The Assassination of Jesse James By the Coward Robert Ford - 2007

Directed By: Andrew Dominik
Cast: Brad Pitt, Casey Affleck, Sam Rockwell, Mary-Louise Parker, Jeremy Renner, Sam Shepard, Garret Dillahunt, Paul Schneider
Released 30th November

Andrew Dominik is a force to be reckoned with. His follow up to the magnificent Chopper, is so good is conjures up the films of Terence Malick. This film is an opulent, poetic, lyrical masterpiece of the highest order. Beginning with a brutal and terrifying train robbery, the only real action in the entire 160 minutes running time the film plays with the mythologizing of Jesse James. On a thematic level the film is working on so many levels you can not hope to capture then all in one sitting. As or performances comes next February when the Oscar winners are announced if Brad Pitt and Casey Affleck don’t here their names they can feel well aggrieved. In fact this is Pitt’s best performance since Fight Club. As for Casey Affleck, he has announced his arrival on the grand stage of cinema with one of the most hauntingly disturbing turns imaginable. The film is without doubt a masterpiece!
Taking in the final year of James life, we don’t really see him in his prime, as the confederate militiaman or the outlaw following the end of the civil war. Instead, the film opens with only two James brothers, and none of the original gang members. Into this comes Robert Ford, son of Charley Ford, played note perfect by Sam Rockwell, as ever, who from the outset seems to have a strange ability to make those around him feel uncomfortable. To begin though he seems harmless, a pathetically ridiculed figure who idolises James and keeps small keepsake of the stories of James.
By this time in his life James is portrayed as a character on the edge of reason, drifting toward paranoia and struggling to deal with the icon which has been created around him. Pitt plays this brilliantly, creating someone who you can’t help but look at In fact its inspired casting. No one could play this role better than Pitt and for that reason this is a companion piece to Fight Club. James seems to know his time is coming to an end, and abandons his criminal exploits almost immediately. The introduction of Ford just highlights to James what he has become in the eyes of others. With his older brother gone James feels alone and frustrated. Having reached the pinnacle the only place left is down. He begins flattered by Ford, embracing him and welcoming him into the fray. Ford is more than happy with this and watches James intimately.
Affleck’s performance just restrained enough for the relationship to feel fraught with difficulties.
As the story unfolds Ford begins to realise the pedestal he has put James on isn’t perhaps where he should be.
This film could have been made in contemporary Hollywood with James replaced by a great actor, and Ford an unhinged fan. But it works best in the Western genre because of the deep rooted mythology surrounding the time and characters.
Like Chopper, this film is thematically very similar. Both deal with a larger than life character that due to his actions is riddled with fear and paranoia but is unable to express it for fear of showing vulnerability. Pitt masters this immediately, a composed, elegant figure, which, in his eyes shows an evil to strike fear into any man. But behind it is everything. His sense of losing his grip on himself and his control over others. It’s here where Ford and James relationship holds the most potency. Ford holds a mirror to James which he doesn’t like. Ford holds James in such regard that James becomes despised with Ford, almost because he is despised with himself.
The film also looks glorious. Rarely has the old west looked so beautiful in fact. The long vistas and landscapes captured majestically. It’s a mythical place for mythical characters. The seasons come and go giving the environments as eerie significance to the actions taking place. Roger Deakins, one of American’s great cinematographers may have somehow outdone his own bar raising brilliance. The tones of the film also create a sumptuous visual treat. The Victorianesque costumes making this film as unique as western as has ever been made.
Added to this is Hugh Ross’ elegiac voiceover, punctuating the narrative to give some form on context to the characters and story. These scenes are played out with a blurred filter on the images, giving the film the illusion as if being told to a stage audience or by a curator of a museum. It all enhances to grandeur and opulence of the story and characters.
The score also is perfectly suited to the events; both Nick Cave and Warren Ellis have created a poetic, symbolic score capturing the mood and tone of the film.
But the credit belongs to Dominik. This is his second feature, and is worthy of every accolade available. Come Oscar season expect this to be ahead of the pack.

A genuine bone fide masterpiece of the highest order with two career best performances and a director who outshines all his contemporaries. An absolute must see movie.