The Homesman

I need to get something off my chest: I'm not a fan of Tommy Lee Jones. I find him limited in range, much the same in most roles and, worst of all, he inexplicably won the Best Supporting Actor Oscar for The Fugitive, thus depriving Pete Postlethwaite for In the Name of the Father, Leonardo Di Caprio for What's Eating Gilbert Grape and Ralph Fiennes for his performance of pure evil as Amon Goeth in Schindler's List. In modern parlance, WTF?

But periodically, just occasionally, once in a while, he inhabits the screen in a manner that forces one to reconsider one's judgment. And so it is with The Homesman.

The Homesman is something of a surprise, and not just because Tommy Lee Jones is on remarkable form in it. Beyond a fine performance, the man writes, directs and co-produces it. Hell's bells, when did he become so damn good at everything?

In the bad old days of the pioneers in the Wild West, Mary Bee Cuddy (Hilary Swank) steps in when three women drift into various states of madness and need to be transported across the country to be cared for properly. Shunned by their husbands, denied help from the town's menfolk and at a time where rape and murder hides behind every outcrop of rock and every gnarled cactus, Cuddy sets off alone on her hazardous journey. She stumbles across George Briggs (Tommy Lee Jones), a drifter seated atop his horse, with a noose around his neck, waiting for his steed to grow bored and leave him hanging. Literally. Cuddy offers to save him on the condition that he accompanies her and so begins a particular kind of journey.

The Homesman is probably described by many as a western, but that's lazy. This is a road movie on horseback, a saunter across the plains, a journey through mistrust and emotions where a mistake or misplaced trust will result in death. It is a story of hope and love, not the romantic kind, but real love for one's fellow human being, regardless of whether they can, or will, reciprocate.

Shot beautifully with sprawling, dusty vistas that warm the heart and prickle the nape, the backdrop is a vast canvas of character and mystery upon which splashes of colour are smeared in the shape of wandering, human dangers.

Though they say little, the trio of women (Grace Gummer, Miranda Otto and Sonja Richter) are far more than peripheral characters or the MacGuffin; they are the substance that binds The Homesman and the reason for the drama, gentle though it is. As we saw in Mr. Turner, such characters can so easily become pantomime animals with over performance that slaps the viewer in the face and detracts from the whole, of which they are but a small part. Not so here. Grace Gummer, particularly, as the mostly mute but vacantly animated Arabella is terrific and we want to reach into the screen and gently push her back towards sanity. It is a beautiful, understated performance that remains in mind long after the event.

Tommy Lee Jones and Hilary Swank make a surprising double act but the chemistry is there in abundance. Both Cuddy and Briggs carry their own needs and daemons with them; neither would give the other a second glance ordinarily but circumstance prompts odd, emotional couplings and theirs is fraught with suspicion and obligation. It is fantastic to see Swank back to the form that brought her gongs and made us sit up and watch in Boys Don't Cry and Million Dollar Baby. This is a far less demonstrative performance, but no less steely or impactful because of it.

Tommy Lee Jones's performance is the most compelling, engrossing that I can recall. Beyond that, his direction is worth celebrating loudly. The Homesman is only his second feature as director (after 2006's wonderful but little seen The Three Burials of Melquiades Estrada) but there are hints that he may step into Clint Eastwood's shoes alongside Ben Affleck and Sean Penn. Just when we think we have the measure of this tale, he belts us sharply around the jowls, proving he has the mettle to surprise and shock us out of our complacency.

Maybe, after years and years of apparently coasting, broodily on film and staring into space, it will transpire he was merely absorbing, waiting for the moment to own both sides of the screen and captivate us.

You know what, maybe he's always been this good but I just didn't see it.

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The Homesman, about a 31 year old (un-married/childless) woman (Hilary Swank) who takes up the challenge of bringing three crazed women across the Nebraska plains over five weeks with the help of a deserter-drifter left for dead (Jones), is in some ways meant to be a real Feminist Western (with a capital 'F'), and not in the way that a silly work like The Quick and the Dead was with Sharon Stone. Here, it's much more about depicting a time and place that was quite bleak and desolate and, in some spaces, without much hope. Ultimately Tommy Lee Jones, through the novel it's based on, sees a little more light at the end of the tunnel for his protagonist than, say, Eastwood did in Unforgiven. But it's a combination of things it's about, and emotionally the film does work quite well, in particular in the relationship that unfolds between the two leads.

