True Grit

As is to be expected, the film has all the classic Coen flourishes, first and foremost its use of language. The Coens have always been impeccably tuned in to language and accents, from the most creative use of swear words in The Big Lebowski and Burn After Reading to the colorful, stylized prose of The Hudsucker Proxy and The Man Who Wasn't There to the very distinct accents in Raising Arizona, Fargo, O Brother, Where Art Thou? and No Country for Old Men. In classic Coen fashion, the use of language is very much emphasized in True Grit. The characters have a very distinct use of words, lifted right out of the novel and, as it feels at least, right out of the time period the film takes place in. Unlike something like Deadwood which features a very modernized and stylized version of 18th century speak, the dialogue in True Grit sounds completely authentic and, along with the impeccable and accurate-feeling costume and set design, really adds to the realism of the world True Grit creates. Accents are also very important – the harsh Southern drawl that the Coens have always been attracted to is very prominent and plays a very large role in the film.

As has become expected of the brothers, especially in recent years, the film looks incredibly beautiful, mainly thanks to regular DP Roger Deakins' stunning cinematography. All of his trademarks are in place: harsh but very naturalistic lighting, washed-out colors, especially in the outdoor scenes, smooth camera movements, and just a generally beautiful palette he uses to paint the world of the film with. Also very prominent in the film is the beautiful score by Carter Burwell. It hearkens back to his more melodic work on the Coen brothers' earlier films, especially Miller's Crossing. Using themes from classic hymns from the time period of the film, the soundtrack, along with the language of the dialogue, helps add a very strong feeling of authenticity to the film. It is a beautiful piece of music: dramatic but not heavy- handed, whimsical but with a hint of darkness to it. These two long-time Coen collaborators, as well as the costume and set designers, with whom the Coens have also worked with many times before, all deliver top-notch work and show once again just how strong the power of long-term collaboration can be.

Other returning collaborators are a number of the cast members. The Coens seem to have grown distant from most of their long-time regular cast members (Jon Polito, John Turturro, John Goodman, Steven Buscemi, and others), but Coen regulars still make appearances in some of their recent work. In this case, it is "The Dude" Lebowski himself, Jeff Bridges, who makes his triumphant return in a Coen brothers film, filling the very large shoes of John Wayne, who gave an iconic performance as Rooster Cogburn in the first adaptation of True Grit, from 1969. Bridges brings his own unique style and sensibilities to the role, combining his drunken goofiness with the demeanor of a serious and very skilled hunter and lawman. It is a wonderful performance playing to all of Bridges' best abilities as an actor, and it is just a joy to watch. Also playing to his best qualities is Matt Damon, who delivers one of the loosest and most fun performances of his career as Texas Ranger LaBoeuf (or "La Beef", as he is referred to, by himself as well, in the film). Damon is clearly having fun with the role, although like Bridges, he, too, manages to find a very excellent balance between the humor and the seriousness and skill his character has. But the standout performance has to be newcomer Hailee Steinfeld, who beat out 15,000 other girls for the part. Open casting calls often provide disappointing results, as nonprofessional actors tend to be just that – not professional. 14-year-old Steinfeld proves she is a talent to watch, though – she totally commands the screen with her strong-willed, stubborn character, and manages to hold her own against Bridges, Damon and Josh Brolin, who makes a brief but memorable appearance later in the film. It is a fantastic, powerful performance that is an absolute joy to watch. I foresee great things from Steinfeld in the future.

Many people will be turned off by the straightforwardness of the storytelling in True Grit. I have already heard complaints that the film lacks poignancy. But that isn't what it lacks. What it lacks is irony. It's actually quite amazing to see a film so completely and utterly devoid of irony such as this one – it seems like most films these days, including the Coen brothers' recent output, all carry this air of cynicism about them. True Grit hearkens back to a more classic form of plot and character-driven storytelling, and in that sense, it succeeds immensely. Ultimately, True Grit is a piece of pure entertainment – and it is quite an entertaining film: thrilling, engaging, and very, very funny. I have read many opinions claiming that this "doesn't feel like a Coen brothers film," but its storytelling style and techniques actually remind me most of another classic Coen film, Miller's Crossing. That film was also completely stripped of irony and instead focused on telling a good old-fashioned yarn, nothing more, nothing less. So while True Grit is not one of the very best films in the Coen's oeuvre, it is still just a darn good film overall.

