Die Ermordung des Jesse James durch den Feigling Robert Ford

Wow, does this film have style or what? The Assassination of Jesse Jamed by the Coward Robert Ford, is one of the longest titles I've ever seen for a film and the movie's run-time follows the same pattern. I have no problem with this. I would sit through a ten hour "Jesse James" because of the excellent tone given out by director Andrew Dominik. The frozen Missouri/ Kansas landscapes are a treat for the eyes. The musical score does its job: to blend into the film so subtly that I cant imagine the images on the screen without it. The narration neither detracts or adds to the tone, although there is one bit of bad editing that confused my friend as to whether the narrator was speaking or a man's voice had been dubbed poorly.

"Jesse James" delves deep into the inner conflicts and emotions of every character. We live with them, eat with them, and often feel their pain or their confusion. This confusion is often associated with the bi-polar nature of the film's central character, Jesse James, played by none other than Brad Pitt. Casey Affleck delivers a subtle performance here that actually becomes the most effective as the film progresses over its 160 minute running time. I hated Robert Ford for a good portion of the film, thought he was so annoying and clingy that it was a wonder Jesse James didn't kill him within the first day of their complex relationship. But then, as I sat through the so called "gruelling" running time of the film, I learned to feel for him and understand his motives and attraction for Jesse. But ultimately, his childhood, comic book worship of the famous outlaw changes.

The "style" of the film is evident in the first frame of passing clouds. Roger Deacon's cinematography is the best I've seen since Conrad Hall's work in Road to Perdition, perhaps better. He is definitely winning the Oscar this year, between this and No Country For Old Men. There is a scene involving a train robbery where the visuals and utter style blew me away. The lighting and camera direction becomes more subtle and less noticeable after the train scene, but, does not lessen in quality and pure artistry. There is a topic on the IMDb message boards approaching the topic of whether certain films should be labeled "art films." Well all films are works of art, some are horrendous, some are extraordinary. Well, The Assassination of Jesse James by the Coward Robert Ford is an extraordinary work of art.

If you have watched the trailer and know this movie is two hours and forty minutes long you know what you are getting into and should not be disappointed. This movie delivers on every level of film making, be it cinematography, acting, or writing. Casey Affleck delivers a fantastic performance in how he portrays Robert Ford as the bright eyed fawning kid in a way so sincere it makes the audience uncomfortable even when it shouldn't. Brad Pitt underplays his part as Jesse James hitting all the right notes while never saying much. Exactly the way one would expect an outlaw to act when they have everything in the world to hide. I can't say the movie didn't FEEL two hours and forty minutes long but I never wanted it to end sooner than it did. I guess I just enjoyed the time I got to spend watching these characters for the full running time.

I loved this movie. Unfortunately, a long western without action is something seemingly impossible to sell to the public these days. It would be to the advantage of the studio to sell this like The English Patient was sold 10 years ago. Just make people feel like ignorant idiots if they don't like it! As much as it pains me to say it, I think most people don't care enough to bother seeing what makes this movie so great. The only other option to make this a success is to fool them into THINKING they love the movie. I'm really curious how many folks out there that like the movie agree with me here.

Andrew Dominik's The Assassination of Jesse James by the Coward Robert Ford, is a deliberately paced, stunningly visualized, and emotionally charged exploration of the early development of mass media celebrity in America. The film riveted my attention for two hours and 40 minutes, and has remained on my mind for several days after my viewing. Although centered on one of the iconic legends of the Old West, it is far beyond an updated reincarnation of the Western. It is an epic allegory about the development of the American cult of celebrity and the effects of this obsession on the individuals caught in its web.

Visually, the film soars beyond anything that has hit the screen since Conrad Hall's final masterpiece with Road to Perdition. Roger Deakins, the cinematography genius behind The Shawshank Redemption, Kundun, and all the Cohen brothers" films since The Hudsucker Proxy, surpasses his best work. He pulls out all the stops here—intricately orchestrated changes in focus, richly textured colors, dazzling use of light sources, careful manipulations of time, powerfully significant fade-ins and fade-outs, and shots through rain, snow, and rippled old glass—to communicate the story. Deakins' contribution stands out in the railroad train robbery sequence at the beginning of the film. Clearly defined, flickering light sources and deep black shadows create a dazzling, nightmarish vision that haunts the rest of the film. This sequence alone is worth the price of admission.

The richly textured, historically precise visual aspects of the film bring to mind Terrence Malick's Days of Heaven and Robert Altman's McCabe and Mrs. Miller. However, instead of the understated, "realistic" performances featured in those films, The Assassination of Jesse James…showcases powerful, yet still realistic performances by an outstanding ensemble cast.

Sam Rockwell, as the not-too-bright but well-meaning Charley Ford, and Mary-Louise Parker, as Jesse's loving wife, stand out. Yet the film belongs to the two titular leads, both of whom deliver the performances of their careers and create characters filled with disturbing contradictions. Brad Pitt's Jesse James is alternately pitiable and terrifying—an affectionate, loving father, an old-before-his-time sage, an adventurous daredevil, an unrepentant bad boy, and a vicious sociopath. Casey Affleck's Robin Ford is a complex, repellent, and tragic character who challenges the audience's complicity in the undercurrents of the film.

All in all, this is a great film—not for those seeking the simple pleasures of instant gratification. But definitely worth the attention of those who still believe that movies are an art form.

