Rédemption

This is a rare British attempt at a Western, albeit an uncharacteristic one about a small mining town clashing with the oncoming railroad: it's reasonably well served by the stark cinematography, Michael Nyman's dramatic underscoring and a surprisingly able cast (the most impressive being Peter Mullan as the town leader with a secret past and Milla Jovovich as the chanteuse who has hooked up with him).

Given the director, the film strives for absolute realism (down to the varying accents of the multi-national townspeople and the kind of entertainment provided in the dingy saloon); this, coupled with its relentless solemnity and a plot which isn't as engaging as it should be - actually containing a good deal of padding, particularly its baffling emphasis on the blossoming romance between a prospector and a prostitute - results in a rather uneasy film, one that's not remembered with affection! However, the tragic finale - with Mullan's dreams literally going up in flames - is effectively handled.

Curiously enough, watching THE CLAIM I was reminded of Nicolas Roeg's similar EUREKA (1983) - which also revolved around a family undone by the lust for gold - though it lacks that film's striking imagery (not to mention its equally distinctive eccentricity).

Based loosely on Thomas Hardy's novel "Mayor of Casterbridge" this is a valiant recreation transposed from England to the cold mountains of early California. A man sells his wife and daughter for a gold-mining claim. Years later, when he is the local sheriff, his wife and daughter return. A sub-plot documents the arrival of the railroad construction. This has all the makings of a truly great movie but unfortunately is good without being great. The first half is particularly disappointing - the camera fails to linger where there are wonderful scenic shots of breathtaking beauty or dialogue that could have emotional impact. It lingers over boring, inconsequential scenes. The movie also veers stomach-churningly between episodes of gripping realism to episodes where it simply looks all too obviously like actors on a set reciting their lines. Verging on pretentiousness at times, The Claim still manages to pull through as a worthwhile film, largely because it is worth seeing for the bits that work well.

The movie was shot in sub-zero Calgary, Canada, and considering the lengths to which the film makers went to in order to achieve authenticity, it is sad that the finished result was rather less than finished.

Although set in a remote Sierra Nevada mining town in 1867, `The Claim' is really Thomas Hardy's classic novel, `The Mayor of Casterbridge' transported to American soil. The move is a good one.

The story concerns a wealthy miner named Daniel Dillon who practically runs the town of Kingdom Come as his own personal fiefdom. One fateful day three groups of people arrive into town: some railroad surveyors who offer the possibility that a train may soon be passing through the town, bringing with it people, wealth and prosperity; some prostitutes who plan to open up shop in this all-male community; and a sickly woman and her beautiful young daughter, who, it turns out, are the wife and daughter that Dillon sold for a bag of gold in his desperate youth – a decision he has lived to rue ever since.

Given this multi-character canvas, writer Frank Cottrell Boyce and director Michael Winterbottom take an almost painterly approach, allowing the drama to unfold at an unhurried pace, so that they can concentrate on the bleak snowy winter setting which ends up playing as great a role in the drama as the characters themselves. The most compelling of these is Dillon, a figure of almost tragic proportions, a man who seizes the chance to make amends for his heinous sin, yet who discovers, all too late, that, for some sins, there can be no redemption. Peter Mullan provides a superbly understated interpretation of a man whose acquisition of immense wealth and power only mask the loneliness and guilt he feels inside. Wes Bentley as the chief railroad surveyor, Nastassja Kinski as Dillon's ailing wife, Sarah Polley as their daughter and Milla Jovovich as Dillon's devoted mistress all turn in outstanding performances. Although none of these characters are afforded the same richness and depth that Dillon is, they still create a fascinating tapestry of conflicting dreams and emotions. For the concept of `dreams' is a core element of the story's pioneer theme. Here are a group of rugged individualists, all enduring great hardships on a wild outpost far away from the soothing amenities of civilized life – yet all dreaming of being a part of the building of a burgeoning new nation, of which the makeshift towns and railroad-building are truly indelible symbols.

And, indeed, in many ways, it is the images – of rugged mountains, of the relentlessly falling snow, of a house being pulled by horses across a snowy plain – that stick with us most profoundly. `The Claim' is a somber, moving and fascinating glimpse into our pioneer past.

Daniel Dillon owns much of the town of Kingdom Come, an area he obtained in exchange for a woman and a baby that travelled with him as a young man. Now he has the chance to become richer when Mr Dalglish arrives in town from the railroad company to scope the area for a possible railway route. At the same time, the woman he traded in exchange for the claim to the land all those years ago, Elena, returns with her daughter Hope to ask for money from Dillon.

Director Winterbottom is almost enough to draw me to watch a film, while the great potential in the cast brought me the rest of the way. The film is rather slow and deliberate but this is not a problem as it suits the atmosphere of the town and the film. However the various threads are perhaps too restrained and insular for the film's own good. It is clear that Winterbottom is mirroring the coldness of his surroundings in the hearts of his characters, but it makes it difficult to be involved in the emotions of the story. Also the fact that everything is quite polite and restrained doesn't quite fit with what I expect from a small frontier town based around mining and prostitution.

Likewise the characters were too mellow for the majority of the film - certainly Dillon does not seem like a man who has that in his past, he isn't anywhere near as complex as he should have been. This is not enough to ruin the film though; it still is interesting and reasonably involving as a collection of threads around the town. If only it had had more in the way of heart it would have been a much better film.

The cast are pretty good even though they are restricted by the material. Mullan is always worth watching and he does a reasonable job here. Jovovich is a very risky proposition sometimes but she stands out here mainly because her character allows her to show more of an emotional range. Kinski is wasted in a role that is key to the thrust of the film but is badly used and badly developed. Polley and Bentley are both very able actors but neither manage to convince; they are OK but their characters are not allowed to go where they needed to.

The story is interesting and, after seeing this, I will now try and read the original material it came from as I can see the potential that was quite missed by this version of it. The emotions of the story and the characters are not allowed to develop and it really robs the film of much of it's power. It looks great and feels very worthy but it is hard not to feel like something is missing. Well worth a look but it requires patience to enjoy.

Saw at a screening at Cannes- and as trite as "Oscar-worthy" may sound, this film is IT. A sweeping, magestic epic which astounds the soul as well as the mind, one wonders how it could be looked over when it comes around to Oscar-time. Wes Bentley is awesome in his second-round role after American Beauty, Milla Jovovich finally silences those who may have questioned her acting ability in The Messenger, and Sarah Polley gives a real, blistering, reminds-me-of-Emma-Thomson-esc truthful performance. Natasha Kinski is heart-wrenching. Go see this movie.