Robert Ford Busts a Cap in Gangsta Pimp Jesse James*

*title originated by Billy Ogawa
Blessed is the film that lives up to and then surpasses my expectations. I don't think I ask for too much; a plot, interesting dialogue, and good acting. I understand that everyone has a different opinion on what good is, but I also understand that most people have no taste. Thems the facts.















One negative review of The Assassination of Jesse James by the Coward Robert Ford compares the experience to watching a book on tape. I bet my parents' morgage that that person whined during the film that there wasn't enough action. I had two of those whiners in the theatre with me. They thankfully had the tact to leave in the middle of the film so I could stop hearing their ignorance aloud. Fine, you like thoughtless action. Peace be with you. Could you start fucking researching a film even a little bit before you go to it? If something is described as a "character study" or "exploration of..." 9 times outta 10 shit's not blowing up every 2.587 seconds. Move along. Save $10 and go to a buffet.

I LOVED this film. Can you tell? And I will fight for it's greatness, though it truly doesn't need the help. Time holds great things for this film, and everyone involved should be incredibly proud.

Andrew Dominik wrote and directed a fascinating study of fame. Who knew that a film which takes place in the late nineteenth century would turn out to be such a relevant commentary on the modern obsession with celebrity? Equally impressive is Dominik's leap in skill compared to his first film. Chopper (2000), starring a puffed up Eric Bana, is another sort of character study on fame and the presentation of truth. Bana is irrecognizable and turns in an excellent performance. The film falls short mainly on it's seemingly sporatic style shifts, but it's not too shabby for a first film. Dominik clearly grew leaps and impressive bounds with Assassination.

The direction of the film is poetic, the landscapes shot with care, the beauty and sparseness not forced but allowed to just be. Brad Pitt turns in one of the best, if not the best performance of his career. Symbolically speaking, there couldn't have been a more appropriate casting choice, in terms of the issue of fame. It's a wink of understanding the filmmakers and the audience can share; the ultimate modern icon of the cult of celebrity. Casey Affleck also exhibits all kinds of impressiveness. I've always liked him as an actor, he has a great sense of comic timing, but this performance comes seemingly out of nowhere. He really stepped up his game, and I hope there is more to follow. The only other performance of his, that I have seen, in which his acting seemed to come so naturally was Gus Van Sant's To Die For (1995).

Despite the complaints of 'no action' (if you're blind and ignore the INSANE amounts of tension in some of the scenes), this film accomplished some of the things I felt 3:10 to Yuma did not. Brad Pitt's portrayal of Jesse James is far more introspective and multidimensional than Russell Crowe's Wade, and he's not even an artist. Pitt has some moments in the film where he seems genuinely dangerous, a trait which Crowe mystifyingly failed to convey.

The supporting cast in this film is unbelievably wonderful. The James gang boys are actually given personalities and the actors eat up every line. Sam Shepard is excellent as Jesse's older brother, and should have been given more screen time. Similarly, it pains me that the women are so underused, especially Mary Louise Parker as Jesse's wife Zee, but she does well with what she's given. In fact, one of the most powerful moments in the film is a brief shot of Zee looking on in distressed horror as her husband's body is treated as a tourist attraction on ice.

The ugly beast of fame is not glossed over. The treatment of James's body post-mortem is disturbing. The re-enactments of the assassination by Ford and his brother (as Jesse) is incredibly unsettling. Ford's increasing remorse is apparent, and it's difficult to ever loathe the man. Ford's killing, though inevitable, is tragic, but the treatment of his killer is the ultimate low blow. Not only does the country rejoice at Ford's death, but the Governor pardons his killer after a large assemblage of signatures protesting the man's incarceration. The whole business is appauling. The audience, at least those of us who are engaged by the film, are left with the image of a man who was too young to understand the complex situation he thrust himself into. Ford bought into and was corrupted by his perception of fame. Then he was devoured by it.
It's not exactly the type of film you go see to lift your spirits, but if you're inclined toward cerebral stimulation, this is the type of art that should tickle your dormant fancy.