Sadly I am one of the very few movie fans that never got around to seeing the John Wayne movie. But I will now remedy that, it will be in my BD player soon. (Edit: I saw it and to me the 1969 original is a better movie, mostly for John Wayne and, although not authentic, the scenes in the Rocky mountains.)

The Coen brothers are unique in that each of their movies seems to take a different look and a different tone. Two of my favorites are "Fargo" and "The Man Who Wasn't There." Now I will add this one to my list.

Arguably the focus of this movie is young Hailee Steinfeld, 13 during filming, as 14-yr-old Mattie Ross. It is 1878 and lawlessness still pervades the west, as defined by Missouri, Arkansas, Texas, and New Mexico. Mattie's dad is shot and killed by an outlaw, who also stole his horse and two California gold pieces.

Mattie is an unusual 14-yr-old, not one for "girlie" pursuits, and with an unusually high intellect, seemingly an expert in law, she takes off for the nearest town to find and hire a US Marshall who will bring the outlaw to justice.

There she encounters an unwilling Jeff Bridges as drunkard Rooster Cogburn, who has the reputation for killing the outlaws to avoid the trouble of bringing them in. But Mattie's promise of $100, a fortune back then, gets Rooster on board. She was told that he has "true grit" and that is the title reference.

Other main characters are Matt Damon as Texas Marshall LaBoeuf, who joins in the search in Arkansas. And the outlaw they seek is Josh Brolin as Tom Chaney, who has joined a gang led by Barry Pepper as Lucky Ned Pepper.

I can't praise the casting enough, every one is ideal for their roles, and young Hailee is superb, worthy of the Oscar nomination. The script and cinematography are also superb. Overall a very enjoyable movie.

I wasn't sure how to take the news that the Coen brothers were remaking the John Wayne film True Grit and I remained unsure even when it was clear that they were not so much remaking the film as making a different version of the original book. How would their humour and oddity sit in this story, how would their normal arch cynicism and cleverness work here? Well in reality it doesn't really come into play because they have made a film that is surprisingly free of that side of their work while also containing just enough in terms of characters and dialogue to make it their own. Mostly though what True Grit does is deliver an enjoyable story in an engaging and satisfying manner.

While I don't agree with IMDb observer-in-chief tedg's overall rating for the film, he is correct when he says that the western as a genre has really been thoroughly explored and it is hard to bring freshness to such a film. The Cohen's struggle with this a little bit because it doesn't feel like "their take" on a genre so much as it does just feel like a western full stop. This perhaps limits them in terms of their own style but it does mean that they are focused on the telling of the story rather than anything else they may have added for colour. The end result of this is that the film is actually a really solidly told story that perhaps doesn't soar or have flamboyance or colourful touches but it does still engage as a tale. The story will be known to those familiar with the Wayne film but the slant very much onto Mattie makes it feel like a different story, albeit with much familiar about it. It is well told though and I found myself engaged by it just as much as I was never really thrilled by it. It has heart in its main character, it has a forward motion and it has a nice touch of humour throughout.

The key to it is the performance from Steinfeld. She may well have been put forward for Supporting Actress in a political move by the studio but she is the heart and soul of this film. Her performance makes her Mattie a stubborn youth but one with juts enough vulnerability about her to suggest some of it is a front to cover herself in this regard. While she never struck me as a person that would exist within this story, she did convince me as a character and she was a delight to watch – this is her story and she makes it such. This puts Bridges in the supporting role and he is great there, having fun with the role and adding colour to things. Damon underplays wisely – sparking nicely off Bridges but letting these two having the light. Brolin, Pepper and others all deliver solid turns without stealing anything. Perhaps aware of what the genre is best known for (the landscapes) Deakins is restrained; where he made art with Jesse James, here he focuses on the smaller moments – the light from a campfire, the falling of snow – and he captures them excellently. At some point he will win his Oscar – maybe this is it but certainly his body of work cries out for it.

