The plot in a very general and literal sense is somewhat self-explanatory, given the straightforwardness of the title; it recounts select events leading up to the death of the infamous outlaw Jesse James (Brad Pitt) by a member of his band named Robert Ford (Casey Affleck). The formation of the title is used for more than the purposes of catching the eye (“Lookit how long that title is, it must be a film of great import”); it’s actually a simple and clever way of setting up expectations for the film that will promptly be dashed to the ground and as well as serving to provide a sense of melancholic irony for the viewer upon reflection of the events of the movie.



It is perhaps pertinent to note, first off, that Jesse James is a dickhead. A lunatic and a dickhead. He is these two things and shows us quite overtly at the outset, dispelling any wonder as to whether the film means to glorify his villainy, which is very, very important to the integrity of the film. It doesn’t, in the least, depict him as a favorable character – what’s remarkable about this, however, is that it still manages to compel one to empathize with him. He is shown as a ruthless, tired, bedraggled thief, horrified by his own actions and resigned to the notion that death will undoubtedly find him soon. James’ moments of tormented and quiet introspection, his transient periods of overwhelming emotion and the completely subdued and unpretentious ways in which he conducts his affairs enables the audience to abhor and be terrified by his actions while still sympathizing, strangely, with the man who commits them. I would argue, though, that this film is not about Jesse James. It is of course, substantially devoted to his story and his character, but it is Robert Ford that is actually the center of the narrative.

Allow me to say, as a brief interlude, that I was very impressed by all of the acting in the film. Brad Pitt is pictured less frequently than one might imagine, given the fact that he is both the title character and, well, Brad Pitt, but when he is on screen he delivers James very well. His grittiness, his terror, and his sadness are all translated expertly with Pitt rarely having to say much. Steely blue eyes and intense stares do most of all of the emotions that James conveys with great effectiveness. The supporting cast does a tremendous job as well, particularly Sam Rockwell and the oh-so-heartbreaking Garret Dillahunt whose innocent horror tugged at my insides for the regrettably short period that he was onscreen. There is one actor, however, who stood out above all, and that is of course the incredible and underrated Casey Affleck, which brings us back around to the discussion of Robert Ford.

As I said earlier, the title, upon concluding the film, rings as ironic in retrospect – I refer entirely to the word “coward” preceding “Robert Ford” when I say this, because it is within Robert Ford that the majority of my sympathies lied. I of course spared some for the eternally saddening Jesse James, but whereas Jesse James was a distant and almost intangible figure (rightfully so), Robert Ford was flesh and blood with realism and a melancholy tune all his own. He idolizes the James brothers, particularly Jesse, endlessly; collects newspaper clippings about them, follows their adventures, and as a result of this desires a life of greater and more important things. He secures a spot in their gang and is finally able to actually interact with the man whom he holds in such high and glorious esteem. This adoration slowly shifts toward resentment, however, as Ford learns more about him and eventually wishes to transcend him; to become a figure more widely known and revered, which cements his decision to kill the legendary outlaw.



While this aspiration could be easily depicted as malicious and the man who holds it uninspired and shallow, the film does no such thing. Affleck’s performance of Ford is that of awkward, naïve admiration and fervent, misguided desire for a life of fulfillment and significance. He is the youngest of several siblings who frequently ridicule him and is looked at with resentment through the eyes of his sister. He boasts in a way that a child does and professes directly to Jesse James how much he admires him, like a young boy does to a long adored hero. His desire for more out of life is not a power hungry or absently conceived plot, but an honest and sincere dream. We are never led toward hatred for this man, for his circumstance is tragic and his life riddled with disappointment and regret. Particularly after Jesse is killed, when the film actually becomes the most interesting (in my opinion), we see the desperate turn that Ford’s life takes as James yet again steals the everlasting glory while Robert is painted, as the title proclaims, a coward and a murderer, when in reality he was fearful and ambitious. That’s the beauty of this film most assuredly. There is no pro or antagonist. This is not a story of blazing guns, or epic adventures, or villains and heroes. It is simply a story of men and the decisions that they make.

