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THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD. Dir Andrew Dominik. 2007

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Immeasurable gloomy, the length of the title and the running time of 2 hrs 39 mins give pretty strong indications - it’s too long and too slow. However easy on the eye Brad Pitt may be, close ups of his face and that of Casey Affleck as Ford fail to illuminate a tedious and near incomprehensible movie. Strong on atmosphere and weak on story, interminable shots of snow, winter landscape and bleak interiors are overlaid with voiceover historical narrative which make the heart sink. We could go and read this stuff for ourselves.

What could have been an interesting psychological profiling of the lead characters is instead dreary. Contradictory behaviour gives clues to James’ psychotic state - he talks about suicide and feeling depressed, is coldly violent then almost maniacal. There are also demonstrations that he is a ruthless killer - but he’s quite nice really because he plays with his children and is affectionate towards his wife. Following the savage beating of a teenage boy he leans against his saddle and cries, at which point I’d have happily shot him myself, and it’s not clear whether we are meant to sympathize with him or understand him. His psychological torment seems to lift as Spring approaches and the passing of the winter is a reminder that we have only spent a few months with these characters but it feels like years.

As a biographical drama, Jesse James remains enigmatic and unreal. A mythical character, about whom some things are known, while much is legendary and false, this film has nothing to add. Pitt deploys occasional charm and a roguish smile but this is a loathsome role for him to play - James is repellent. Although Ford’s obsession with James is creepy, and his small, broken and wheedling voice drives me almost crazy, his treatment as a runt, and the butt of all jokes makes him pitiful. He is overlooked, underestimated and resentful but that doesn’t make him any more likeable. Killing Jesse James is his one chance to be effective.

The highlight of the film is the intensely atmospheric train robbery, night scene camerawork and lighting. Despite the brevity of his appearance and dialogue, Sam Shepard (as brother Frank James) provides dignity and gravitas, and the promiscuous Dick Liddil brings the only warmth to a comfortless few hours.

Editing could tighten things up but, without audience identification, a good story, visual delights or a compelling soundtrack, there’s not much to keep you in your seat.
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