Pistols, Panoramas and Ponies: Riding with the Coen Brothers

Seated in a small courtroom chair an old and embittered man warily watches on as judge and jury seek to break down the only way of life he has ever known. Defiant, the man stands his ground and states his case with confidence and panache. Outsiders laugh whole-heartedly with him but discretely accept that this fierce and gigantic tide will force his way of life to sink into obscurity.

A truly iconic scene in modern cinema. It was a tableau which marked the introduction of one of the most memorable characters to ride across the plains of the Western genre. Rooster Cogburn: A lawman whose ability to serve rough justice was only matched by his equally impressive capability to drink, talk and shoot all at once. Inevitably, if not somewhat surprisingly, John Wayne was granted the opportunity to bring the titular hero of Charles Portis' 1968 novel to the silver screen. For his efforts, the Western superstar was awarded his first, and only Oscar.

In retrospect it would seem that the aforementioned sequence in the original True Grit was a telling allegory of the Western genre in its declining years: Stubbornly attempting to fight its corner, whilst being revealed to be an outdated and tiring artform. However, with the advent of films such as Unforgiven, Seraphim Falls, 3:10 to Yuma and The Proposition the western has seen a roaring return to form in the past decade. It seems somewhat ironic then that the Brothers Coen have decided to revisit this classic tale of retribution, loyalty and the loss of childhood innocence.

The Coens, along with principal cast members, have insisted that their version is to be seen as a re imagining of Henry Hathaway's 1969 original and not a remake. It must be said, before watching the film, I was certainly doubtful as to how the Coen brothers could pull off such a feat as Portis' tale is a fairly linear story of retribution. However, this should not be deemed a drawback as the story's simplicity gives the audience the opportunity to focus on the subtle nuances of each character and allows these protagonists' qualities to drive the story forward. This dramatic device is what the Coens have so brilliantly "reimagined", as opposed to the general set pieces and overarching story.

For the uninitiated, True Grit tells the tale of a young girl, Mattie Ross, on a quest to avenge her father's death. Murdered by the hired farmhand Tom Cheney, who subsequently flees, Mattie's father epitomises all that is wholesome and decent. Accepting the gravity of what lies before her Mattie enlists the help of a drunken US Marshal, Rooster Cogburn and an arrogant, yet sensitive Texas Ranger, LaBeouf. What follows is a journey which tests the bonds between them, whilst also bringing into question the legacies which they will leave behind.

Aside from the opening and denouement of the piece, the Coens interpretation of Mattie's journey, in terms of key events, is very similar to the original. However, as the viewer we witness these events through her eyes. This has enabled the directing double act to form a completely new dynamic structure from a story, which may have seemed somewhat linear on the surface. In doing so, this incarnation of True Grit very much compliments the narrative structure of the novel.

In centring the weight of the narrative on the 13 year old protagonist the film lives or dies by Hailee Steinfeld's performance. Time and time again the Coens manage to find relatively unknown actors and nurture them in a way in which stellar performances always flow from set to screen. Hailee has clearly heeded the pearls of wisdom, which these two seem to have a boundless supply of. She is nothing short of an enigma in this film and I say this as a person who had strong reservations upon hearing news of the Coen's casting selection. Steinfeld successfully intertwines a complex plethora of characteristics into her performance ranging from fear, naivety and innocence through to maturity and wisdom. I was quite simply transfixed by her performance. To capture a child's transition into adulthood in the midst of such a dark and terrifying world is a challenge for any working actor but Steinfeld captures it so perfectly I had almost completely forgotten Mattie had been performed by another, albeit older, actress in the past.

Haliee Steinfeld in True Grit

A large responsibility has also been placed upon the shoulders of the eponymous '"Dude" a.k.a. Jeff Bridges. Bridges had admitted before the films production that John Wayne's boots were certainly a tough pair to fill. However, he gives an altogether different performance from the "Dukes" portrayal of the man with "true grit." Whereas Wayne's Cogburn drew laughs from audiences with his biting wit and light physical comedic flourishes, Bridges entices us to laugh at this tragic, diminishing shadow of a man. Arguably, this is a much more fitting portrayal of Rooster as by the time of his catharsis at journey's end we strongly empathise with him and appreciate the "true grit" which this bumbling drunk really has. 

Coen collaborator Josh Brolin puts in a fine turn as the mysterious Tom Cheney, successfully conveying the elusive villain's weak, pathetic and cowardly nature. The ubiquitous Matt Damon draws a fantastic depiction of LaBeouf from the Coen's wonderfully adapted screenplay. The Bourne Series star consistently demonstrates why he is one of the hottest properties in Hollywood at present and with True Grit captures the arrogant, loyal and somewhat naive nature of LaBeouf.

Any Coen film in recent years has been veiled with a dark sense of humour and True Grit is certainly no exception to the rule. However, rather than lampoon certain social idiosyncrasies the siblings have allowed the humour to flow organically from the speech of the different personalities on display. This certainly gives a more telling portrait of the social trends of the time and how certain people within the west would have reacted in the face of violence and moral decay.

