I’ve seen the Coen brothers’ “True Grit” twice now, and it’s not because the film is some “Inception”-like, mind-bending narrative maze. Quite the opposite, actually. I saddled up to it a second time yesterday morning because I wasn’t quite anticipating what I got the first time around and I wanted to consider it further knowing what it was.
You see, this isn’t really “a Coen brothers film” to me. Outside of an opening act bathed in their usual trappings, the film feels almost anonymous, lacking the fingerprint stirringly present in each and every one of their efforts. And it’s all very much by design, by the way.
“True Grit,” in its second screen iteration, is a classic western cut from traditional cloth. With its wide vistas, simple narrative and focus on character dynamics (as well as a handful of unrefined horse-back riding effects shots), it’s fair to say it bears more of a resemblance to the work of Anthony Mann, John Ford and Budd Boetticher than it does that of the Coens. The film isn’t focused on being as tight and complete as most of their films, and indeed, inchoate was very much a goal here.
I wasn’t expecting that. I was expecting a style exercise, something that would allow for Roger Deakins to sink his teeth into the scenery and come away with some of the most inspiring images he has ever captured. I was expecting theme to noticeably and boldly course through the mise en scène as it craftily does in every Coen enterprise from “Blood Simple” through “A Serious Man.”
But that lack of artistic intrusion is ultimately the film’s virtue. This is a throwback, and a reminder that the western need not necessarily function as progressive storytelling (a notion that would have delighted late author Robert Parker). It’s very much about time, place and character, and all else need defer to that and fade.
These particulars are filtered through the vision and language of Charles Portis, whose novel seems tailor-made for Coen interest with its mundane dialogue and somewhat vacant thematic canvas. As regards the former, I was reminded of Cormac McCarthy while reading it over the summer. But unlike “No Country for Old Men,” which was adapted with fussy visual swagger, “True Grit” is tackled in a straight-forward manner, allowing for the players and their actions to solely convey the experience.
In that light, perhaps it is very much a Coen film after all. What they exceed at is perfectly casting their films, knowing what they want from their actors (something generally quite unique, which is what makes them unique as filmmakers) and providing a visually interesting space for them to perform.
This has lead to countless memorable walk-ons over the years, whether it’s Steve Park in “Fargo,” Stephen Root in “O Brother, Where Art Thou?,” Gene Jones in “No Country For Old Men,” Amy Landecker in “A Serious Man,” the list is endless. And we can add the likes of Joe Stevens, Ed Corbin and, most certainly, Dakin Matthews to that list now.
Additionally on the cast’s periphery, Josh Brolin brings an odd energy to outlaw Tom Chaney while Barry Pepper is doing his best Robert Duvall impression in the “Lucky” Ned Pepper role Duvall originated. But the film is mainly focused on a carefully assembled trio in Jeff Bridges (as ornery U.S. Marshal Rueben “Rooster” Cogburn), Matt Damon (as prideful Texas Ranger La Boeuf) and newcomer Hailee Steinfeld (as headstrong vengeance seeker Mattie Ross). And what a delight they are, fully immersed in their characters at every turn.
The film opens with a calm and beautiful tracking shot depicting the fallout of the tale’s inciting incident (the murder of Mattie’s father, Frank Ross) with Portis’s words laid over top. This breaks from the novel (and Henry Hathaway’s original film) by disregarding the opportunity to get to know Frank early on, and it’s probably better for it, thrusting Mattie even further to the front as the driving element of the narrative.
And in Steinfeld, a star is born. The Coens exhaustively auditioned countless young girls for the role and they turned up a real gem here. Steinfeld delicately plays off of stalwart steadfastness, pent-up mourning and even awakening romantic longing on the way to crafting a completely realized character.
(Which brings me to an aside. Paramount’s official Oscar position on this performance is supporting. That’s where it will be campaigned, and I gather that it has to do with it being presumptuous to campaign a young actress’s debut performance as a lead. My opinion: nonsense. This is a performance worthy and deserving of a lead actress nomination. That having been said, I don’t know who else could win in the supporting actress category, so perhaps the studio is seizing an opportunity that Sony Pictures Classics has ignored with Lesley Manville.)
