The Assassination of Jesse James by the coward Robert Ford (2007)
“I honestly believe I’m destined for great things Mr James”
Commencing in “Blue Cut, Missouri, September 7th 1881” and following a surreal and dreamlike sequence full of sepia tones and soft edged shots (accompanied by a diary like narration), the camera pans to, then zooms in on the star of this quiet and quite beautiful film. Forever standing on the periphery, a longing gaze captured by a long and lingering shot that never leaves his face, it is the “coward” and his portrayal by a rising star of an actor that captures the imagination here, and a performance of real maturity from one so young.
“Robert Ford” (Casey Affleck) A new recruit to Jesse James’ gang, Affleck’s portrayal of an outsider and an awkward loner always on the outside looking in is utterly mesmerising from start to finish. His nervous, shy ticks and traits are all present, but it’s Affleck’s looks and glimpses that steal the show, his eyes darting anywhere and everywhere to hide his shyness and his soft, trembling voice builds a picture of a young man desperately looking to impress his hero. A devoted reader of the now infamous annuals on the exploits of Jesse James and his family gang of bandits, Ford is desperate to ingratiate himself with the gang’s famous leader and his lifelong hero. His desperation to be a part of the gang and close to his hero is set from the very beginning and his conversation with Jesse’s older brother when he admits “Folks sometimes take me for a nincompoop on account of the shabby first impression”. Despite nincompoop being my favourite word, this in no way prejudices my scant choice of wonderful dialogue from this film. Oh ok, just a little! But the scene, and Affleck’s portrayal, is set early on, and the young actor never relents until the final frame of the film. A fully deserved Oscar nomination soon followed this performance.
Together with following Robert Ford’s view of the world, Director Andrew Dominik, together with the genius Director of Photography Roger Deakins capture his eyes brilliantly, focussing on them, following them and employing them as our eyes for the film. The film is almost shot through the prism of Affleck’s eyes. Mid-way through the film is a crunching gear change that encapsulates this brilliantly. A late night family dinner and a simple scene shot around a dining room table introduces us to Brad Pitt’s high mark in his portrayal of “Jesse James”. Holding court as he does so, recounting stories of old in his bullish way, it is however Affleck’s nuanced touches that impress. Teased mercilessly by the gathered family for his admiration of Jesse, Ford opens his heart on their character similarities and views on the world to which Jesse’s mocking replies to again hold court and dominate the conversation crush Ford to the brink of tears. Again employing very long, lingering shots on both men, the Director brilliantly captures both Jesse James mocking dismissal but more importantly (and longer shots) of Ford’s desperation not to break, cry or be seen to be affected.
Together with the fandom and longing to be accepted, it’s also clearly a love story of a younger man falling for the visage of the older man’s experience and bravado. When together yet among other gang or family members, Ford’s admiration of, and devotion to Jesse James is palpable. They also share eight joint scenes in the film, some are very brief and fleeting exchanges, four of which are briefly outlined below:
Ford: “I’ve already robbed a rail road train and I’m sitting in a rocking chair, chatting with none other than Jesse James”
James: “It’s a wonderful world!”
(1) This dialogue is taken from and accompanies the image that headlines this article, at the very end of this short scene too as it fades to a close, and brilliantly depicts the dichotomy of the scene itself. Both men have shared a cigar and many smiles yet with Ford so excited to be sharing a cigar with his hero and of sharing his love for the stories that surround Jesse James is cruelly cut short again, and looking crestfallen, the scene fades with a lingering look from James to his young protégé.
(2) Looking wistfully through a frosted window at his hero playing in the garden with his snakes, Ford approaches a now sullen and paranoid Jesse James. His nervous laughter giving away his emotions, his look of pride as the scene ends tells you everything. All with a backdrop of an unseen lady singing “Amazing Grace”.
(3) Believing himself unseen, Ford stands in the doorway quieting watching Jesse in the bath. Following the above exchange, Jesse wonders aloud if Ford wishes to be like him, or actually him. The scene ends with an audible sigh from Ford and a longing, lingering glance.
(4) A brilliantly lit scene follows of sepia toned yellow which is split into two segments by the intervention of Ford’s brother Charley. The first segment is James outlining their next job to Ford but equally challenging his faith in him, the second segment is Brad Pitt at his maniacal best.
“Jesse James” (Brad Pitt). As the film grows so does Pitt’s performance and whilst it is a superb performance and indeed portrayal, it is still overshadowed by his younger co-star. A still performance and one again shot through his eyes, as the early scenes depict a sparkly eyed alert Jesse James, his eyes piercing the screen, which later are replaced by duller, tired and more worn eyes. His cocksure, top of the world persona soon disintegrates into paranoia and of James’ darker, sadistic and psychopathic side. Always in control, sitting in judgement and weighing every situation before he responds, the long pauses before he speaks are pure anticipation and a mark of Pitt’s accomplished performance.
Supported by the wonderful (as always) Sam Rockwell as “Charley Ford”, Jeremy Renner as “Wood Hite”, Garret Dillahunt as “Ed Miller” and Paul Schneider as “Dick Liddil”, this male dominated film also has fine support from Mary-Louise Parker as “Zee James” and Zooey Deschanel as “Dorothy Evans”. There are also notable cameos from two of the giants of modern day cinema as Sam Shepard plays “Frank James” and the brilliant Michael Parks as “Henry Craig”.
A Scott Free/Plan B Production, with Ridley Scott, Tony Scott and Brad Pitt notable Producers or Executive Producers, a beautiful yet mournful musical score from Nick Cave and Warren Ellis, unsurpassed cinematography from the genius Roger Deakins and wonderful costume design from Patricia Norris, Director Andrew Dominick deserves huge plaudits for bringing this film together with a spectacular subtlety. Seemingly those two words don’t fit easily together, however after re-watching this gem they are a perfectly apt description. Relying heavily on the source material from the book of the same name by Ron Hansen, each character performance is a joy and even with a running time of 153 minutes, the film never feels that length, aided and abetted by the recurring dreamlike and surreal segues between scenes. Here, Director of Photography Deakins excels as the surreal flashbacks and flash forwards propel the film along quickly and interestingly so. The cinematography is a real stand out and Deakins was deservedly nominated for an Oscar for his achievements.
In a story of the life of Jesse James there is obviously violence, however it is surprisingly sparse and sporadic, and although graphically depicted is equally fleeting from the screen. To my eyes, this is clearly a love story of total devotion to another, of hero worship and the birth of celebrity mixed in the madness of late 19th Century life. A story of loss, regret and un-reciprocated love, and the death of an American icon. Far more than a standard Western adaptation, and a performance from Casey Affleck that astounds you every time.
Andrew Dominik — Three 21st Century Iconic films
“Chopper”, “The Assassination of Jesse James by the coward Robert Ford” and “Killing Them Softly”. All spoiler free!
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Thanks for reading. I hope this message in a bottle in The Matrix finds you well, prospering, and the right way up in an upside down world.
I've never seen more beautiful cinematography in a film than in The Assassination of Jesse James. A moving exploration on the American juxtaposition of celebrity and death deserves such a loving touch.