Release: Friday, January 29, 2016
Written by: Brian Duffield; Anthony Tambakis; Joel Edgerton
Directed by: Gavin O’Connor
Call it a troubled production but don’t call it a complete misfire. Though it may be a few shoot-outs short of a memorable western, Jane Got a Gun still gots a job to do and it does it rather well all things considered.
It’s a film that has seen a revolving door of cast and crew come and go, with Warrior director Gavin O’Connor squeaking in at the last second after the original helmer dropped out on day one of shooting. Joel Edgerton was supposed to be playing a villainous role but Ewan McGregor got it instead, filling in for Brad Cooper who was filling in for Jude Law . . . who was filling in for Michael Fassbender. Cinematographers were also replaced.
Some part of my appreciation for this movie‘s inextricably linked to my sympathy toward Natalie Portman here. Playing a game of musical chairs with the actors you’re potentially going to share a screen with can’t be much fun. Indeed if you look close enough in a few scenes you can almost feel if not confusion, then the frustration that the actress is clearly experiencing out of character. And if it’s not Portman being underwhelming then surely it’s the script; its heart wasn’t really in this either.
At film’s open we’re staring down the barrel of a fairly standard revenge western. Jane is a strong and capable frontierswoman who finds herself nursing her husband Bill (Noah Emmerich) back to health after he returns home one afternoon bloodied and riddled with bullets. Bill warns her that the notorious Bishop brothers are coming after them, prompting Jane to take their young daughter to a faraway homestead to which she promises to return once this situation has been ‘handled.’ (It’s not quite Clint Eastwood promising/threatening justice/revenge, but Portman’s confidence doesn’t go unnoticed.)
McGregor is almost unrecognizable as the bloodthirsty John Bishop. He too is a product of a watered-down script, a cartoonish villain as if by design. McGregor is smarmy and he has his moments but this is more Kenneth Branagh as Arliss Loveless than a man we should really take seriously. Boyd Holbrook plays younger brother Vic. He’s kind of just there. With such a cultivated physical appearance, I was sort of surprised to see what a bunch of lame-o’s Bishop’s entourage really was.
Joel Edgerton digs his hands into the dirt sportingly as Jane’s ex-husband Dan Frost, a gunslinger who enlisted in the Civil War and left it only to find his wife had moved on. Now she seeks him out for extra protection from the incoming attack(s) and, although bitterness isn’t very becoming, it somehow suits Edgerton and he all but confirms the technique will never disappear. That’d be okay if it’s used more subtly than it is in this movie. Dan’s easier to pull for when he inevitably returns to the frame because . . . well, when Edgerton plays a good guy, how can you not root for him?
So Portman isn’t the only one fighting an uphill battle, saddled with an underdeveloped character as well as an unambitious screenplay. The trio of Portman, Edgerton and McGregor fair the best and each of them succeed in overcoming the
dryness aridness of the writing. As Jane, Portman is one of the year’s first strong female leads and her intensity in the final scenes certainly sets an impressive benchmark.
It’s her persistent toughness and intermittent vulnerability that gets us through a deliberately (bordering on tediously) paced two acts before bullets truly start flying in the much-anticipated, chillingly shot climax. (Interestingly, the most consistent aspect of the production is undoubtedly Mandy Walker’s warm, vibrant photography.) By and large the film is beautiful to look at and on a visual level it succeeds in evoking the classics. Jane Got a Gun does show signs of a lot of wear and tear, the story isn’t as focused as it ought to be and many edits are questionable but even given all of its faults this one’s difficult not to like. Not pity, but actually like.
Recommendation: The film won’t really ‘wow’ anyone, yet there’s enough here to more than recommend a watching at home (it’s heading out of theaters so quickly the wait won’t be long) with popcorn and your caffeinated beverage of choice. Portman, Edgerton and McGregor are great reasons to see this movie.
Running Time: 98 mins.
Quoted: “My life’s worth isn’t your concern. Hasn’t been for years.”
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