If you're curious to see a western that has the love of the plains of the West visually speaking ala Ford, but has the dark contours of someone like Mann - and added to that those super dirty production designs and character realizations from Spaghetti Westerns - this might be it, at least up to a point. It's so unrelentingly dark in how it looks on at the deteriorating mental states of these women, and the desperation in the journey for Jones and Swanks' characters, that the few moments of humor are rather surprising - and welcome - especially when Jones first appears to Swank on the noose and the horse. It's the kind of scene that shows this actor, well into his 60's and pushing 70, trying something new in a performance (if only for a scene or two).

It's got a cast that is practically distracting for the who's who that shows up, mostly for one scene a piece: James Spader, Tim Blake Nelson, John Lithgow, William Fichtner, Meryl Streep (!) and Hailee Steinfeld (who appears almost to have wandered from the True Grit set to this one). There's so much going for the Homesman that it's a shame the script is uneven, and there's a plot twist two thirds of the way through that is sort of explained but not at all at the same time, and it leaves the film with a gaping tragedy that can never quite be filled. Interestingly, if you watch the behind the scenes on the blu-ray one of the screenwriters mentions the book left things unexplained as well. That might be fine in the book - or perhaps more was explained in other ways - but it still doesn't work, and what Jones goes for in awe-inspiring shots he leaves behind with some muddled story beats.

Nevertheless, The Homesman is a good Western, a solid western digging into the roots of the genre and mixing the unsavory and horrifying (not like a horror movie, just some repellant images at times, but for a point), though whether one will want to return to it like other, better Westerns is another story. It's the kind of picture I can't put down for its artistry, even if things can be looked at more critically, which may explain why it didn't find its way through the End-of-Awards-time (albeit it was accepted at Cannes).

Tommy Lee Jones has a wry, dry character -- rich and deep as unwatered open plains of the Americas. He's transferred his particular personality power to the story of The Homesman. He's successfully created a fine work of "auteur cinema" (much as I personally think this form rarely exists).

The Homesman is an emotionally and powerful, idea-rich, almost humorless story -- with an immense amount of humor. It has very tight, economic tale telling with no fat on the bone; in which much is implied, historical accuracy hits its target by nuance, and the story itself is deeply respectful of an intelligent audience.

The Homesman is not "entertainment" in the haha, shoot-'em-up Western sense. It's realism committed to a moral cause -- criticism of the disenfranchised, the homeless, the people who cannot make it no matter how hard they try. It has a brilliant sense of time and place that tells the life stories of dozens of hard-enduring, long-suffering "forgotten men" -- the women no less than the men.

The key heartbreaker is Hilary Swank's character of Miss Mary Bee Cuddy. She's born into a Western frontier world where she and everyone else believes and practices that "No man, having put his hand to the plough, and looking back, is fit for the kingdom of God." Hard workers and decent people. But tragically that is not enough. Why? The Homesman leaves that question deliciously unanswered. Life is not fair. God is not just.

Beautifully The Homesman does -- kind of -- answer life's problems with the value of sheer vitality and gutsiness itself. Thus that key visual motif in the movie that comes from: George Caleb Bingham, "The Jolly Flatboatmen". We must dance the dance of life, however mad.

The Homesman is a watchable film depicting the old west in a more true, and less glorious, fashion that most westerns. At first it is confusing, with flashbacks to explain the story, but later it becomes clear.

Prarie madness sets in and three women are slated to be returned Back East. The problem is that one of the three "responsible" men is unwilling to step up, so a woman volunteers. She is strong and courageous, more than most men, but isolated and desperate for a husband because she is "bossy, and plain as an old tin can."

Her ultimate fate is incongruous, completely at odds with her character. A willful suspension of disbelief is required at this point.

Solid performances by Swank, Jones, Lithgow, and the actress who played the madwomen make it entertaining, if a bit long.

I really liked the western "The Homesman", but I strongly suspect that it won't be to everyone's taste. And I will admit that even this die hard fan of westerns didn't find it a perfect movie. The opening thirty minutes of the movie, for one thing, are somewhat confusing with some details, though eventually everything comes together and the audience knows what's been going on. And after that first thirty minutes, the movie continues to test the patience of viewers by being quite slow moving and long (the movie is over two hours long.) But I stuck with the movie despite all those things, and I feel I was rewarded in the end. The atmosphere of the movie feels extremely authentic, showing many of the hardships life in the wild west gave many people. Though the story is slow-moving, there are a number of interesting vignettes along the way. And you probably won't predict what eventually happens - the major plot turn around the two-thirds mark really took me by surprise. The last scene is a little unclear as to where one of the characters is headed, but it is memorable all the same. As I said, the movie is not for all tastes, but western fans who are in a patient mood will likely embrace it despite its flaws.