With so many top quality films gracing the screen this year it has been hard to identify a standout, which has exhibited outstanding cinematography. With the Oscars fast approaching it appears that True Grit could potentially be a clear winner. The Coens have always had an innate fascination with the sweeping landscapes of America. In True Grit the setting evolves from the populated towns, imposing woodlands and snowy hillsides of 19th century America to the sun-dried plains and babbling brooks of the Indian territories. True Grits panoramic views are truly a feast for the eyes and highlight the isolated nature of this quest for vengeance in a desolate and ever-changing American West.

Admittedly, I was sceptical as to how Joel and Ethan Coen could match the raw intensity of Hathaway's beloved original. After viewing the theatrical cut, I must say that in many ways they have surpassed it. In being faithful to the novel, we have been able to witness the absorbing tale of Rooster, LaBeouf and Mattie in a completely new and refreshing light. I implore you to watch this fine film, if not for the gripping story, for the incredibly exquisite performances and dialogue which form its vengeful and gritty core. For the Coens have now roused the Western into life and allowed it to rise from that cramped courtroom chair all guns blazing.

Drowning in a Lake of Swans, Ballet, Eroticism and Paranoia

Poise, elegance, grace and beauty. Any ballet dancer worth their salt I assume would demonstrate these traits in the shedloads. Equally, these overarching qualities can be broken down into their demanding prerequisites: Athleticism, strength, determination and skill. A large majority of the ballet world has been quick to raise these points when asked whether Darren Aranofsky's Black Swan portrays a realistic picture of the trials and tribulations these dancers face when under intense pressure to perform.

After watching the somewhat disturbing trailer before the films release it must be said I was left confused as to whether this would be a straight-up horror or a surreal quasi-documentary film. After now bearing witness to the full running time I can say undisputedly that if anyone believes this to be an accurate portrayal of the ballerina lifestyle must be as crazy as the protagonist Natalie Portman embodies.

It speaks volumes about the ballerinas who have been quick to criticise this dark, twisted and utterly riveting tale. To put it bluntly, they've missed the point of the film. The Requiem director has created a film which addresses the frailty and vulnerability of the human condition. More specifically, Aranofsky has sought to create a visual experience which demonstrates a performer's ability to completely "lose themselves" in the role to the extent where some are consumed by it. The last part of the film is clear evidence of this. With this in mind, the themes of Black Swan could arguably be just as effective when placed in a film about stage performers, film performers or any type of performer for that matter.

For those who have not been swept up in the gargantuan hype surrounding this film, Black Swan tells the story of Nina Sayers (Portman) who aspires to perform as the lead in Tchaikovsky's Swan Lake. In pursuing her goal Nina confronts her inner demons, questioning her sexuality, confidence, relationships and sanity along the way. A link can be drawn between this piece and Aranofsky's previous work The Wrestler, in that both raise issues surrounding the world of performance.

Natalie Portman in Black Swan                    

Rather than leave people in suspense I may as well get this one out of the way: Natalie Portman is a revelation. Long are the days when the paying public had to witness this talented actress being paraded in horrifying make up and wigs in the Star Wars prequel trilogy. She delivers a performance which is epic yet understated and it stands to reason that this is her film. Portman deftly captures the frailty and insecurities of a young woman who is victim to an over-bearing and quite simply frightening mother, a sly and repulsive director and ballerinas who sweat envy. All of these factors makes Portmans decent down the Rabbit Hole all the more believable. It is worth noting at this point that Portmans preparation for the film (read around for details on her one year training period) alone deserves an oscar. So lets hope the Academy can get it bloody right for once.

Other honorable mentions should go to Mila Kunis and Vincent Cassel (probably one of the finest French actors of his generation). Kunis provides a sultry and seductive edge to her role that I haven't seen since the days of Sharon Stone in Basic Instinct.

With this edge comes a large theme which seems to envelope the film from when the projector is turned on. Sexual imagery and tension pervade this cinematic experience from the very outset and, at times, I can imagine it may be too much to stomach for some. All I need say is "old man simulating sexual gratification on a train" and I believe that either you will laugh or feel very uncomfortable after watching this scene.

A lot of light has been shone on the now infamous lesbian scene within the film. In all honesty I didn't find this as graphic as some film critics would like to have you imagine but I did feel, within the context of the film, it is entirely relevant to the protagonist's story arc. Many filmmakers will flippantly throw in a scene such as the one mentioned to generate a furor and controversy around the release date and thus drag more people into the cinema. One I believe this treats people as idiots and two is testament to the state of the industry. However, the eroticism is entirely justified in Black Swan and gives an insight into the immaturity and, to some extent, naivety of Nina.

Finally, a lot has to be said about Aranofsky's direction. If you're an avid fan of his earlier work you'll certainly find a whole heap of tricks with a strange sense of deja vu. This being the case, he manages to weave these devices into the melodrama so well that you cannot help but be swept up in this insane rollercoaster. The last act of the film is certainly tense and there were a few moments where I thought I seen Alfred Hitchcock standing in the wings. Particular praise should go to the cinematography and special effects involved in the dance of the black swan. Never has a film in recent memory captured the drama, excitement and power of theatre as that one scene managed: Breathtaking.

I seem to have mentioned a word once or twice in this review which I feel perfectly captures this film: Melodrama. Just like the Tchaikovsky piece which is at it's core, this film enraptures you in its bird-like arms in tense, riveting, maddening and delirious drama. It may not be to everyone's taste but with Portman's performance, masterful direction and a seductive allure into the heart of madness, Black Swan really does soar.