True Grit is not quite the brilliant piece of work that the "for your consideration" campaign would have you believe but it is a great piece of storytelling. The Coen brothers deliver some fine dialogue and colour but leave the telling free of cynicism or snideness (not a word, but you know what I mean). The story engaged me and is only made better by the strong pair of performances in the lead – but particularly Steinfeld, who makes this film in the same way that Portman made Black Swan this year.

The least "Coen" of all of the Coens films is also one of their finest. It has a few Coen inflections to it (Damon's twang of a voice, a few random mustached characters crossing paths with our heroes) but for the most part it's a lot more straight forward and less humored. Surprisingly this doesn't detract from the film at all, which is a riveting character journey in classic old school Hollywood fashion. And while generally "old school Hollywood fashion" would be something I would cringe and run away from, the Coens make it enjoyable, emotional and breathtaking. The technical qualities are all astounding; fantastic costumes, a beautiful score and some of the most exquisite cinematography I have ever seen, courtesy of the always reliable Roger Deakins. It's such an entertaining film, with some emotional power that resonates afterwards. There's a lot of twists that I didn't see it taking and none of the characters ended up being what I initially expected them to be. There's a real lack of obvious arcs for these people and that was a nice surprise. The Coens do what they can to avoid Hollywood conventions in what is, at it's core, a very Hollywood film.

Above all else, the film is a character piece and what a wonderful one it is. Unsurprisingly, these people are written very intelligently, given lots of depth and room to grow and surprise. There's a constant battle over what grit truly means and over the course of the film the balance shifts back and forth over which of the three has the truest grit. From the very opening, we see that Mattie Ross has a whole mess of it, this headstrong girl who won't back down to anyone, despite her small stature. Hailee Steinfeld is remarkable here, an actor with talent well beyond her years. She's entirely convincing, taking a character that could have been this annoying little brat and making her simultaneously strong, whip smart, endearing and adorable. I enjoyed watching her in every second. Jeff Bridges was different than I had expected, but I love his arc throughout the film. Maddie goes to him because she believes he has the most grit of all and that he is the right choice for her, but as the journey goes on she doubts her decision and Rooster Cogburn plays with our perception of him quite a few times. Bridges was my least favorite of the three, performance-wise, but that's not a huge slant given how highly I thought of the other two. Matt Damon gets arguably the most interesting role, a character who is detestable when we first meet him and then has the large task of making us realize that he just may have the truest grit of all. LaBoeuf is a silly man who thinks too highly of himself, but as the film progresses it becomes very hard not to care for him. He's a good man at his heart, as are Maddie and Rooster, and it makes it easy to root for all three of them to come out of this alright.

This is a film that I enjoyed even more than I thought I would, a Coen film in the most un-Coen of ways (which was a nice change of pace given that their previous effort, A Serious Man, is probably the most Coen film out there). I enjoyed living with these characters very much and wish that there had been more time to just be with them on their journey. The final confrontation with the men they are hunting is turns suspenseful, surprising and a little too short-lived. I didn't much care for the epilogue, but with the wildly entertaining journey that came before it, I can't fault the film that strongly for it. It's a real cinematic piece, surprisingly Hollywood for the Coens, but it doesn't fall into a lot of the traps that it could have. In fact, it does the opposite, jumping into holes where it could become clichéd and sentimental and then digging it's way out, surprising at every turn. I like that the story doesn't quite end after the basic plot is resolved, because it's not about hunting down the man that killed Maddie's father and hoping to bring him to justice. It's about so much more. It's about these characters and finding out who they really are when it all comes down to it.

Let's get the comparisons with Henry Hathaway's version of the Charles Portis novel out of the way. The Coen Brothers certainly knew that, however much they want to 'go back to the source material,' their film would play against Hathaway's version.

The Hathaway version, while tampering with details from the Portis original, remains strikingly true to its story and theme. This is most clear in the dialog - the decision not to tamper with Portis' language was decisive for the making of that film. The Coens' tampering with the novel is more subtle than Hathaway's film, but no less an interpretation.

