3h10 pour Yuma

Decent Western, the ending was ridiculous though. It ruined the film.

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.

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

Just saw a screening of this movie in New York. Amazing. Bale continues to prove that he is quickly becoming one of the best lead actors out there. Crowe exudes cool throughout the movie as a heartless, smooth talking, Bible quoting killer. Of course...Ben Foster. Yes. Ben Foster. Welcome him to the bigtime, cause he made this movie. There hasn't been a western with a character so badass as the one Ben Foster plays in this movie. Story-wise, the movie is an opposite Butch Cassidy and the Sundance Kid, with the good guys trying to run away from the bad guys in order to make a 3:10 train to Yuma. What ensues is an awesome movie you wanna watch till the last battle.

Dan Evans is a struggling rancher being pushed off his land by men he dare not stand up to. An amputee from his part in the war, Evans longs for the respect of his sons, but all they see is his refusal to take up arms for his land. Evans is in town to try and reason with the landowner for more time to pay off his debts when he stumbles across outlaw Ben Wade in a bar with his guard down. Wade is captured and a posse is put together to transport Wade while a decoy draws off his gang. With the money and the moral aspect, Evans joins the posse and sets out, with the time pressure on them from the very start.

I missed this film at the cinema but I did want to see it as I had greatly enjoyed the original and had indeed commented in that review that the film would work if done well in any setting, so I figured the remake could work as well. The simplicity attracted me to the original and this remake, for all its Hollywood production values, is still a solid and simple tale. The heart of the film is the battle between good and evil as it occurs both between Evans and Wade but also within Evans himself. This comes out best in the final scenes (the waiting for the train is a smaller part of the film than the original) and it did make me wish that more had been made of this. However, what makes up the majority of the film does still mine this theme, albeit not as effectively because of the sense of space and action tending to take away from the pressure cooker of the hotel room with the ticking clock.

IMDb currently has this within the top 250 films ever made, which needless to say I disagree with but will say that it is a strong modern western and a very engaging film all round. Director Mangold does a sterling job of keeping the material the focus and succeeds in making the climax very tense, even if he cannot drag it across the whole film. I did like the way that the film is restrained in regards the cinematography; too often westerns will feel obligated to have sweeping landscapes and make the most of them just because it is what the genre does. Here though the locations are impressive without ever being forced onto the viewer as if they were the focus – Mangold and his crew keep the focus tighter and the characters don't get lost in wide shots.

The cast is one of the main draws for the modern viewer, with the star pairing being a big selling point. Crowe is a solid Wade but I never felt like he was doing more than playing the character rather than totally being it. Bale on the other hand is much more convincing and this did make it work very well. The two men do play off one another really well and again it just added to my desire that the film had allowed them more time with just the two of them and a ticking clock. Lerman is a device character but he works well within the demands of the script. Foster enjoys a simple but memorable character by being simply evil throughout. Support is solid as well with some good turns from people such as Mol, Fonda and others.

Overall then a solid and enjoyable western. The things that made the original so strong are not quite as well delivered here but they are still present, with strong delivery across all aspects making for a very good, but not brilliant film.