Jane Got a Gun

JANE GOT A GUN (Gavin O’Connor, 2016)

Jane Hammond (Natalie Portman) tends to her bullet-riddled, fur-trapping husband Bill (Noah Emmerich), but it’s only a matter of time until the Bishop Boys find and kill them at their home secreted on the New Mexico Territory’s frontier. In JANE GOT A GUN she hides their daughter with a friend and goes to gunslinger Dan Frost (Joel Edgerton) to hire him for protection. Jane and Dan are former lovers who were engaged to be wed when he returned from the Civil War. He still nurtures a resentment after coming back to discover she fled from their Missouri hometown and has taken up with another man. That she replaced him with Bill, whose head carries a bounty from the law and the local gang, wounds him even more grievously. Despite his objections, Dan agrees to assist Jane with fending off John Bishop (Ewan McGregor) and his scurrilous band of men.

To say that JANE GOT A GUN had a rocky road to get into theaters is like comparing traveling by wagon train with flying on the Concorde. Within days of the production’s start it lost two leading actors and the original director. One of the replacement actors eventually withdrew too. Edgerton switched from playing the villain to the hero. The actual release date ended up being almost a year and half after one was announced when the dust settled over cast and crew defections. Plus, a distribution partner went bankrupt.

None of that matters in terms of determining if the finished film is good or not, but it helps to explain why JANE GOT A GUN feels so ragged. The film is often at odds with itself. Director Gavin O’Connor attempts to incorporate the feminist point of view and lyrical style with the traditional western plot but comes up lacking a distinct perspective, poeticism, and narrative fluidity. The nonlinear structure does the story no favors as it ping-pongs between 1871 and the recent past for the characters. With minimal scenes McGregor’s Bishop gets lost in the shuffle, standing in as a monstrous villain known for the fearsome way he’s spoken of more than any impression he leaves. The tension between Jane and Dan suffers as well. Rather than flashbacks adding to the sense of tragedy in their relationship and the triangle, the scenes from a few years before merely fill in the blanks that the film has left unanswered until those points. The ending definitely does not seem earned.

Although afflicted with dullness, the film revives momentarily with Dan’s ingenuity in trying to level the fight between the vicious attackers and the badly outgunned and the initial outburst on the Hammond homestead. Still, as so-called cursed films go, JANE GOT A GUN is notable for being so ordinary in its flawed realization.

Grade: D+

The Hateful Eight

THE HATEFUL EIGHT (Quentin Tarantino, 2015)

A snowstorm is blanketing the Wyoming landscape in white in THE HATEFUL EIGHT when Major Marquis Warren (Samuel L. Jackson) stops a stagecoach in the hope that he might catch a ride to Red Rock and get out of the elements. After the Civil War, Marquis became a bounty hunter. He has three bodies stacked and ready to be cashed in if he can find transportation. To get on the stagecoach he must persuade John Ruth (Kurt Russell) that he means him no harm. John is known as The Hangman because he doesn’t kill his bounties but rather waits to see them strung up by their necks, and he’s not too eager for company due to the fact that he is cuffed to Daisy Domergue (Jennifer Jason Leigh), whose bounty will fetch the high price of ten thousand dollars.

As it so happens, Marquis and John are acquainted, thus granting him a seat. On their way they also reluctantly pick up Chris Mannix (Walton Goggins), whose claim to be the next sheriff of Red Rock is greeted dubiously considering his involvement with a notorious southern militia during the war. With the bad weather increasing, they stop at Minnie’s Haberdashery, where they find Bob (Demián Bichir), who is watching the place in Minnie’s absence; Oswaldo Mobray (Tim Roth), the hangman en route to Red Rock; Joe Gage (Michael Madsen), a cowboy headed home; and General Sandy Smithers (Bruce Dern), an old Confederate in search of his missing son. Distrust and dislike runs high among this bunch of scoundrels, but whether they like it or not, the heavy snow requires they share the shelter.

Writer-director Quentin Tarantino confines this nefarious octet and waits patiently for them to kill each other. THE HATEFUL EIGHT filters Agatha Christie’s mysteries through Tarantino’s distinct sensibilities regarding violence, dark humor, cinema history, and savoring of language. In effect it is a chamber drama, just one that is bloodier, more vulgar, and angrier. It’s also as though he’s stretched the farm interrogation scene from INGLORIOUS BASTERDS into a three-hour plus film of its own. While the majority of THE HATEFUL EIGHT is bound to a single location, Tarantino finds numerous ways to explore the space and present those occupying it while keeping plenty of room for the unexpected. Much has been made of Tarantino shooting the film on 70mm and in a 2.76:1 aspect ratio, which some have shrugged off as overkill, but the wider frame and increased picture clarity are crucial to the actors’ blocking and detail awareness.

