An unusual and fascinating reinterpretation of a legend: THE ASSASSINATION OF JASSE JAMES BY THE COWARD ROBERT FORD

Rating: 9/10 (5 October 2009)

The young Robert Ford had a morbid veneration for the outlaw Jesse James. From an early age because he collected anything with him. One day he finally manages to make space in his band and hitting behind him, kill him. Presented at the Venice Film Festival 2007, the second movie directed by New Zealander Andrew Dominik with Brad Pitt did win the Coppa Volpi for best actor prize deserved, considering the extraordinary performance offered by this actor, universally recognized as a pretty face relegated only to petty traders, but instead be able to grapple with expertise in roles far released, and "The Assassination of Jasse James by the Coward Robert Ford" is proof beyond question. A sign that looks can be deceiving and that, behind a sex symbol, contrary to what one may say or think, there is a hidden talent not indifferent. Certainly, in the career of Brad Pitt There are other valid interpretations, but it certainly surpasses them all. Andrew Dominik courageous "extrapolates" an American myth, projecting it into a reality "current". Eluding any stereotypical gender make a wonderful western twilight, unconventional, focused more on the psychology of the characters in the historical context: in fact there is no mention whatsoever in the past the dreaded bandit, nor do we try to draw a profile social / political than years . Dominik dig deep. It offers an unusual and fascinating reinterpretation of a legend. Set the narrative pace calm and reflective, light years away from the hectic standards of contemporary cinema. Directs without any particular virtuosity: fields, reverse shot, long shots. Immense and beautiful landscapes that emerge in all their splendor, which inevitably leads to overt reminiscent of the style of Mallick, pausing so the viewer's attention on the contrasting relationship between man and nature. Sequences that are echoed in the cinema of Michael Cimino, impossible not to find similarities with "Heaven's Gate", or more generally to his way of making a movie: the same stretches of green, endless open spaces. Commendable Roger Deakins, who cleverly exploits the photographic effects of fading in the contours of the image, thus channeling the movie in a sort of dreamlike dimension. Avoiding the kind of a show, choosing instead a style Dominik disillusioned, finding Jasse James the embodiment of the end of Western, approachable in some ways to "Unforgiven" of Eastwood, both movies leave out many differences, are anchored to a certain realism, far from dazzling epic western detectable in most movies. "The assassination of Jasse James by the Coward Robert Ford" is in fact entirely devoid of action sequences, excluding the one, that of the train robbery. Robert Ford did not intend merely to resemble his idol. Knowing he could never emulate correctly decides to shoot him. The same thing will happen to that one hundred years after the fans of John Lennon. Ford portrays perfectly the emblem of unbridled ambition, but you will understand very quickly that a myth can neither kill nor replace. The boy will remain a prisoner of himself relentlessly, sharing the same fate of his hero, in a mocking juxtaposition of roles: the person who first became famous from nothing and then pay high price for glory. Dominik's movie is striking for introspection and careful definition of the protagonists: the expression of Jasse James/ Brad Pitt is ambiguous and painful, measured and intense, making infer in his eyes a deep existential angst: constant research, perpetually in motion, distrustful and unable to forge human relationships (the size is so high on him as to his throat to many), paranoid and violent, narcissistic universe in which it is confined and in which everyone thinks to safeguard their own safety, just wait the hour of his death. Followed by the commodification of the body in an impressive and realistic ritual, where the corpse raised as a triumph to be photographed and sponsor, will become gods and the gods will be consecrated forever. And where Jasse James was the slave of his fame and glory of his victim, Robert Ford remained prisoner of the fatal gesture, forced to recite it constantly before the crowd of theaters. On the wings of an unforgivable mistake but never not find the strength to expiate their sins. Coward, in fact. If the interpretation of Brad Pitt is outstanding, even more priceless is that Casey / Robert Ford / Affleck, who infuses his character a dose of humanity unsettling to leave you breathless. Work created with impeccable craftsmanship. Single, gigantic, transcendental.