Bridges, meanwhile, gets under Cogburn’s skin more fully, dare I say it, than John Wayne in the original adaptation (the role that won The Duke his Oscar). And while his chemistry with Steinfeld is vibrant and authentic, the waters are never muddied by shoehorning inauthentic fatherly relationship or connectivity dynamics.
And Damon has, quite simply and perhaps even quietly, developed into one of the finest actors of his generation. He isn’t doing anything particularly sensational here, but that is rather the point of his performance’s brilliance. It’s in the eyes, the tambour in his voice at the whose-is-bigger goading of Bridges’s Cogburn, and the otherwise stoic pride of a confidant lawman.
The Coens’ approach to the film also gives way to a period authenticity that must be respected. Jess Gonchor’s production design and specifically Nancy Haigh’s set decoration is of the highest quality and precision. Mary Zophres’s costume design gives the film an identity unto itself in the canon of western cinema. Deakins’s camerawork gracefully captures the landscape while the hair and makeup serves each character fully and uniquely.
Most impressive, though, might be Carter Burwell’s humble contribution as composer. His themes soar and trickle with equal measure and have remained in my head since I first saw the film. They are also nicely balanced with crisp effects into a sound mix that becomes part of the experience. (There is, however, some discussion as to whether the reliance on hymns of the period might disqualify the score for Oscar consideration, but it is nevertheless perfectly suited to the film.)
It wasn’t my intention to go on so long here, but “True Grit” has proved to be a bit of discovery for me over the last couple of days, and I don’t know how to convey my thoughts on it without inviting you into that discovery process. It’s a warm and welcome addition to a vital genre that couldn’t ask for better torch bearers than the Coens and producer Scott Rudin, and one can only hope it helps keep the embers stoked on an art form consistently endangered.
[Photo: Paramount Pictures]
Comments
85 responses to “The Coens’ no-frills ‘True Grit’ hearkens to western heyday”
finally, a full review. Now you make me wonder how amazing the music score will be. This year is full of amazing music score
While I’m not a fan of the Coens, I am a huge fan of all things westerns and I can not wait to see this film. Thanks for giving us your thoughts.
I know you’ve already given your December predictions but is there any real chance of a back to back repeat for Best Actor for Jeff Bridges?
Nice review, can’t wait to check this out and to listen to the score…
All the reports have pointed toward the film being exactly the sort of classical throw-back that it is for a while now. Which still strikes me as just slightly disappointing coming from the Coen Bros. My favorite films of theirs have been their unique, inspired genre riffs (Miller’s Crossing, No Country For Old Men), so I was hoping for something along those lines. I’m sure True Grit still delivers something any big Western fan has probably been craving for years though, as the only truly great classical Western I can recall in about a decade has been Costner’s Open Range. So yeah, I’m looking forward to this on that base.
Loyal: If Bridges had not won last year this would have been a cake walk.
Hmmm. Interesting. Sounds like a film I have to see for myself to fully grasp your understanding and review. Of course that was my intention all along so I can’t wait to see it. Great review.
we have our Best Picture winner people. sounding like a classic.
This really is a banner year for film scores. Of course the disappointing aspect of this is that some of the best scores probably will not be nominated (Clint Mansell, Trent Reznor, Daft Punk).
Nice, and I appreciate that the review isn’t hyperbolic either.. Good for keeping my expectations in check, although this is the first review I’ve read and I’m sure the web is swamped with them right now.
For those of us hankering for the score, from what I understand it’s being released just next week, so at least there’ll be that to keep us occupied while we wait, and wait.
The first half of your review almost reads like a pan but it comes around by the end. The floodgates have opened, and every single review I have looked at has called it one of the year’s best. I guess this is just what people were waiting for.
And now I believe you when you predicted Steinfeld in the other post, the reviews she is getting are earth-shattering.
OT: Peter Bradshaw has become the first major critic to post his Top 10 and declared Another Year to be the Best Film of the Year.
1. Another Year
2. Kick-Ass
3. The Other Guys
4. Uncle Boonmee
5. Enter The Void
6. Of God And Men
7. The Headless Woman
8. Dogtooth
9. Toy Story 3
10. The Social Network
He has also posted Top 10 picks for directing, acting and documentary but thankfully not for foreign language.
