3:10 misión peligrosa

OK so no one in this entire group of Pinkertons thinks to gag and restrain/ tie up Villain Ben the most dangerous outlaw in the area? He starts playing psychological warfare at a campfire the first night they have him and he continues it all the way to Yuma. Nobody gags him. Come on, let's be real. What kind of enormous gaping hole is that in the writing...Anyone in this situation would have at the very least gagged him and most likely he would've been heavily restrained.

"The boys dressed themselves, hid their accoutrements, and went off grieving that there were no outlaws any more, and wondering what modern civilization could claim to have done to compensate for their loss. They said they would rather be outlaws a year in Sherwood Forest than President of the United States forever." Mark Twain's Adventures of Tom Sawyer

In 3:10 to Yuma, a few references to The Magnificent Seven and the idea of a train arriving at a specific time when good and bad guys converge, as in High Noon, made viewing this Glenn Ford remake from 1957 a pleasant one. And right I was but for even more good reasons.

Not since Unforgiven and The Quick and the Dead have I been as excited about seeing a Western in its heroic and revisionist forms. 3:10 to Yuma is a true Western in the American film tradition about the 19th-century American West: It has clear heroes and villains (and a mixture of those), wide prairies, dirty towns, fast guns, weak lawmen, cunning murderers, kids on the cusp, and women marginalized, just for starters.

Then ratchet up to the philosophical/post modern/post Eastwood reflections on the profession of being a gunman juxtaposed with being a responsible father, and you have an classic angst-filled clash where villain has a wee bit of heart and hero an equal measure of cowardice. Delightfully mix in a certifiable baddie in the Lee Van Cleef/Jack Palance tradition, Ben Foster (Alpha Dog) as Wade's amoral lieutenant Charlie Prince (as in "of darkness"). Best of all, it is nail-bitingly suspenseful and beautifully photographed.

In order to pickup some home-saving cash, poor crippled farmer Dan Evans (Christian Bale) is helping transport murderer Ben Wade (Russell Crowe) to court via the 3:10 to Yuma from Bisbee, Arizona. Getting Wade to the station is no easy task, even for the several deputies, because Wade's evil gang is in hot pursuit and more importantly, Wade is psychologically working on them from within, alternately charming and brutal; just imagine his roguish smile behind an extremely fast gun and unscrupulous conscience.

It's hard to believe a studio could dump such a winner in the dog days of summer. I will say only that if you have even a modicum of respect for this genre, see 3:10 to Yuma and relive the golden days of straight-up shoot-em ups with rough-hewn characters, electric plot, and revisionist attitude about the romance of being an outlaw or a farmer. Get there on time because that movie train goes fast from the get go.

Long ago, I saw the original 3:10 to Yuma featuring Van Heflin and Glen Ford, but I don't remember it well enough to compare it with James Mangold's new remake. Instead, my review will focus exclusively on the new film.

Mangold's film is a tense, traditional western based on an Elmore Leonard story. Leonard is a solid writer, and gave the material upon which the film is based enough background and characterization to permit willful suspension of disbelief. Mangold's film does the same. Our protagonist and antagonist are, respectively, Dan Evans (Bale) and Ben Wade (Crowe). Evans is a would-be rancher and family-man whose family is suffering from a drought and a merciless landlord. Evans and his boys cross paths with notorious outlaw Ben Wade and his gang on their way into town to confront their landlord, and Wade whimsically lets them go. But the connection between these two men and Dan's eldest son is far from over. Eventually Dan will accept an offer made by a railroad agent to help escort Wade to a train headed to Yuma prison, while Wade's crew of murderers dogs their every step.

Two performances stood out for me - Bale and Ben Foster (Charlie Prince). Crowe was good, but it's not clear that he engaged with his role with his usual intensity. There are several very talented actors in supporting roles, and they each pull off the transition to the western genre quite nicely (Alan Tudyk, Logan Lerman, Gretchen Mol, Peter Fonda and others). The film showcases the acting talent very well without losing sight of its straightforward but interesting story.

More often than not, good westerns are at least as much character studies as they are 'shoot-em-ups'. After all, it pretty close to impossible to enjoy a film in which anybody might drop dead at any given time without caring about the people you are watching die, or those doing the killing. Mangold achieves this by drawing on the simple strengths of the original material and allowing relationships to dominate both the story's development and the cinematography. For a western, there is a tremendous amount of dialog in this film, coupled with the usual meaningful stares. Wade is so wily and unpredictable that you really never know what to expect out of him, and his crew is headed up by his loyal and equally nihilistic protégé Charlie Prince. Dan Evans is his polar opposite, and Dan's son is an unusually accurate and complex Hollywood portrayal of a teenager. These and other relationships are the strengths and the medium of the film. When the camera isn't being used to build tension before a battle or showing us a gun-fight, it is establishing relationships and character. And many of the characters and relationships we see are surprising, ambiguous and more than a little ironic.

