I didn’t realize that I wasn’t a fan of John Wayne. I hadn’t really ever thought about it, but I’m not. To some, those words might be blasphemy and I apologize and I might reserve that judgment until I’ve seen more John Wayne movies, but I’m definitely not a fan of the original True Grit. This weekend I watched the both original and the new Coen Brothers’ version, and contrary to the typical original/remake pattern, this is one remake that is way better. There’s really no comparison; the acting is better, the cinematography is better, the music is better, the writing is better, the action is better. I have been informed that the 2010 version follows Charles Portis’ 1968 novel more closely, which makes sense as the plot hangs together much better, and as a final critique of the 1969 John Wayne classic, they couldn’t even film the night scenes at night (I might just be being snobby now, but it’s John Wayne, can’t he get a budget to allow filming at night?) It’s not even really worth discussing the old film any more, so let’s dispense with it and move on to the Coen Brothers version.
I tend to enjoy Coen Brothers films, which often to tell the story of a place and an era through strong characters and intriguing plots. This film was certainly a period piece, though perhaps in following the book closely, they lost some of that coloring in of the place and time, and focused too much on character and more so on plot (When these are the “flaws” of your film, you know you’ve reached a respectable level of film-making). The film is, of course, beautifully shot and lit (I would have expected nothing less) and some of the classic cowboy riding at dusk shots are no less powerful for their well-used framing. The overall visuals of the film were pleasing and appropriate, while the music was unremarkable, but compared to the inappropriate tone of the 1969 soundtrack, it was excellent. Jeff Bridges and Matt Damon play their roles with a touch of subtle emotion and the rugged dignity expected of western heroes.
The real achievement in the film is the breakout performance by Hailee Steinfield as the stubborn and strong-willed Maddie Ross. Steinfield’s portrayal of the 14-year old Arkansas farm girl/family bookkeeper who, becoming the de facto head of the family upon her father’s death, takes the execution of family duty with the utmost seriousness. Maddie Ross takes the train to Ft. Smith to tie up her father’s affairs after his murder. Fearing that justice will not be exacted from his murderer Tom Chaney (Josh Brolin), she takes the matter into her own hands, hiring crusty U.S. Marshall Rooster Cogburn (Jeff Bridges), whose standard approach is to shoot first and ask questions later, to track down Chaney and bring him to justice. Steinfield is at once childlike and masterful. She maintains the innocence and bit of naivete present in Ross’ character, while allowing it to be tempered by her quick wit, practicality, and heavy load of responsibilities. Despite the fact that the young girl is a shrewd business-woman, who will not be gainsaid, on the eve of her departure into the Indian Territories to find Chaney, she cannot but help writing her mother with a touch of excitement of the “great adventure” on which she is about to embark.
Overall, the film is entertaining, and well executed. I found it to be a satisfying viewing experience. It is not, however, as good as the Coen Brothers’ previous western film, No Country for Old Men. But that is another story altogether.
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