I spoke briefly of Casey Affleck’s portrayal of Robert Ford, but I don’t think it can be reiterated enough how wonderful, how surprising and how moving his performance was. Known most predominately for his small roles in the Ocean’s films and The Last Kiss respectively, this is an incredible demonstration of his capabilities as an actor that other films haven’t given him the opportunity to show. I was wonderfully impressed with him even before this film, but moreso now, and look forward to seeing his career progress.

Finally, before I go into the faults of the film, I would like to add two more things. One, it’s beautiful; the cinematography is lovely but in a very understated sort of way, meaning that the scenery and the setting is notably pretty but it exists to support the narrative and not to distract from it, which is very good. Two, and on a more personal note, Zooey Deschanel is adorable and her voice is gorgeous.



Now, unfortunately, to the bad aspects of the film. I want very desperately to say that this is an astounding movie, but it is not an astounding movie. It’s a good movie. I absolutely respect and adore the way that Jesse James and Robert Ford were portrayed; to this point I give unreserved gratitude and adoration. I am similarly compelled by the way the story itself was handled; that this was about two men and their humanity, not about Jesse James being a badass or Robert Ford being a dick, which it could’ve easily resorted to. It has artistic integrity, most completely, and its two greatest pieces of pride are (or should be) invested in the design and portrayal of James and Ford. Which is why I am wholly disappointed that it was not entirely centered on James and Ford and that the time they spent elsewhere was completely superfluous and not at all enriching to the narrative or to the characters.

If you asked about this film to your average movie goer, they would undoubtedly mention that it was long. It was long. Length does not, under any circumstances, immediately constitute a flaw within the movie, unless of course there is length added that does not need to be added. There were periods of the film that were unfortunately completely unnecessary, that threw the pacing off, and that made the movie feel incredibly lengthy and (especially to one of my friends that I saw it with) boring. Primary among these scenes involved one of Jesse James’ men, Dick Liddil, attempting to seduce another one of James’ men, Wood Hite’s, step-aunt. While this seduction does lead to a primary plot point, it is dragged on for a long amount of time for no evident reason. There easily could have been a subtle, suggestive glance inserted rather than a series of scenes dedicated to Dick’s seductive tendencies. It was simply unneeded and distracted from the focus of the film. There were several other moments that I’m sure could have been cut that I don’t recall because of how insignificant they were in the grand scheme of things. I don’t mind if a film is long; not in the least. But if length and time spent detracts from the more interesting and important focuses of the film, then I am somewhat unhappy.

There is also the subject of the narration that is occasionally implemented throughout the film. I didn’t like it at all right after I saw the movie, but in retrospect it wasn’t so horrible – to a point. There were certain instances in which the narration was simply unnecessary, particularly in the middle of the film, as usually all it was accomplishing was explaining things that the characters were doing while they were doing them. It fit well, I feel, at the beginning and end of the movie, but probably would’ve benefited from being cut elsewhere (as could be said for a substantial middle section of the film as well).



The film also had an unfortunate tendency to consistently tell rather than show, or show, and then tell, and then show again. Certain scenes were absolutely perfectly executed in this regard, such as the image of Jesse James crying against his horse, while some others were absolutely horrendously conveyed. We see James speaking to a man who we know, from the tension, he is going to kill, then later we hear him talking about killing the man, and then immediately subsequent we see him actually killing him. Completely unnecessary and rather distracting, and while these things might seem very minute when discussed in text, they are the significant difference between a “good” movie and a “great” movie. The Assassination of Jesse James by the Coward Robert Ford has incredible potential to be a “great” movie, but unfortunately fell somewhat flat in certain areas. It is completely worth it, however, if only to see Jesse James and Robert Ford’s respective stories unfold; I would recommend it on this aspect alone. If you do plan to see it, just expect length and occasional disjointedness, and if you can ignore these discrepancies, you will most certainly be able to enjoy the rest of the film.