Approaching the characters and composition of the Coens' version without reference to the Hathaway film apparently proved impossible. For instance, the shoot-out at the dug-out cabin was re-written for a night-scene, but the camera angles remain pretty much the high-elevation shots Lucien Ballard provided Hathaway, inter-cut with full body shots of people getting wounded and horses running (etc.)also similar to Ballard's.

Two performance stand out as striking examples of reference to the original film. Dakin Matthews seems to struggle mightily not to recreate Strother Martin's interpretation of the horse-trader Stonehill - and fails. Apparently Martin had the character down pat and there's nothing but to reproduce his interpretation. Far more to the point is Barry Pepper's interpretation of the desperate outlaw chief, Ned Pepper - it is pure Robert Duvall. Pepper can only match Duvall's self-aware determination - and he does - but he can't surpass it; nor can he find another interpretation to set off against Duvall's.

As for the Coens' own re-interpretation of the Portis novel, what was most noticeable to me were the minor points simply dropped out of the story telling. The most irritating to me were a pair of lapses that are interconnected and combine to make an important point about the characters. 1. We never get to see Mattie tell Rooster that Chaney has linked up with Ned Pepper (later Rooster does remark the fact, but how did he learn of it?); 2 We don't get to hear Rooster's remarking how he shot Pepper through the upper lip (because he was aiming at the lower lip). These two incidents combine to let the audience know that Cogburn's hidden agenda on the Chaney hunt is really Ned Pepper, he and Pepper have something of a feud going on - which information fills out the background detail for their final shoot-out. Except here we don't have that connection.

Finally, the whole Mattie - Rooster issue: many critics are saying that Mattie is more at the center here than in the Hathaway picture, which focused attention on John Wayne's Cogburn. Not true. When we add up screen time and lines of dialog, we discover that Mattie not only has as much time and dialog in the Hathaway film but it is in much the same proportion to Cogburn's as in this one. If most remember the Hathaway film as a 'John Wayne film,' that is due simply to Wayne's bravura performance.

Well, enough of the comparisons. Does the Coens' version measure up as film worth seeing on its own accord? Yes; we are presented here with a beautiful, frightening, amusing piece of 'Americana.' There are scenes approaching dream-like states, as in the meeting with the bear-man, and during Rooster's desperate drive to get Mattie to a doctor. Hailee Steinfeld is quite engaging, and Matt Damon develops an intriguing complexity that makes one wish he had more screen-time. Bridges' performance is the most problematic - Bridges plays Cogburn as a a kind of whimsical brute - as he rambles on with his life-story on the trail, we get the gnawing sense that, if we were not along for a dangerous manhunt and dependent on his abilities as a master man-hunter, Cogburn would be someone we would not like to know. This develops a distance between the audience and Cogburn that is actually rather on par for the Coens - there are no 'heros' in the Coen universe.

Perhaps that's a good thing here. Mattie in her experiences with the wild men of the old west has encountered something larger than her life on the farm could ever get her. These are men who make their own laws and are not bound to statutory codes or biblical decrees, and adapt their own law to the wilds of the frontier that surrounds them. Mattie is a confirmed church-goer with a good lawyer, and if she weren't so determined on her revenge, she would actually be impossibly small-minded and dull. This is a subtext to the novel that both films attempt to convey, but neither quite captures, because it's difficult for any film maker to admit that the central character of the story is the least interesting.

The age of such wild-men has passed. It is not that wild-men do not exist - wild-men show up quite frequently in Coen Brothers' films in contemporary settings - but now they are corrupted by moving outside the law and outside the commonplace, they grow sick and psychopathic. The killer in "Fargo" feeding the partner he's killed to a wood-chipper is as wild as one could get, but he is no longer larger than life, and evokes only the sickness at the heart of modernity, not any adaptation one would want to live with.

We look back at historical moments like those of the Old West because anything seemed possible to them, whereas very little is possible for us. But that might simply be a wishful delusion - and the Coens' clear suspicion that it is really determines the limits of what they accomplish here. They don't present the West as 'it really was,' nor do they present what we want from it, rather they present a disappointment with it. Rooster Cogburn is indeed 'larger than life,' but we wouldn't want to spend any more time with him than we do.