Highly recommended for western fans.

Christian Bale (Dan Evans) holds the screen as an honest rancher who volunteers for two hundred dollars to be part of a doomed group of guards to take the enigmatic bandit and killer Ben Wade (Russell Crowe) to a train, the 3:10, leaving Bisbee, Arizona for Yuma prison to trial…

Beaten down by an old Civil War injury, and unable to protect his farm and his family from Wade's ruthless gang and humiliated by his teenage son (Logan Lerman) who makes no efforts to hide his disappointment in his impoverished father, and who doesn't try to hide the fact that he admires the charismatic criminal, Dan finds a great quantity of reasons to undertake the perilous trip to Contention City to fight back like a real man and regain his son's respect… The story concentrates on Evans whose unknown destiny tries to paint to his son an unforgettable picture turning up poignant and endearing…

Wade—leader of a murderous band of robbers—had great respect for Dan throughout the film and develops a kind of understanding and appreciation for him… Their short scenes in the hotel room celebrate the virtues of two opposite men who stand up for what they believe stopping on issues in relation with family, dignity, virtue, and admirable integrity… The best scenes are those in which Wade teases Dan: "Your conscience is sensitive, Dan. It's not my favorite part of you."

Crowe's interpretation of a gifted cold-blooded smooth-talking bad man is one of the most compelling parts of the film… Bale is splendid as the struggling, crippled rancher, misunderstood by his whole family… The two actors comfortably inhabit this stunning western…

It is nice to see that there are still good westerns being made lately… And James Mangold's "3:10 to Yuma," a remake of Delmer Daves' 1957 picture, is one of them… It is a Western with realistic violence, great action sequences, breathtaking photography, and an inevitable final shoot-out

It seems as though back in the fifties every other western seemed to have Frankie Laine singing the theme song. The 1957 version of 3:10 to Yuma is one of my favorite westerns. Part of the reason is that theme which echoed through out the film.

What I liked about 3:10 to Yuma is that the hero/protagonist is an ordinary man trying to support his wife and two sons through some very hard times. When a killer is caught and because he needs the money he agrees to help transport him to Yuma State Prison on the 3:10 train from Contention. A lot happens between the capture and the boarding of that fateful train.

Russell Crowe and Christian Bale make admirable updated substitutes for Glenn Ford and Van Heflin. Though Ford's performance as the sly rogue of a gunman is good, the previous film was driven by what I always considered Van Heflin's greatest screen role.

The original holdup was hardly the violent affair that this one was. Only one shot was fired and that was by Ford when the shotgun guard momentarily overpowered one of the gang. That's here too, but the holdup itself was taken from The War Wagon.

One part was totally eliminated and that was the part of the town drunk, played by Henry Jones in the original version, who was the only other man to volunteer his services. Jones was killed in a gut wrenching scene then, but in fact my favorite scene from the original was when Heflin's wife Leora Dana pleads with him to let Ford go, he responds with a heartfelt speech about how he couldn't look himself in the face after the sacrifice the town drunk made. I've seen the 1957 version dozens of times and am never failed to be moved by that scene.

In its place the part of the oldest son is built up and conversely the wife's part is cut down. Young Logan Lerman plays the older son who tags along after the group taking Crowe to Contention. Lerman is 14 and he and Bale have the usual father/son issues. Lerman feels his Dad to be a failure with things going so wrong against them. Bale and he bond during the shared experience and you know no matter what the outcome of things, he'll leave a good legacy for his children.

The usual tension between Bale and Crowe is present as it was in the original when Ford kept trying to bribe Heflin. Added to this is a whole lot of violence, most of it started by Ben Foster who's part as the young punk outlaw in the original was played by Richard Jaeckel. Foster is one murderous thug in this film, only Crowe is able to keep him somewhat in line.

The characterization is still there, the violence is expected in this day and age even though a lot of it is gratuitous. This version of 3:10 to Yuma is fine, but it can never take the place of the original in my affections.

This review is dedicated to young Harve Stewart of Stephenville, Texas and one of the Professional Bull Riders best young stars. I saw an interview with him where he mentions this is a film he likes. I liked it too, but I would commend him to watch the original 3:10 To Yuma which is just one of the best western dramas ever made. It was out in 1957 and I was 10 years old at the time. I'm old enough to be Harve's grandfather and I'm sure back in the day 3:10 To Yuma was enjoyed by his real grandparents in the theater.