Kris, having seen the film, do you still think Coens have a shot in directing and adapted screenplay categories?
And if you will indulge me, do you them getting a DGA nom for this work?
Shot at nods or winning? Definitely in for nods. Winning is highly unlikely. DGA nod is probable, I’d say.
How could someone have Another Year as their top film of the year and then follow that with Kick Ass and The Other Guys? Just bizarro.
Sorry for not being clear enough. I meant nods. And just to follow up, what about editing?
As an offside, the fact that you think they will make it in the Adapted Screenplay category really speaks volumes of the film’s quality. It’s pretty rare for a Western to do so, especially a Western of this kind.
Kris, can you see Damon uprooting the Rush/Bale party?
Now that Hailee is going Supporting, Manville (being campaigned Lead) went from possible Supp. Actress WIN to shaky ground to even be nommed in Best Actress, no?
How long is True Grit?
If Hailee Steinfeld is this good in a big role, I really hope they campaign her as a LEAD actress. I’d hate to see a Keisha Castle Hughes incident where you only see her as lead come the Oscars.
I can’t wait to see this!!!
Maxim: I still think editing is in the cards. And as for the screenplay race, they’ll owe plenty to Portis in that regard. But I anticipate they will get a lot of credit for the dialogue by those who aren’t aware of it being present int he source material.
JJ: It was about 1:45, actually, Definitely under two hours. And no, I don’t think Damon will be winning that race. It’s Bale’s to lose.
@Starr
This is the kind of list that reeks with individuality, not calculated to predict the Oscars or win academic approval, the best kind that is.
@JJ1
Manville is simply too good and too memorable in AY to not be nominated. Of course the same could be said about Hawkins in HGL but that film died with the Academy while AY is right up their alley.
True Grit is 110 mins I read somewhere, they seemed to complain it was short, they wanted more. :)
“As an offside”. Aside. Jeez.
Lots of “offside” contenders on the mind, I guess.
Sounds terrific, can’t wait to see it. Nice write-up Kris.
I agree lists should be personal and not swayed by others but having seen Another Year and Kick Ass, one is just so superior to the other that to place them side by side baffles me. I guess as more individual top tens come out in the next few weeks I will continue to be taken aback.
You might find it still more baffling that I liked Kick-Ass more than Another Year then. : )
But like you said, the fun’s in people showing their individuality and not sticking films in there just because they are supposed to or because something is a “film of the year”.
According to Anne Thompson, the score is ineligible for Oscar consideration, because it’s based on hymns of the period.
Any truth to this?
Burwell’s one good chance ruined then? I really loved the theme that Kris posted, it was so beautiful and classic western sounding.
I think it’s gonna be Lesley Manville vs. Michelle Williams for the last Best Actress slot.
I remember thinking about who could possibly win supporting actress and I remember Kris you mentioned the supporting campaign for Steinfeld, and I though that would be exactly right for the win.
Bonham Carter – More about the film than performance
Leo / Adams – Split voting?
Weaver – Australian
Richardson – Doubt she’ll even get nommed
Wiest – Won’t campaign
Steinfeld is frontrunner I think. Most likely competitors the Fighter ladies.
Kris, normally you rate the movies you review. Not this one. Why? Is it that you are not sure about it´s quality already?
I sense a vibe of respect for it, but certainly no love.
Sounds very nice, can’t wait to check it out ☺
But between the craftier movies, I’m still leaning closer to Inception, only because it’s an original screenplay.
Burwell’s score being ineligible would actually make perfect sense in accordance with the Academy’s music branch.
Some of the score is taken from hymns of the period, yes, and there is some discussion about it at the moment, but I don’t think it’s officially disqualified yet.
Dominik: I stopped rating movies (outside of the festival circuit, which I really did out of habit more than anything) this summer. I don’t want to bother with it anymore because it doesn’t really matter where a film falls on an arbitrary scale, IMO.
I think a lot of these initial reviews will be a bit guarded or vague, simply because it sounds like the Coens have delivered something quite unexpected. Regardless, they are two of my most revered filmmakers and I remain incredibly anxious to see this.
