Society's Mirror - Why this film must be seen

Rating: 10/10 (5 December 2007)

This film has had what can only be called a tortured genesis. Having been in the pipeline for some time it disappeared shortly before its original release date of autumn last year. Rumours of production problems were rife and expectations fell very low. Now it has arrived, only a year late, and, in what has been a year of many good films but few standouts, this film has rode in to save the day. It is, quite simply, awesome.
Andrew Dominik conjures three exquisitely detailed, well rendered and poignant portraits in this film: Jesse James, Robert Ford and a society that must be seen as not so different from our own. Brad Pitt is astonishing as James, portraying the paranoid madness of a man trapped in his own myth whose fascination with and fear of death haunts his every move. However, Pitt is matched by the brilliance of Casey Affleck's performance. Robert Ford is shown as a man obsessed with the myth of Jesse James who, through disappointment, rejection and desire, turns against the epicentre of his dreams. It is this fascinating portrayal that lies at the centre of this film.
However, Dominik places this engrossing character drama against a bewildering social background. The two live in a society that has a government that allows murder when it sees fit and punishes it when it doesn't and a public that celebrates a mass-murderer and despises an assassin who shows no remorse. To delve any further in this would give away the ending which, surprisingly enough, is not the one in the title, but the questions that arise from this film are ones about society and its moral nature and the power of obsession on a personal and a mass level.
If this sounds dull to you then you're in for a surprise. The film, whilst slow-paced and long, is never boring and grips you from start to finish. Much of the reason for this has already been discussed but credit must also go to the brilliant ensemble. Sam Rockwell is the standout supporting player and his performance is a career best. Then there is Roger Deakins' cinematography which is fantastic and Nick Cave and Warren Ellis' music which is extremely well used. But, ultimately, the showpieces here are the central performances, an interesting and stylish director and a pitch perfect script. This is certainly the most accomplished film I've seen for a long time. It doesn't invite comparison (though it deserves it) with Leone's "The Good, the Bad and the Ugly", but the assassination scene is not only reminiscent of Leone's final shootout scene but is every bit as good.
It may be seen as arduous by some but at some point, at home or (preferably) at the cinema, you must see this film for so many reasons  the technical brilliance, the incredible performances, the experience and, above all, the questions it raises that are some of the most important of recent years.