TIFF Report:  THE ASSASINATION OF JESSE JAMES BY THE COWARD ROBERT FORD Review

We begin the night before the final train robbery the James gang would ever pull.  Other than brothers Jesse and Frank, who are barely on speaking terms, the entire original gang is now either dead or in prison, a situation that has forced them to recruit members somewhat below their normal standards.  The charismatic Jesse couldn’t care less who rides with him but the more withdrawn Frank stews on the situation, clearly resenting the intrusion of so many amateurs.  And the primary object of Frank’s wrath is Bob Ford (Affleck), the wide eyed nineteen year old brother of seasoned gang member Charlie (Sam Rockwell, at his chameleon like best), a self proclaimed James gang expert weaned on the cheap, pulp novelizations of Jesse’s supposed exploits.  Bob’s got a major case of hero worship that Frank wants no part of.  Jesse, however, seems amused by the attention and lets the boy stay, even keeping him on in his own home for several days after the robbery is complete. 

And so Bob’s hero worship slowly develops into a case of full on obsession.  He observes Jesse’s every move, never straying out of eye sight, always watching, always compiling mental notes of behaviors and tendencies.  Jesse’s wife clearly recognizes Bob for what he is, tolerating him only because Jesse does, but Jesse never seems bothered until one night he catches Bob watching him in his bath.  Is it the invasion of privacy Jesse resents or the simple fact that Bob managed to creep up on him unawares?  Either way, Bob is sent home the next morning.  For all of Jesse’s outwardly friendly disposition, you see,he will not tolerate anyone or anything that could ever possibly put him at risk.  He moves on a regular basis.  His children don’t even know his real name. 

Jesse’s latent caution becomes obsession and obsession paranoia when gang members from that final raid start being rounded up by the Pinkerton Security agency.  How did they know who was involved?  And how long before someone spilled vital details on Jesse himself?  It was time for a move and, more importantly, time for a little housecleaning.  Bob’s hero worship put him above suspicion at first but a public humiliation at Jesse’s hands quickly turned his love to resentment and before long Bob strikes a deal with the other side ...

Andrew Dominik’s sophomore film is a quiet, lyrical gem.  Dominik is blessed with a simply stunning cast from top to bottom, all of whom turn in stellar performances, and he gives all of them ample space to explore their characters at leisure.  Yes, the film is lengthy but thanks to the strength of the performers, the clarity of Dominik’s story telling, the spectacular cinematography and the easy, natural rhythm established at the outset and maintained throughout, it never drags, never feels anything close to its actual run time.  Pitt’s handling of the complex and conflicted James is award-worthy and while the younger Affleck is likely too sleepy-eyed to ever be considered true leading-man material, by god this guy deserves to be a major star. 

Much has been said in recent years about the western being a dead genre.  I say this is foolishness.  The problem in recent years is that the huge majority of westerns have simply been very, very bad.  Make a good one and people will turn out in droves, the massive cult following for Deadwood should prove that.  And Dominik’s is not just good, it’s far better than that.  His trading of typical western action for a serious character study may surprise some but,really, come on people:  the film tells you exactly what happens in the title of the thing.  Clearly Dominik is more concerned with why it happened than with what happened and between his sure hand behind the camera and his fantastic cast in front of it he’s created a compelling, beautiful piece of work.