, full story with a trove of great characters, the story stretches on a bit. There are a few subplots and stories which, although great, could have been pared down. (But who am I to play editor, eh?)

I wanted to like this movie, but the actual experience was less than I had hoped. But on reflection, I can say that I enjoyed it more than I originally wanted to give it credit for. It's a decent western, but a much better character study.

I recommend it, if you like it. If you don't like it, don't say I didn't warn you.

Cowboys and Aliens

Directed by: Jon Favreau

Written by:

- Screenplay: Robert Orci, Alex Kurtzman, Damon Lindelof, Mark Fergus, Hawk Ostby

- Screen story: Mark Fergus, Hawk Ostby, Steve Oedekerk

- Comic book: Scott Mitchell Rosenberg

There are few things that capture the pre-adolescent male mind more than cowboys. One of those things, though, may be aliens. Jon Favreau asks: why not both?

Jake Lonergan (Craig) awakens in the New Mexico desert with no memory of his past and a strange metal bracelet attached to his wrist. He wanders into the nearest town to try to put the pieces together, only to see aliens abduct several people of the city. With the help of Doc (Rockwell), the lovely but mysterious Ella Swenson (Wilde), and Woodrow "biggest cattle rancher in town" Dolarhyde (Ford), Lonergan chases after the aliens to rescue the missing people.

Favreau's film attempts to balance the tropes of both the western ("Cowboys") and science fiction ("Aliens") genres. The exposition draws on western film tradition - a lone gunman wanders into town and upsets the status quo - while also remaining fresh and original. The resolution is also gleaned from past westerns, although it slips slightly into the cliché. In fact, the whole plot culls from the annuls of the great American western film tradition. But, the action and effects - which make up a significant chunk of the screen time - are totally science fiction. It's amazing how the two styles were sewn together almost seamlessly.

The actors were, generally speaking, great for their roles. Sam Rockwell felt out of place for the first half of the film, although that may have had more to do with his character than with his performance. Olivia Wilde's character - and the fact that no one in town noticed her presence - also struck a false chord, although (without spoiling anything) it does get explained away later in the film. Craig and Ford were both top-notch and it was good to see Ford back in the action genre.

The special effects were good, but they were not outstanding. I was not blown away by any sequences in the film, which I had been expecting. On that end, I was disappointed. I was hoping for at least one earth-shattering effect, but, alas.

In general, kudos to Jon Favreau for making a pretty wonderful film. It gave exactly what it advertised - "Cowboys and Aliens" - and even a little more than I expected.

Blood Meridian

It took me a while to slug through it, but I finally finished reading Cormac McCarthy's 1985 novel "Blood Meridian, or The Evening Redness in the West." It was a brutal read, both in regards to the text and the mental energy expended to read it, but I finish it with a sense of smugness that I have tackled some literary monster.

The book loosely follows the journeys of a character known only as "the kid" and traces his life around his encounters with the antagonist character - Judge Holden (almost exclusively referred to as "the judge"). The two characters' fates are irreversibly intertwined after the judge rescues the kid from a Mexican prison in return for the kid joining the judge's band of scalp-hunters. Most of the novel then follows the scalp-hunters killing sprees, until they are finally ambushed and mostly killed. The few survivors are hunted down, one-by-one, by the judge, until the kid is the only one left. (At this point, the kid is suddenly referred to as "the man" - suggesting that he is beyond the edge of innocence.) In the final scene, the judge has tracked down the kid / the man down in Texas and, although the kid's fate is left unknown and ambiguous, we are left with the impression that the judge has slaughtered him too.

To me, "Blood Meridian" hearkens back to an earlier era of writing - to the era of Herman Melville and (to an extent) Joseph Conrad. Much of the writing is consumed by descriptions of the landscape and weather, with the characters merely traversing these settings. Dialogue is kept to a minimum, with most of the conversations being short and consisting of questions and responses. Yet, eventually, we learn about our characters, even though they are not necessarily the foreground of the picture much of the time. Extended metaphors are also a rarity (which fits with the characters of the novel who are mostly uneducated grunts). The book has a few "extended monologues" though, which remind me of Conrad's regular narrator of Marlowe. This style, then, is well-crafted and exhibits McCarthy's fantastic ability to manipulate the written word to serve his purpose, and it is evident why many critics view "Blood Meridian" as his masterpiece.

