An epic, sprawling splendor of cinema

Rating: 9/10 (14 February 2008)

The Assassination of Jesse James is an epic, sprawling splendor of cinema, right from its title and through its near-three-hour running time. Dominik and everyone else involved have taken a huge chance with this, as it is a creation that could so easily go wrong, lose its focus, wander off and leave the audience apathetic and bored. Luckily for Dominik, he has the best the cinematic craft has to offer in order to help him along. Starting from perhaps some of the best use of voice-over narration since American Beauty, Dominik manages to capture us and draw us into the whirlwind that is the life and times of Jesse James. Like in Terrence Malick's films, the plot takes backseat to atmosphere, character, and beauty. The film is not about the last robbery of the James brothers, nor is it about the course of their lives after the train robbery that opens the film. Thinking back, I'm finding it increasingly difficult to even recollect any major plot points in the film; certainly not enough to fill its entirety. What interests Dominik are his characters, namely those of Jesse James and Robert Ford but also many others surrounding them, and their ever-changing relationship and dynamics leading up to James' inevitable, title-featured assassination. The film portrays an atmosphere, feelings, musings and character far more than it presents a tangible, developing plot.
Extraordinarily for a sophomore film project, especially that of a foreign director, Dominik surrounds himself with the finest cinematic craftsmen Hollywood has to offer. In true Malickian form, Dominik allows these technical, visual aspects to occasionally take center stage and further accentuate the feelings, character emotions, and the atmosphere he is trying to evoke. What particularly stands out is the absolutely stunning cinematography by now-legend Roger Deakins, easily one of the greatest cinematographers working in Hollywood today and second only to Emmanuel Lubezki and Janusz Kaminski in my opinion. Like Malick's two Western masterpieces, Badlands and Days of Heaven, but also featured prominently in his two more recent subsequent features, Dominik embellishes his film with extended shots of the beautiful, wide-open vistas of the rolling fields and wide-open spaces of the 19th century American frontier.
Dominik did not only luck out on his technical team, but also with his wonderfully talented acting troupe. His two leading men, one a long-time Hollywood A-lister and the other surely a shoo-in for the same list in the very near future, deliver exquisite, powerful work that is a peak for both of their careers. Brad Pitt, the veteran, observed in a recent interview that he seems to be getting better with each subsequent film role and finds his older work incomparable to his more recent efforts. I have to admit, the man has a point. Although stellar in Twelve Monkeys and Fight Club, Pitt also excelled at delivering bland, single-note performances in films such as Seven Years in Tibet or Meet Joe Black. Recently he has been truly out-doing himself and if his subdued, grayed turn in last year's Babel was the best performance he had delivered up until that point, he manages to even exceed that with his incredible, powerful, dominant role as Jesse James. Pitt nails every little quirk in James; his mannerisms, his ticks, his glances and smirks. His performance is so powerful it dominates the entire film even during extended sequences without his character. But the true stunner is Casey Affleck, who has appeared in smaller background roles in his brother's previous movies but has had two chances this year to truly shine. If Gone Baby Gone seals his abilities as a strong leading man, The Assassination of Jesse James, while not a lead role, certainly seals his undeniable talent as an actor. It is one of those performances that is so exhilarating and entrancing to watch, one can't wait for the character to return to the screen and relishes every moment with him. Another powerful characterization, Affleck absolutely nails the kind of naïve, wide-eyed wonder of Robert Ford, and his interactions with Jesse James; his sheepish grins, his feeble attempts to impress, his embarrassment. It is an incredible, powerful performance that were it not for Javier Bardem would surely be a lead contender for the best supporting performance of the year. Also worth a mention is the criminally underrated Sam Rockwell, who in movie after movie is able to deliver wonderful, fascinating turns. How his leading turn in Confessions of a Dangerous Mind didn't transform him into one of the most reliable leading men on the scene is way beyond me, and I look forward to all of his work. He manages to inject just enough of himself in all of his roles while still remaining loyal to the source material. I hope his big break is on the way.
This year saw a revival and an abundant resurgence in two old-Hollywood film genres; the musical and the Western. Between this, 3:10 to Yuma, and the less traditional There Will Be Blood and No Country for Old Men, one could very easily attribute this year as the year of the Western renaissance. It's no coincidence that these four titles are also among the best of the year. I have not seen his previous effort, Chopper, but The Assassination of Jesse James is enough for me to certify Andrew Dominik as a directorial force to be reckoned with. The film truly stands out in a year abundant in excellent sophomore films (for example, Juno and Atonement, just to name a couple), and although not quite the masterpiece it wants to be, it certainly comes as close to it as possible.