"Don't that picture look dusty?"

Rating: 9/10 (11 February 2008)

There is beauty to be found everywhere in this world  in the haunting loneliness of the deep American wilderness; in the glowing, brooding eyes of a man before a fireplace; in the subtle, nervous flicker of the eyelids, a barely discernible inflection of human interaction; even in the murder of a man, the bullet thumping shockingly through the back of the head, his neck slumping forwards into the frame of a polished canvas depicting a nautical vessel. The beauty is to be found in the details, in the magnificent unknown elements that fall between the lines of historical records and glorified parables. 'The Assassination of Jesse James by the Coward Robert Ford (2007)' is only the second film from Australian director Andrew Dominik, who spent five years crafting his intricate follow-up to the impressive local production, 'Chopper (2000).' Though originally intended for a 2006 release, the film arrived just in time for the Western genre "revival" that took place in 2007, the finest example from a group that included James Mangold's '3:10 to Yuma (2007)' and the Coen brothers' 'No Country For Old Men (2007)' {which some critics have described as a "modern Western"}.
Even if you were to find little else worth mentioning in 'The Assassination of Jesse James,' most will agree that it is among the most visually-stunning films you'll ever see, with Roger Deakins' sumptuous cinematography capturing the landscapes and moods of Jesse James' tale with breathtaking majesty. Every shot is elegantly and faultlessly composed and executed, offering a visual depth to the film that certainly complements the narrative {unlike Seamus McGarvey's work for 'Atonement (2007),' which was gorgeous but occasionally struck me as superficial}. The slow-burning plot is guided by the brilliance of the photography, but, rather than being overshadowed by the visuals, merges into a single entity that envelopes the viewer, absorbing them into the brooding world of both Jesse James and Robert Ford, the man who would put a bullet into his head. Though, on several occasions, I felt that the plot was deviating slightly from the vital interactions between James and Ford, a little patience convinced me that these elements of the story were nevertheless vital to the plot. The pacing of the 160-minute picture is deliberate, lyrical and contemplative, but never slow  anybody who suggests otherwise was obviously viewing the film in the wrong mindset.
The two characters highlighted in the film's lengthy title are portrayed with impeccable precision by Brad Pitt and Casey Affleck, respectively, who deliver performances equal to anything else they've ever done. In today's Hollywood, Pitt is an under-appreciated talent, too often berated for his "pretty boy" persona and often criticised for playing a version of himself. The latter is an easy mistake to make, however, a closer inspection reveals that Jesse James is like nobody that the star has played before. Though his performance doesn't initially stand out as being particularly notable, Pitt inhabits the infamous outlaw so convincingly that you hardly give him a second thought. Every gesture and movement  his granulated blue eyes burning with fire and suspicion, his cautious and knowing tone of voice, his confident yet understated stride  is perfect to the letter. Affleck, who is hopefully steering towards a Best Supporting Actor Oscar at present, portrays a lonely, pathetic sycophant, a seamless performance that is exemplified by the subtle nuances of his character, from the tentative Southern drawl to the frequent downward flicker of his eyes. Also worth mentioning is Sam Rockwell, who has a prominent role as Robert's brother, Charley.
In criticising 'The Assassination of Jesse James by the Coward Robert Ford,' some have cited the segments of Hugh Ross' narration for distracting from the plot. However, I thought it was very well suited to the tone of the film, highlighting one major theme of the story  that history, as it is written, fails absolutely in reconstructing the events of April 3, 1882. Ross' narration is dry and professional, which, along with the occasionally cloudy cinematography, seems to be Dominik's way of stressing that the film's events are merely an assumed fictionalisation of real, ultimately unknowable events. The intentional encyclopedia-like tone of the voice-over could perhaps also operate as a critique of itself, a subtle satire that scorns the notion that any historical record could possibly communicate the mood and emotions of Robert Ford's relationship with Jesse James. Both mesmerising and entertaining, Andrew Dominik's memorable motion picture is one of the year's finest offerings, and possibly among the top ten to have been released this decade.