Interesting review, Kris. I take it you liked it better the second time around? Nice to see new blood in the Supporting Actress race, too.
thanks for a really well thought out review! In my opinion No country was the Coens’ least coen-like film by a mile, so If True Grit is even less coen-like, who knows? They might win again…;)
Most of the best scores of 2010 that I’ve listened to are either turning out to be ineligible or in the “highly unlikely to be nominated” category. You’ve got The Social Network and Tron Legacy in that latter category, and I’m pretty sure Clint Mansell’s gorgeous score for Black Swan is going to be ineligible like perhaps True Grit will.
There are certainly some great scores still in the running, but it’s a shame so many of the year’s best aren’t in the mix.
I don’t know that the film could win this year, regardless of quality. And it’s sad that people seem to be referring to it as either “the film that will go all the way” or just another Coen Brothers film. With too many people in that mindset, it seems like its merits could get lost in the shuffle.
Of course, we all know that the Academy rarely chooses the very best movie of the year as their Best Picture winner. And we also know that the Coens often make films that don’t fully register with even the most intelligent, devoted audiences until time has passed and the films have been viewed multiple times. Who was heaping praise and affection on Miller’s Crossing in late 1990? Very few people, especially on the awards circuit. But if you poll Coen fans today, you’ll find that many feel it’s one of their best and easily one of the top 5 films of 1990.
All I know is that I’ve been dying to see this for ages, and I think I may be even more eager after reading these initial reviews, despite their somewhat tentative nature. I love the Coens and I’ve been singing the praises of Damon for years (alone in my car, but it’s not my fault you weren’t there). I sincerely hope that critics and pundits who screen this will keep their expectations at bay, or at the very least, see the film more than once and let some time and serious thought take place before offering their definitive statement on the film and its Oscar chances.
I don’t think three of my favorite scores from the past decade (Amelie, Waking Life, and The Assassination of Jesse James) were nominated either, but I don’t recall if they were just left out or ineligible. Either way, it just adds up to another category designed to piss people off.
So Kris, would you rank this above or below Unforgiven? Would beed more time to decide? Or are they merley just not comparable enough?
amy adams is a threat to hailee steinfeld…third nomination in a short timespan…she is probably considered overdue! But then again, IF hailee is as good as it sounds, nothing can stop her (hopefully not adams, anyway…GOD, I hated her in the atrocity that was Julie and Julia!!)
Kris, I know you have Damon on your mock ballot, but do you think Brolin is also worth considering? I ask this given that he’s playing a villian (which the academy has favored in this category recently) and his own recent successes lately.
@ post #7,
In 2,122 hours, WE’LL be accepting YOUR apologies.
… in a John Hammond voice of course.
Kris
“If Bridges had not won last year this would have been a cakewalk.”
Wow! Itching to see this that much more; considering what I saw with Franco’s performance; and what I’m hearing about Firth’s.
Bridges is that incredible huh?
Oh, I have a brand new question!
Kris, did you catch any references to “The Big Lebowski” in this film? Be they verbal, visual or otherwise.
I’m expecting a “No” but it’s a fun question to ask and is certainly something to watch for if it does happen.
I don’t have time to read all the comments above so if I’m repeating what everyone else has said – forgive me. But you have truly made me want to see this film! Great, evocative review! Thanks
I’ve confirmed it’s not officially ineligible. It hasn’t even been submitted to the Academy yet so it’s all speculation at present.
Dylan: Brolin is barely in the film.
I figured that might be the case. That’s kind of a shame, I always enjoy watching him.
I’ve already gotten a transcript from one of the early screenings of True Grit, and the following lines seem to be possible nods to The Big Lebowski:
1) Obviously, you are not a rancher.
2) Fetch me a sasparilla, girlie.
3) That gingham really tied your outfit together.
4) At least the kid is housebroken.
5) You tell Cogburn, we got a date Wednesday.
6) If I come back and your still here, I will be taking one of them toes you got there. Starting with the little one.
7) Fourteen-year-olds, man.
Good stuff, Keil.
Considering the source, #6 could easily have been about fingers though.
OT: Sundance announces full 2011 festival lineup in all competing categories:
http://www.sundance.org/festival/article/2011-competition-film-announcement/