The Assassination of Jesse James by the Coward Robert Ford [15]

Artfully crafted but ultimately unsatisfying. The meticulous set and flawless photography completely enwrap the the viewer in this forlorn recreation of the 'wild west' and the almost-mythical character of Jesse James. The landscape plays a strong part in describing the psychological isolation of Brad Pitt's chilling outlaw and every scene is achingly portrayed to the finest detail.

However the film seems to struggle to get beyond this.... each event is tacked on to the next without a sense of dramatic construction and the very matter-of-fact narration gives it a documentary feel. Indeed, alongside the very theatrical cinematographic composition it often made me think of some 're-enactment' on the UKTV History channel... interesting, but not emotionally captivating. Despite strong performances by all of the cast they seem wasted, mere colouring to the otherwise dry sequence laid out by the narrator. Some comedy here, some romance there... but the script seems to lack cohesion or direction.

The tension builds and wanes until you're left wondering when the film's 'point' will actually be made. To me it seems that this doesn't arrive until the last half hour, whilst the preceding 2 hours are spent 'setting the scene.' I wasn't bored because the elegance of the production kept me in expectation of some profound resolution, but I did walk out at the end feeling a little cheated (and baffled by the farcical Nick Cave cameo, who's soundtrack is otherwise suitably moody).

Worth a look, but don't expect to learn much beyond the fact that Jesse James was killed by the coward Robert Ford.

Michele Cavazzini (DI Reviewer), 03/12/07

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Casey Affleck talks to Daily Info about getting into the mind of the coward Robert Ford – and of the importance of long johns.

So, do you see your character – Robert Ford – as a coward?
No. I have a lot of affection for Robert Ford. I don’t think he was a coward at all. He goes from being a star struck kid who idolizes Jesse James to actually meeting him, robbing a train with him and forming a friendship with him. Then that relationship gets convoluted and, ultimately, he has to kill him.

Was it the complexity that attracted you, then?
It’s a rich role. And I was both thrilled and intimidated at the prospect of playing it. I’d seen our director Andrew Dominik’s film Chopper ten times and was a big fan. I would have played any part he offered but luckily he asked me to play the part I wanted most.

So how did you go about getting into the character?
I tried to think like Robert Ford. There isn’t a lot written about him but there’s a lot written about Jesse James. And what was most important to Robert Ford was Jesse James! So, to get into his head, I had to learn everything I could about Jesse, all the accounts and the novels Ford grew up on that fueled his fantasy life. Once I was mindful of that level of devotion, it influenced everything that Ford said and did on screen.

He certainly seems to have been a messed-up sort of kid.
I can’t remember seeing a character that approaches the kind of messy complications of human life. Ford goes to Jesse’s brother Frank first and tries to charm him, to pass himself off as someone completely guileless and worthy of riding with the James gang and Frank dismisses him. The look that Sam Shepard [as Frank] gives me, that mixture of boredom and contempt would be enough to discourage anyone – but not Ford.

Apparently you used a photo of Robert Ford in your preparation. How did that help?
There’s a lot you can tell from a photo. It fills in some of the blanks. There’s something in his posture and the way he holds his gaze that conveys a certain attitude. I went to that photo quite often for inspiration.

And you went to Canada too to film some of the winter scenes. What was that like?
I’m from Boston and no stranger to cold weather. But this was like an arctic blast, every morning and night. Good thing that long johns were part of the period wardrobe. I could have layered 15 pairs!

Glenn Watson (DI Reviewer), 29/11/07

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A long title for a long film. But don’t be put off - even if you don’t like westerns, because this isn’t one. Beautiful and poetic, thoughtful and mesmeric, Coward is a masterful study of a myth and a man. The myth is Jesse James, outlaw and folk-hero. The man is Robert Ford, the puppy-dog follower who shot James in the back.

Based on the novel by Ron Hansen, Coward’s literary leanings are clear from the title. But director Andrew Dominik’s master-stroke is his ability to portray the characters through landscapes as well as their lines. And Brit-born cinematographer Roger Deakins shoots the changing seasons with a melancholy naturalness.

Deakins’ photography and composer Nick Cave’s thrumming score are as important as Brad Pitt’s performance as James or Casey Affleck’s as Ford. And a supporting cast including Sam Rockwell as Ford’s elder brother adds depth to what is - in the truest sense - a great film.

The James gang ruthlessly rob a train and Jesse’s exploits capture the imagination of the public. But as the bounty on him rises, he suspects his followers may not be as faithful as they seem. Only the doe-eyed Robert Ford seems true, aching for a front-row seat alongside Jesse. But ultimately it’s Ford who turns, tired of James’ insincerity.

The stuff of tragedy, Coward is an engrossing portrait of two men. But it’s also a lyrical study of the sourness of soul when myths unravel and dreams are broken. James is a psychotic thug and Ford’s awakening to Jesse’s disinterest in him is painful and, almost, heartbreaking. You can’t help thinking Ford did the world a favour. But the tragedy doesn’t stop there.

And therein is the film’s only flaw. Attempting to be definitive, Coward adds too many endings to a movie that’s already made its point. But this is Robert Ford’s story – not that of the iconic James, and Casey Affleck is nothing short of outstanding. His unctuous, eager to please grin and dark-eyed despair are only the surface of an utterly complex performance.

Coward is a film with a remarkable pedigree. Its cinematographer shot The Shawshank Redemption and some of the Coen brothers’ best. Brit-brothers Ridley and Tony Scott produced it. Who’d have thought, though, that music video director Dominik, with only one film to his name, could create this – an almost masterpiece.

Coward may be a long film. But the sense of period, the power of the performances and the physicality of the photography are well-worth it. You’d have to go a long way to find a film as good as this.

Glenn Watson (DI Reviewer), 28/11/07

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