Tarantino’s preoccupation with screen violence is complicated and, depending on one’s perspective, problematic. As in his other films, he treats the bloodshed as something pleasurable to view and abhorrent, often concurrently. Perhaps more than anything else he’s made, THE HATEFUL EIGHT is concerned with that contradiction between our best and worst impulses, except here it’s under the guise of considering the difference between justice and frontier justice. If the title doesn’t make it clear that the characters are not good people, their actions should, yet it’s hard to resist the enjoyment in watching these silver-tongued devils behave horribly. Call such an attraction to depravity original sin if you like. As depicted in this film it’s very entertaining.

Extracting a clear thesis from THE HATEFUL EIGHT is a fool’s errand, although Tarantino seems to have followed DJANGO UNCHAINED with another exploration of this country’s racial history reflected in the present. Marquis’ Lincoln letter is a fantastic device for showing how he can pass in a society that is largely unaccepting of him because of his skin color. His anguished cry of “wake up white boy” near the film’s end echoes across the generations. With Tarantino’s work the subtext tends to be secondary to more immediate satisfactions and more muddled too. Still, it’s hard to ignore the seething rage in THE HATEFUL EIGHT behind the humor and impeccably lit images.

Grade: A-

Ain't Them Bodies Saints

AIN’T THEM BODIES SAINTS (David Lowery, 2013)

The latest armed robbery by husband and wife Bob Muldoon (Casey Affleck) and Ruth Guthrie (Rooney Mara) goes south when it leads to them and their partner getting holed up in a shack shooting it out with the cops in Texas hill country.  In the exchange of gunfire their accomplice Freddy (Kentucker Audley), the son of their criminal mentor Skerritt (Keith Carradine), is killed while Ruth wounds police officer Patrick Wheeler (Ben Foster).  The outlaws have no choice but to surrender, and Bob accepts all of the blame to keep his pregnant wife from also going to the penitentiary.  Although they are being forced apart, he promises he’ll be with Ruth and their unborn child soon.

Nearly four years later Ruth and daughter Sylvie (Kennadie Smith and Jacklynn Smith) have something resembling a normal life in a small town.  She leaves her wild ways behind to support her kid.  Skerritt sees to it that they have a home next to his, although his charity may just as well be a means of keeping an eye out for Bob if he ever manages to break out of prison.  Indeed, on his sixth attempt, Bob escapes.  Based on the passionate letters he wrote to Ruth for the duration of his incarceration, their former associates and law enforcement expect him to turn up eventually at her door.

AIN’T THEM BODIES SAINTS is set in what looks to be the 1970s, and the style is reminiscent of that decade’s new Hollywood even if the scenario belongs to classic westerns taking place in the Old West a hundred years prior.  Through spare storytelling, magic hour cinematography, and naturalistic voiceover writer-director David Lowery’s film displays the influence of Terrence Malick, BADLANDS in particular.  Although Lowery zips through considerable plot, he’s far more interested in mood than narrative details.

AIN’T THEM BODIES SAINTS swells with regret and romantic longing.  Bob imagines a future with the woman he loves and the little girl he has yet to meet.  The intense singular focus undiminished by the circumstances bestows nobility on the character despite the shortcomings that led him and Ruth to be separated.  Affleck transforms Bob into a sympathetic figure by wearing his heart on his sleeve and seeming naive to the situation’s reality, yet his overwhelming passion is also a weapon for making a reunion with Ruth possible.

Ruth’s feelings for Bob are harder to discern, not because she has reason to love him less but because his presence will complicate the stability she needs to care for Sylvie. Mara maintains the film’s internal tension by being difficult to read as she processes what Bob’s escape means and how she needs to respond.  Ruth has made it through recent years by hiding the truth, so there’s suspense in determining her real motivation in entertaining Patrick’s shy flirtations and sadness in knowing she is probably stuck in a spot unresolved without at least one person suffering grievous injury.  

The characters in AIN’T THEM BODIES SAINTS receive sanctification of a sort through self-denial. They are permitted to express affection but only from a distance, for direct contact possesses too much mortal or emotional danger.  Lowery’s achingly beautiful film vibrates with the knowledge that sometimes love means depriving oneself from giving in to it.

Grade: B+