The acting isn’t phenomenal or anything, but it’s still
pretty decent. There might need to be an embargo put on Natalie Portman crying
on camera again, as it gets kind of painful for all the wrong reasons at one
point, but otherwise she does well as the continuously underestimated Jane.
Maybe it’s from seeing her work with The Lonely Island, but her playing the
badass isn’t that difficult to grasp once things get started here. Edgerton
further shows how easily he can slip into different genres, as he wears the hat
of a Western quick shooter like he’s already been typecast. He even manages to work
with the somewhat tepid dialogue he’s been given, which considering he helped
write it is hardly surprising.
Emmerich spends most of his screen time (what little of it he gets) bedridden and crippled, and yet he still manages to give this definite sense of chemistry with Portman and even has a couple of silent acting moments with Edgerton. McGregor... look, I really like the guy as an actor, but this isn’t his best work by a long shot. He does alright as the gang leader, but he comes across a little too gentleman-ly to fit alongside his cohorts, who go by such colourful names as Cunny Charlie and Slow Jeremiah. Maybe if they played up the polite assassin angle, his casting might have worked out better. However, considering Michael Fassbender was originally slated for his role, someone whom has already shown that he can play the amoral headhunter in this kind of setting, this feels like a serious letdown compared to what could have happened.
Emmerich spends most of his screen time (what little of it he gets) bedridden and crippled, and yet he still manages to give this definite sense of chemistry with Portman and even has a couple of silent acting moments with Edgerton. McGregor... look, I really like the guy as an actor, but this isn’t his best work by a long shot. He does alright as the gang leader, but he comes across a little too gentleman-ly to fit alongside his cohorts, who go by such colourful names as Cunny Charlie and Slow Jeremiah. Maybe if they played up the polite assassin angle, his casting might have worked out better. However, considering Michael Fassbender was originally slated for his role, someone whom has already shown that he can play the amoral headhunter in this kind of setting, this feels like a serious letdown compared to what could have happened.
This is yet another escapee from the Black List, a yearly
round-up of the most popular screenplays that hadn’t yet gotten picked up.
Sure, utter crap like Pan, Self/Less and Sex Tape also populate those lists,
but despite that, I still have to ask what exactly about this script warranted
such attention. Maybe it’s as a result of the production issues this film has
gone through, with pretty much every role involved being filled and re-filled
since production began in 2012, but this feels extremely stripped down. I’ll
admit, I’m going into this not being all that crazy about Westerns to begin
with and this film doesn’t really add much flavour to the setting. Bounty
hunting is a central aspect of the plot, said hunters are casual misogynists
and rapists in equal measure, and the film ends in a big ol’ shoot-out. It
doesn’t carry any of the darker humour of Slow West, the witty dialogue of The Hateful Eight, the visual majesty of The Revenant or even the philosophical
tones of Far From Men; instead, it plays all of the very trope-y elements of
the setting relatively straight. I’d put a bit of blame on Edgerton for falling
on the writing front, but much like everything else, he was brought in at one
point and it didn’t originate with him. Instead, it involved him doing a
re-write of Brian Duffield’s original script along with Anthony Tambakis. Given
how Duffield had a hand in writing Phase Two in Incoherence, otherwise known as
Insurgent, I’m not exactly annoyed that it got re-worked.
So, what does this
film have? A love triangle. As I take a very
deep breath to compose myself at how this kind of story should not be in a
production this scattershot behind the scenes, I will instead look at how this
love triangle follows along with so many others before it. In that it is quite
weak and predictable. First off, when one-third of the romantic side of things
is bedridden and dying for the majority of the film, it’s kind of obvious how
it will resolve. Secondly, we get a lot
of bickering between Jane and Dan which is ultimately something better suited
for a bog-standard rom-com, only with more of a frontier vocabulary. And
lastly, a lot of said bickering and a hefty amount of the romantic subplot
overall relies on the old staple of “You abandoned me!” “No, you abandoned me!”, which is about as necessary to a story as the characters
looking for a literal white elephant. These discussions didn’t work in Winter’s War, and they certainly don’t pass muster here. What makes it hurt worse is
that this is pretty much all that goes on for the majority of the film. If it
isn’t showing flashbacks to Jane and Dan’s past relationship, it’s very, very slowly
setting up the ending fight scene. No real character moments, which you’d think
Edgerton would have injected in with the re-write; just chess piece
storytelling. Blerg!
Well, that’s in terms of what the film keeps consistent
throughout. There are traces of something else that could have potentially made
the story more interesting, maybe, in the form of the way it portrays women in
the setting. Not just Jane, but women as a whole. It basically boils down to
how women were treated as property, and Jane asserts herself as something
stronger than what is typical for a Western. This admittedly culminates in a
rather powerful ending, showing that Joel’s knack for intense finales shows
through even in films like this, and she does get a few self-assertive moments
here and there. However, why this doesn’t end up working is due to one of the
bigger issues with the screenplay: These characters are pretty much
nonexistent.
A pitfall that an unfortunate number of writers fall into with writing for films is that they characterise people solely based on their relationships to others. Jane is Dan’s ex-fiancee and Ham’s current wife, Dan has a grudge against Ham for taking his woman away, John wants to hunt after Ham, etc. None of them exist as actual people in their own right; they only have importance when in conjunction with someone else. Because of this, aside from the dramatic moments mostly falling short, the attempt to show Jane as more than just property is sabotaged by how, unfortunately, she is just property. Specifically, she’s property of the filmmakers and only exists to fulfil the story they have set out. Yes, this is the case for pretty much every character ever created, but most writers know well enough to obscure their sole reason to exist with a personality that makes their actions worth watching. Here, aside from the aforementioned ending where Jane’s power finally comes into bloom, there’s nothing of the sort to be found here. Maybe if that feeling at the end was carried through the entire film, it could’ve worked out, but I imagine I’m not the only person who wound up fixating on what might have been with this feature.
A pitfall that an unfortunate number of writers fall into with writing for films is that they characterise people solely based on their relationships to others. Jane is Dan’s ex-fiancee and Ham’s current wife, Dan has a grudge against Ham for taking his woman away, John wants to hunt after Ham, etc. None of them exist as actual people in their own right; they only have importance when in conjunction with someone else. Because of this, aside from the dramatic moments mostly falling short, the attempt to show Jane as more than just property is sabotaged by how, unfortunately, she is just property. Specifically, she’s property of the filmmakers and only exists to fulfil the story they have set out. Yes, this is the case for pretty much every character ever created, but most writers know well enough to obscure their sole reason to exist with a personality that makes their actions worth watching. Here, aside from the aforementioned ending where Jane’s power finally comes into bloom, there’s nothing of the sort to be found here. Maybe if that feeling at the end was carried through the entire film, it could’ve worked out, but I imagine I’m not the only person who wound up fixating on what might have been with this feature.
All in all, yawn. I really don’t have a whole lot to add
aside from that. The acting is alright and there are one or two moments that
definitely sink into the brain, but otherwise this is a pretty by-the-numbers
Western peppered with bits of by-the-numbers romantic drivel. Given the
production history of this thing, I’m willing to cut Joel Edgerton some slack
on the writing front, but it’s still disheartening to see this, especially
after something as powerful as The Gift.
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