The Assassination of Jesse James by the Coward Robert Ford

            “The Assassination of Jesse James by the Coward Robert Ford” is one of the best films yet to be released this year, and yet audiences can only seem to articulate their thoughts on the excessive length of the film. Upon exiting the theater, I heard a young man spout that “3:10 to Yuma” was far superior to Andrew Dominik’s film, and, unless this particular man had legitimate arguments to support his theory, my guess is that “Jesse James” lacked the gun-slinging, gloriously choreographed shootouts that the young man had expected from the western genre. Well, perhaps “3:10 to Yuma” is a better western in the classical sense of cinematic westerns, but “Jesse James” is a better film. The movie is a statement on legends and the psychological torment of a supposed “coward,” and, yes, takes plenty of running-length time in expressing its core ideas. But like this year’s “Zodiac,” Dominik’s film is a reward to patrons with patience and a vital understanding of epic material.

            In fact, Warner Bros. apparently was unhappy with the final cut of “Jesse James,” complaining that Dominik had essentially crafted a 160-minute art film that would bore audiences. In actuality, what Dominik had done was filmed something poetic and haunting with commercial material, and what resulted is the most inspired and soul-searching take on the western since John Ford directed “The Searchers.”

            The souls examined in “Jesse James” are given heavy, breathing life by Brad Pitt and Casey Affleck, both of whom give career-best performances as Jesse James and his assassin, the coward Robert Ford. The irony of the title is the cowardice that lies within James himself, and while Robert Ford is certainly not a beloved hero, he is utterly pathetic in the sort of manner that may terrify some audience members when they shockingly identify with his awkward hovering and disastrous attempts at human contact. His exchange with his fellow man recalls another detached, violence-inspired cinematic character, Travis Bickle (Robert De Niro) in Martin Scorsese’s “Taxi Driver.” Affleck completely underplays and sinks into a performance that is brutally honest and exceedingly pitiful.

            Pitt’s work is also extraordinary; his Jesse James initially appears every bit as mythical and infallible as the legend of the infamous outlaw, but as Ford becomes closer to James, our understanding of him changes dramatically, most noticeably in a scene where James viciously beats a young boy to a bloody pulp. When James and his gang perform their final train robbery, the mood is stark and passionless – absolutely nothing is romanticized. Pitt is flawless in the performance, appearing both menacing and yet mentally aloof. A modern-day icon dealing with speculation and rumors concerning his public image, Brad Pitt the actor is incredibly suited to portray James, himself the ultimate movie star of his era.

            Whether or not the film is historically accurate is questionable, but that’s ultimately the thematic idea that Dominik opens for discussion. The blurry line between reality and myth serves as a looming idea, and, most likely, any accurate historical record was skewered by the unabashed public hatred of Robert Ford.  Like the old folk song made famous by Pete Seeger proclaims, “Robert Ford, it was a fact, he shot Jesse in the back, while Jesse hung a picture on the wall.” The film is an alarming statement on how we perceive history, and the propaganda and legends that distort the facts.

 
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