The character of Judge Holden was brutal but beautifully created. He is, among all the characters, the one who transcends the intelligence of all the others. He keeps a journal where he documents everything he comes across, trying to learn as much as he can about everything he can. He uses logic and reasoning with the rest of the gang, who are often confused by his statements. Yet, he is also an inherently evil character. It is implied repeatedly (including through his relationship with the kid) that he is a pedophile, and it is explicit that he is a child murderer and a calculated homicidal maniac. He repeatedly refers to the pervasiveness of violence throughout culture, claiming at one point (in essence) that men are not men if they have not been to war and drawn blood. To me, he represents the devil in all his deception and violence. There is even a moment when, while explaining why he documents everything he sees and does, the judge declares that the fact that anything exists without his permission and beyond his control is an insult to him - which reminds me of a passage from Milton's "Paradise Lost" (although I cannot recall the line verbatim).

The novel's ambiguous ending - with the kid's fate left unresolved - was quite a shock to me. Although much of the action of the book had been left ambiguous, I suppose I was expecting some kind of secure resolution, some sense of closure. Yet, the lack of clarity is also a fitting ending to a book which moves through a haze of uncertainty - we're never quite sure where exactly the kid came from, why he was chosen by the judge, what happens to many of the characters. The only thing we know for certain at the end is that the judge survives in all his madness (perhaps still survives, the last line suggests - adding to the impression that he is an evil beyond the earth).

One final note: although much of the action of the book is implied, most of the descriptions of locations and scenes of the book are incredibly explicit. This detail includes the slaughter, dismemberment, and scalping of several people. McCarthy's prose leaves nothing to the imagination in regards to the brutality of these based-on-reality events. This novel is not for the feint-of-heart or weak-of-stomach. I found this brutality interesting, though, in contrast with the way death is treated in most westerns (especially in film). More often than not, someone is shot with a puff of smoke and falls over stiffly. In reality, though, bodies were disfigured, ears and scalps kept as souvenirs, and conflicts were bloody and messy. McCarthy does not stray from reality, and the reader is left with a few horrific images to think about.

The Painted Desert

This afternoon I watched Howard Higgin's 1931 western "The Painted Desert." To be honest, I'm not quite sure how this movie got on my Netflix queue. Nor am I quite sure how it made it to the top of the queue. But, sure enough, it was mailed to me and I managed to ignore it for quite a while. Until this afternoon...

The movie begins with two cowboys - Cash Holbrook (played by William Farnum) and Jeff Cameron (played by J. Farrell MacDonald) - finding a baby at an abandoned wagon camp near their well. The two men agree that they will take care of the baby together.

Then, the film flashes forward about 20 years, and apparently Holbrook and Cameron have become mortal enemies for reasons unexplained (although there is reference to Holbrook taking the baby and some sort of dispute about the well). The baby has grown up into Bill Holbrook (played by William Boyd before he became Hopalong Cassidy) and has his sites set on marrying Cameron's daughter Mary Ellen. But to marry her he needs to mend the wound between the two old men, and so hatches some sort of plan involving tungsten mining.

Of course, the malicious cowboy Rance Brett (played by Clark Gable in his first speaking role) has recently stumbled into town and also set his sights on Mary Ellen, it seems. Brett sets about sabotaging Bill's plans and generally causing spite and anger between the two old men. Bill realizes Brett's plan, but not before the two old men wander through town - somehow building tension - looking to duel each other. At the last moment, Bill jumps between the dueling old men and ends up shot, although not mortally, and the two men see the error of their feud.

This movie had a lot of heart, and showed a lot of promise. Somehow, the promise never quite paid off. The characters fell flat, and there were quite a few plot holes and leaps of logic taken in the 75 minute film. The movie never explains what drove the two men apart, except that they both wanted to raise the boy as their own. There is little to no action, and the most exciting scene merely consists of the two old men wandering around the shanty town trying to find each other so they can duel. In the context of a very early western, it succeeded at presenting a genre film with genre tropes and elements. But by modern standards, it does not hold up.