From writer/director Andrew Dominik comes the long titled and lengthy timed The Assassination of Jesse James by the Coward Robert Ford starring Academy Award nominee Brad Pitt and Casey Affleck. The film in so much of its glory has both positive and negative components that make this an uneasy experience at the movies.

Director Dominik has great control of the picture but when the film went into the editing room the film underwent some problems. The film never keeps the momentum to be an amazing picture. The viewer is connected for the first 15 minutes, then bored for 10, then enchanted for 45, bored for 15, then comes the anticipated climax and you think its over, then it goes on for another half hour. Dominik gives the audience the best understanding of Jesse James possible so we can become better acquainted with him but brings in an slew of different characters that, to be perfectly honest, I don't care that much about. I believe this might be a example of over character development where we get all the aspects of his life but all we want is Jesse.

Last year, many critics were stating Brad Pitt gave his best performance ever in Babel however, his Jesse James is the best performance of his career by a mile. Pitt wears Jesse like an overgrown coat that you don't want to get rid of. Pitt gives the most tortured, endearing, and frightening performance of the year thus far. He makes the audience so uncomfortable and awkward yet gives off sensitivity and compassion for a very unlikable and ferocious man. If buzz builds, expect Pitt to be a huge contender at the Oscars.

Casey Affleck, arguably the better actor of the Affleck clan gives the most pathetic, annoying and cowardly performance in the last ten years; and its brilliant. With his deep "admiration" for Jesse, his Robert Ford is engulfed in Jesse's presence and wants enjoy the moments with him, even if he is in fear of him. The finale is truly his show as he stretches out his acting legs and dissolves into a character you can't wait to see off-screen.

The cast ensemble is a true revelation as each character as over-developed as they might be, all bring a sense of humanity, charisma, and heartbreak to their roles. Sam Rockwell who is on the verge of being a household name and coming his way to a nomination one day plays Charley Ford, brother of Robert, as magnetic as the character demands. Mary Louise Parker, who is one of the better actress' working today, goes nowhere as Jesse's wife. This is a role that is very Academy friendly, and throws it away in a her limited screen time Sam Shepard who plays the older brother of Jesse, shows fear and anguish built up in a man who yearns for emotional freedom from crime. Paul Schneider, Jeremy Renner and Garret Dillahunt all turn in exceptional performances and enhance a cast of big name stars. Expect a possible Screen Actors Cast Ensemble nod for these men.

Expect a possible and much deserved cinematography nomination for the overdue Roger Deakins, which is the strongest technical aspect of the picture. Also a great score by Nick Cave and Warren Ellis is a possibility along with great costumes by Patricia Norris and perfect art direction by Janice Blackey-Goodine. The appeal is there for the film as a whole but it leaves us floating a little too often in a long river of bravery, artistry and commendation. Dominik will likely be cited for some breakthrough director awards with the picture popping up during precursors' season.

Get ready for the assassination everyone knows is coming but no one can prepare for. Never has been a film that tells you the entire story in the title and can still surprise the viewer with beautiful cinematic moments.

Grade: ***/****

"The Assassination of Jesse James by the Coward Robert Ford" is a handsomely mounted, film-school like study of the last days of the infamous James' Gang by director Andrew Dominik. Growing up in awe of Jesse James (Brad Pitt), Robert Ford (Casey Affleck) finally gets to live out his dream of living side by side with his idol when his brother, Charles (Sam Rockwell) joins the gang. Young Robert quickly learns that the exploits of the murderous train-robbers are far from the exciting flights of fancy he grew up reading about in newspapers and dime-store novels. A series of cowardly acts in the wake of double-crossings and humiliations ultimately lead to the titular event.

The style of the film is often visually arresting and downright disturbing, especially in the acts of violence, which leave the most gruesome parts slightly off camera, but are frequently shot and framed in such a way as to maximize shock value and leave an uncomfortable feeling of tension in the theater seats. Dominik sometimes relies too heavily on voice-over narration torn straight from the book upon which the film is based leaving us to assume that aside from dreadfully beautiful photography of passing clouds and desolate Midwestern landscapes, he wasn't always sure how he visually wanted to tell the story. This leads to a sometimes snails' pace as the plot unfolds, though the haunting Oscar-worthy cinematography from Roger Deakins and mesmerizing music score from Nick Cave and Warren Ellis eventually get under your skin even as the hands of the clock seem to move slower as if stuck in a pretty photograph of a nightmare.

The acting in the film is superb from all involved. However, the performances often blur the line between caricatured scenery-chewing and emotional nuance (especially from Pitt and Rockwell). While there is some entertainment to be found in the lighter scenes of camaraderie amongst the gang members, the audience never really feels anything for the characters aside from sharing their sense of paranoia and fear knowing that around any corner someone will be betrayed and shot. The film also suffers from some scene stealing cameos from James Carville as the governor hell-bent on catching Jesse and the otherwise lovely Zooey Deschanel, who appears out of nowhere for a few moments about ten minutes after the film should have rightfully ended.

When the credits finally rolled, I wasn't sure what to make of the film. There's some unforgettable imagery (my personal favorite being the almost surreal depiction of the cloth-masked robbers waiting in the dark woods as the train comes roaring down the tracks), and many commendable artistic elements to be found in the film. If the idea was to leave the audience feeling the era showcased was a tension-riddled and violently lonely existence, then the film succeeded wonderfully. Those seeking a more pure entertainment will most assuredly be left stressed and stretched to their limits.