American Gun

some people on this messageboard seemed to enjoy this movie, though i can't imagine why.

it's hardly cinematic; it tells its story in a very heavy-handed fashion. i couldn't believe my eyes at the sight of the first scenes that had dialog; not only were the lines really corny, but throughout the scene, each of the two actors (james coburn and virginia madsen) got a close up while delivering his line! even for utterances as negligible as "okay"! i didn't think such disregard for storytelling technique is even possible anymore, but there it is.

the movie did get a little better as it went along, thankfully, and delivered various flashbacks detailing coburn's history (on film) and the gun's owners' (on video) to liven things up a little. but the movie doesn't know how to deliver any insight into american gun culture. coburn's voice-over is comprised of his embarassing letters to his dead daughter(!). finally, a surprise ending negates most of the movie and leaves you with close to nothing.

as for coburn's performance... you won't hear me say a bad word about him, but i just can't praise his performance in "american gun". i assume his oscar for "affliction" was well-deserved (i haven't seen the film), but i don't see any awards (or nominations) for this one.

the storytelling style can best be described as "naïve", and that's the kind of movie-goer you have to be to enjoy the movie.

American Gun is a suitably elegiac and death-obsessed film that closed the career of James Coburn. It's a sometimes worthy, but never less than interesting story, starting as one thing and ending as another. It begins as one man's search for truth, and finishes as the truth about a man. Along the way, director Alan Jacobs (whose previous credits have been romantic dramas and comedies) fashions an interesting narrative, using flashbacks and reconstruction in ways that are dramatically intriguing and never distracting.

Coburn plays Martin Tillman, whose daughter Penny (Virginia Masden) is killed in a shooting. Martin, an infantry veteran of the Second World War, experiences vivid memories of combat and his youth - notably his meeting and early romance with his wife Anne (Barbara Bain, a face familiar from re-runs of TV's original Mission: Impossible) as well as the traumatic killing of a young sniper who shot his friend. At the same time Martin seeks to re establish contact with Penny's estranged daughter (Alexandra Holden) who, after blaming her mother for her father's desertion, has disappeared.

Martin's grief over loss, and one-man odyssey to find the owner of the gun that killed his daughter is what lies at the centre of the film. Elderly, and with his knuckles visibly distorted by arthritis, Coburn still has an undeniable screen presence, raising the film out of the ordinary, and gives a quiet authority which adds necessary gravitas to his search. Despite being predicated around a violent act, American Gun is a relatively subdued film, making points about weapon ownership, responsibility and guilt in persistent ways that, understandably, caused some irritation amongst gun-owning filmgoers at home. It also had the bad luck to be made as a change of administration, and then the events of September 11th, marked a sea change in American attitudes to arms. It is doubtful that a film, which plays so much on the social question of weaponry, would be made today.

Besides some wintry settings, there is an excellent score, the work of the underrated Anthony Marinelli, which enhances much of the film's tone. Marinelli's spare note clusters, floating in dead air as it were, emphasise the silence and loss in lives touched by the gun. They suggest how much grief isolates the central character from all but the most essential relationships, where he can only really communicate by writing letters to a dead woman. The epistolary nature of many of Martin's scenes, as well as the distancing effect of his flashbacks, remove him further from daily life and place him further in his self-absorbed quest. ("He's on a crusade," despairs his wife at one point.) Martin's dedication to his search is also counter-pointed by a crisis in faith: "I still believe in God," he says during a glum meeting with a young pastor, "but I don't know what to make of him." Given the nature of Martin's grief, the churchman understandably finds it hard to offer more than passing support.

American Gun is apt title. It refers both to a weapon, as well as the name of the company manufacturing the offending item (Its factory of the same name is the first place Martin visits). Like something aimed and fired itself, Martin's single-minded journey transcribes its own trajectory, until it reaches its mark. Along the way we discover the gun's history: as an instrument of death in the hand of an abduction victim, a means of revenge for a jealous youth, and so on. The gun has taken more than one life and, the film suggests, is typical of such items passing through so many hands. Whether or not one takes this simplification at face value is down to the position held on gun control. Meanwhile the film benefits from an avoidance of hectoring, and a script that demonstrates the casual dissemination of small arms, as well as the numbing effects of their misuse.

Jacob's film recalls the similar premise explored in John Badham's The Gun (1974), an above average TV movie in which another firearm was followed from cradle to grave, although here the irony is of another sort. In Badham's film the piece is only fired once (at the end) for instance, while Jacob's weapon is used several times. American Gun also has a more complicated structure, the filmmakers using a combination of narrative and filmic methods to show the effects of gun violence on individuals. It is also has a clever twist in the tale, one which accords the hero greater tragic status as well as forcing us to reinterpret events. This ending, while the film still tends towards the episodic, reaffirms Martin's central role and allows the peculiarly penitential nature of his quest to be explained.

There's nothing about the film that wouldn't sit just as comfortably on the little screen as on the big, but it rarely drags and sustains interest. Those who seek the dynamism of most films explicitly associated with weaponry will be advised to look for thrills elsewhere. Those who'd enjoy a quiet, well made look at a perceived American blight, as well as those wanting a last glimpse of a memorable Hollywood star still at work, should check this out.

"American Gun" is all about an elderly man (Coburn) who goes in search of the owner of the handgun used to kill his daughter. A nominal film in most respects, "American Gun" uses a lame ploy to whet interest by excising important scenes from the front end of an ordinary linear story and then pasting them on the tail end so as to create mystery where none exists while providing a reward for sitting though the uneventful bulk of the film. The result is a disappointing par flick which has little more to offer than a modicum of entertainment and a last look at James Coburn. Reminiscent of "All the Rage". (C+)

JAMES COBURN bowed out like true star in AMERICAN GUN, a strange, yet rewarding cross between ON GOLDEN POND and THE LIMEY (with shades of THE CROSSING GUARD). And for once (oh well, maybe twice) COBURN does not come accross all smooth, cool and calm. He is very human, and is capable of making mistakes (one rather big one, it turns out!) and the director only gives you as many clues as he wants, so that when the events playback in sequence (and only in that order) does the viewer, fully understand the whole story. The final shot of COBURN, all bitter and twisted, yet slightly redeemed, is rather haunting COBURN asside, every performance in this movie is spot-on. The ever gorgeous VIRGINIA MADSEN especially effective, in the few scenes she's in. Once again, i cannot praise this fine movie, but it must be watched till the end (and in one sitting) to be truly appreciated. Oh well, JAMES COBURN, your 'star' will continue to shine on in heaven. But back here on earth, you shone also. You left the world, a better place than when you first found it.

10 out of 10

James Coburn is an actor who has proven his worth by his

longivity. I have admired his work since I was a kid. My admiration

continues. He was awesome in Affliction and no less awesome in

American Gun. This story is very inventive in its telling. It utilizes the device of

flashback better than any film in recent memory. It has also,

through its multiple story line, enabled to include in its cast a

variety of minoroty actors and strong female roles. The issues that

are tackled are well examined. War, male rites of passage,

father/daughter, parent/child relationships, faith and forgiveness to

name a few. And it manages to not give away its ending. I highly

reccomend this film.