by Phillip Bryant
Fill Your Hand You Remake of a Movie
Fill Your Hand You Remake of a Movie
The remake can be a horrible, nasty thing. Not only can it just be worthless and misused, it can also ruin your own attitude towards the first due to simple association. For instance, sometimes when I think of the classic film King Kong, I am forced to remember the seventies remake. Sometimes though, remakes can offer a different take, a new light, or a superior version of a story that has already been done. We have been fascinated with this for a long time. Great stories forever have been retellings of Homer’s Odyssey or Grimm’s Fairy Tales. Contrary to the above analogy, when I watch Peter Jackson’s King Kong, I am reminded of my love for the first one, and marvel at the filmmaking of the remake. Did the 2005 version surpass the classic Kong? This is up for debate, and a matter entirely encompassed by one’s opinion on the films, anyway. With little to no absolutes to be found in film, remakes are usually movies condemned with absolutes . Perhaps that is why, when we see one so profoundly entertaining and with such high quality, it marvels us.
One of my favorite films of 2010 was Joel and Ethan Coen’s adaptation of Charles Portis’ 1968 Western novel. Certainly, this film’s success in terms of both quality and box office can be attributed to the talent behind it. Adapted and directed by the Coen brothers has its benefits, one of these being the fact it will almost assuredly at least be a good film. Who would have thought that out of all the classic films out there ripe for remake, that a John Wayne starring Texas revenge tale would be the one the directors of Fargo and No Country For Old Men would choose to make. Then again, if I really think about it, their choice makes perfect sense. The story combines both the elements of dark comedy, character oriented story, and thematic elements that the filmmakers seem to inhabit so well. The film is a straight genre piece merely in premise, not in exercise. Although they do inhabit the Western genre very well and close to the classic versions of such stories, they also transcend such stories. They accomplish this by combining both the humor of the original text and the showcase of great performances, none more so than Jeff Bridges as Marshal “Rooster” Cogburn. Following his Oscar winning portrayal in Crazy Heart, Bridges stepped into perhaps the most legendary and iconic American screen presence, John Wayne. Though his talents as an actor are questionable at times, there is no denying his impact. If I could think of any one man capable to withstand the scrutiny this performance would surely entail, it would be Mr. Bridges. He allows Rooster Cogburn to breath more than John Wayne did, allowing his features rather than voice and tone to carry the character. Matt Damon plays the role of Sherriff LaBoeuf, and does a much better job than his previous incarnation with Glen Campbell. The most important and possibly best performance of the film is that of Hailee Stienfield as Mattie Ross. The entire view of the film is from Mattie’s point of view and her scope, so it is essential that this be done precisely right. Casting young actors is always a difficult thing. The Coens did so as perfectly as one could assume they could, however. Stienfield is able to hold her own against Matt Damon, Jeff Bridges, and Josh Brolin (as the murderous Tom Chaney), three of the best actors working today.
Up until the film’s release, I pictured the film being “ironic” in nature. Not comparable on the levels of Quentin Tarantino or Robert Rodriguez, but a sort of wink on the Western genre. Instead of delving into the type of film that True Grit originally was, they inhabit it with their style and beautiful artistic precision. Although the film has a standard story, it is lifted with the technical qualities. Much of the book had two important key thematic elements that were left out of the original film: violence and Protestant faith. Both of these are brought to the forefront here. Even though the film is PG-13, its violence is not left off-camera. Men fight and men die, sometimes to darkly comic effect. The short scene at the hangings near the beginning of the film comes to mind. Two of the white men say their final wishes, and when the Native American man begins, they cut him off courtesy of the hangman’s bag. This is funny, until you realize what is going on, namely racism and death. As far as the religion goes, the most obvious factor is Carter Burwell’s score. At several times it incorporates the old hymn Leaning on the Everlasting Arms. The film does not shy away from either its religion or its violence, making it a true adaptation of the book and the time.
Therefore, the film is not even really a remake, but instead, as the filmmakers have stated, “more of an adaptation of the original novel.” It is a true marvel to watch, especially in the cinema, which I did multiple times. The cinematography and the scope of the film is a sight to behold. So, if you haven’t seen it, do so, fan of the Western or not.
One of my favorite films of 2010 was Joel and Ethan Coen’s adaptation of Charles Portis’ 1968 Western novel. Certainly, this film’s success in terms of both quality and box office can be attributed to the talent behind it. Adapted and directed by the Coen brothers has its benefits, one of these being the fact it will almost assuredly at least be a good film. Who would have thought that out of all the classic films out there ripe for remake, that a John Wayne starring Texas revenge tale would be the one the directors of Fargo and No Country For Old Men would choose to make. Then again, if I really think about it, their choice makes perfect sense. The story combines both the elements of dark comedy, character oriented story, and thematic elements that the filmmakers seem to inhabit so well. The film is a straight genre piece merely in premise, not in exercise. Although they do inhabit the Western genre very well and close to the classic versions of such stories, they also transcend such stories. They accomplish this by combining both the humor of the original text and the showcase of great performances, none more so than Jeff Bridges as Marshal “Rooster” Cogburn. Following his Oscar winning portrayal in Crazy Heart, Bridges stepped into perhaps the most legendary and iconic American screen presence, John Wayne. Though his talents as an actor are questionable at times, there is no denying his impact. If I could think of any one man capable to withstand the scrutiny this performance would surely entail, it would be Mr. Bridges. He allows Rooster Cogburn to breath more than John Wayne did, allowing his features rather than voice and tone to carry the character. Matt Damon plays the role of Sherriff LaBoeuf, and does a much better job than his previous incarnation with Glen Campbell. The most important and possibly best performance of the film is that of Hailee Stienfield as Mattie Ross. The entire view of the film is from Mattie’s point of view and her scope, so it is essential that this be done precisely right. Casting young actors is always a difficult thing. The Coens did so as perfectly as one could assume they could, however. Stienfield is able to hold her own against Matt Damon, Jeff Bridges, and Josh Brolin (as the murderous Tom Chaney), three of the best actors working today.
Up until the film’s release, I pictured the film being “ironic” in nature. Not comparable on the levels of Quentin Tarantino or Robert Rodriguez, but a sort of wink on the Western genre. Instead of delving into the type of film that True Grit originally was, they inhabit it with their style and beautiful artistic precision. Although the film has a standard story, it is lifted with the technical qualities. Much of the book had two important key thematic elements that were left out of the original film: violence and Protestant faith. Both of these are brought to the forefront here. Even though the film is PG-13, its violence is not left off-camera. Men fight and men die, sometimes to darkly comic effect. The short scene at the hangings near the beginning of the film comes to mind. Two of the white men say their final wishes, and when the Native American man begins, they cut him off courtesy of the hangman’s bag. This is funny, until you realize what is going on, namely racism and death. As far as the religion goes, the most obvious factor is Carter Burwell’s score. At several times it incorporates the old hymn Leaning on the Everlasting Arms. The film does not shy away from either its religion or its violence, making it a true adaptation of the book and the time.
Therefore, the film is not even really a remake, but instead, as the filmmakers have stated, “more of an adaptation of the original novel.” It is a true marvel to watch, especially in the cinema, which I did multiple times. The cinematography and the scope of the film is a sight to behold. So, if you haven’t seen it, do so, fan of the Western or not.
Usually, I will add a clip of a great scene or the memorable trailer of a film in these Studies, but here I chose the final piece of music from the film in a decent montage type-thing.
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