The Assassination of Jesse James by the Coward Robert Ford - A-

In theaters. Rated R, 160 minutes. Trailer.

The Assassination of Jesse James by the Coward Robert Ford is a beautiful film. Whether it is a great film, I can't decide. I was torn between a full A and a B+, so for now, I am rating it an A-.

Writer/Director Andrew Dominik (Chopper) tells the story of the last year in the life of Jesse James. Brad Pitt plays James, legendary late 19th century outlaw and bank robber and one of the most famous people in the world. Sam Shepard plays his oldest brother, Frank, in a small role, while Casey Affleck (Robert Ford) and Sam Rockwell (Charley Ford) round out an excellent cast.

Judging by the crowd in the theater (think Heartbreak Kid, not The Godfather) and the dozen or so people that left in the middle of the movie, the marketing of this film may be working, but it is disingenuous. This film is not a gunslinger akin to 3:10 to Yuma, and, except for the costumes and horses, its hardly in the same genre. The film is a contemplative character study and deconstruction of Robert Ford and Jesse James, in that order.

Affleck's Ford is a vacuous 19 year old wannabe gunslinger that has no self worth, except for the possibility of being Jesse James' sidekick or reincarnation. The film begins with him approaching Jesse's brother, Frank, asking to join the James Gang. Frank, along with Jesse, is weary of the James Gang's legend and the sycophantic groupies that come with it. Ford is allowed to come along, and thus the trap is laid. The film's parallel narratives focus on Ford and James, with Ford's being the most interesting. Affleck is superb as Ford, capturing his fascination and below the surface anger and general creepiness. Ford is never comfortable in his own skin, always insecure and leary of any insult or slight. His is a tale of idolatry and a peek behind the curtain of an icon, similar to the flawed Spartan soldier rejected in 300, who then is embraced by the enemy and betrays his true love. Ford's fascination murder of James reminded me of the Andrew Cunanan/Gianni Versace murder in its odd combination of murder with adulation.

Pitt's portayal of Jesse is quiet and powerful, if ordinary. It can't be hard for Pitt to play a charismatic charmer that everyone adores for no reason, or, in Jesse's case, no good reason. The "no good reason" is the dominant theme of the film, focusing on myth and celebrity culture. Thematically, the film covers similar ground as Natural Born Killers with regard to media and America's fascination with bloodlust and 'bad boys.' Dominik clearly portays James as a ruthless and cold outlaw, a far cry from his portrayal in the nickel novels of the time as a modern day cowboy Robin Hood. He is repeatedly pulled away from inappropriate (even for outlaws) violence against the innocent, and appears to believe his own hype in the thrill of the moment. As the film progresses, James unwinds into paranoia about his own fate and the clashing of his persona and the reality of who he is and what he has done.

The most concise portion of the film (and one of its strongest) is the coda about Ford's post-assassination life. In it Dominik drives his themes home through Ford's ultimately being made a pariah for killing the morally repugnant James and the sensationalism and profiteering associated with James' death and funeral. Several of the best scenes and lines are given to Robert's brother, Charley. Rockwell's delivery and dead-on depiction of the terrified sycophant to Jesse should earn him a Supporting Actor nod. The climactic scene is powerful and emotional, and Dominik uses the audience's tension regarding that moment throughout the preceding movie.

The cinematography in the film is an instant classic. The wide screen shots and use of the terrain was truly spellbinding (rock me, Ebert). Dominik shows nary a primary color throughout the whole film, even the blood and trees are darkened to take away any feeling of color. The whole thing looks like a Whistler painting. I guess because of the weird marketing, I couldn't find any shots that do the film justice, so you'll have to take my word for it. The most noticeable device Dominik employs is the use of glass (clear and distorted) in nearly every scene to further his theme of perception. In the several narration pieces focusing on James, the edges of the frame are blurred to give a more historical and dreamlike effect to the film. Between this, No Country For Old Men, and There Will Be Blood, this looks to be a banner year for bleak Western cinematography. The presence of Sam Shepard and the ubiquitous use of wheat, along with the lighting and natural feel of the film (along with its 'lyrical-ness') reminded me of Days of Heaven and the tone is reminiscent of any of Terrence Malick's films, and I mean that in a good way.