3:10 to Yuma (2007 film)

Originally Written and Posted at Epinions.com on 9/9/07 w/ Additional Edits & Revisions.

Based on Elmore Leonard's short story, 3:10 to Yuma is the story about an ex-Civil War sharpshooter who is asked to accompany a vicious criminal to a prison train as he and various men are being followed by the criminal's gang. Directed by James Mangold with a screenplay by Stuart Beattie, Michael Brandt, and Derek Haas with elements of the 1957 adapted script by Halstead Welles for Delmer Daves' version of the film. The film explores the world of temptation as a farmer and a criminal try to outwit each other. Starring Russell Crowe, Christian Bale, Gretchen Mol, Logan Lerman, Alan Tudyk, Ben Foster, Vinessa Shaw, Dallas Roberts, and Peter Fonda. 3:10 to Yuma is a sprawling yet adventurous film from James Mangold.

The film explores a rancher named Dan Evans (Christian Bale) whose life hasn't been great as his ranch is suffering from a drought while he's in debt as well as getting threatened by a man named Hollander (Lennie Lofton) who wants Evans' land for the railroad. When the criminal known as Ben Wade (Russell Crowe) has been captured after stealing money from the railroad barron Grayson Butterfield (Dallad Roberts), Evans volunteers to help the Pinkerton officer Byron McElroy (Peter Fonda) to accompany Wade to the prison train to Yuma along with Doc Potter (Alan Tudyk), Butterfield, and Evans' 14-year old son William (Logan Lerman). Yet, the party is being pursued by Wade's right-hand man Charlie Prince (Ben Foster)and the rest of Wade's gang as a battle of wits emerge between Evans and Wade about what to do where Wade tempts Evans into helping him while Wade isn't sure if he can take Wade's offer.

The original film version of 3:10 to Yuma was essentially a western that was part character-study, part suspense where it's about these two men trying to play a game of wits in seeing how far they'll go in dealing with their own morals. Director James Mangold, obviously a fan of the original, doesn't tinker with the film's old formulas very much. Instead, he helps expand the story, add a few new characters, and take the western genre back to form with some new methods. The film's script that was written by Stuart Beattie, Michael Brandt, and Derek Haas definitely brings back some of the original dialogue that was written by the film's original scribe Halstead Wells. What is very surprising is that the dialogue that is used again manages to be as relevant as it was heard back in the original 1957 version.

The script also works as a device of character study where it's really about both Ben Wade and Dan Evans. Wade, a sadistic man who can be very charming and witty while is also a ruthless killer who is even willing to kill one of his own men for gain. Yet, part of his redeeming qualities is how he reminds someone like William that he's not a good man despite the growth of respect he has for Dan for his bravey. Dan Evans is just as complex as a man who is forced to swallow a lot of his pride in order to maintain the survival of his family. Yet, he too has a dark side that he doesn't like to show that Wade manages to discover. What's surprising is that both men have similar morals, characteristics, and pride. It's where the film's script succeeds in.

The direction of James Mangold is very solid throughout the entire film in how he maintains the faithfulness to the original film. While the female characters like Alice Evans (Gretchen Mol) and Emmy (Vinessa Shaw) aren't as big as they were in the original film, they still play to what's expected in the plot. More importantly, the plot is expanded where the original film is 95 minutes and this version adding thirty more. While the violence and language is more confrontational in the original, it's definitely because Mangold adds elements of directors like Sergio Leone and in a lesser extent, Sam Peckinpah. There, he still manages to bring that quality that is expected in the genre in terms of the idea of men running lose, doing wild things, shootouts, and such. One complaint that might be understandable in comparison to the original film is the ending.

Probably because of what Mangold is trying to convey in terms of where the genre was then and now. It might work on some aspects but might not work with some audiences. Still, Mangold brings the genre right back to its essential that makes not just purists satisfied but also people new to the genre to be excited about.

Cinematographer Phedon Papamichael brings a wonderful look to the film with its gorgeous, epic-like photography with the film's inspiring location shot in New Mexico. The film's nighttime scenes from the outside with the blue sky is mesmerizing as is some of the daylight exteriors that manages to maintain its grittiness. It's definitely a highlight of the film. The location in New Mexico and with a $50 million budget definitely gives the production with the saloons, farms, and towns created by production designer Andrew Menzies and art directors Greg Berry and Jay Hart a look that is authentic and a reminder of what was great in that genre.

Costume designer Ariane Phillips definitely create some nice suits for Dallas Roberts while the cowboy clothing for the rest of the actors maintains its grittiness. The makeup also works since a lot of them wear beards or a mustache whether it's the clean, handlebar mustache look Roberts have to the dirtier, grimy look that both Ben Foster and Peter Fonda have.

Editor Michael McCusker definitely goes against the current fast-cut, fast-paced editing style of today's films that would've hurt this film. Instead, he goes for a more traditional, intense style that manages to keep the film's pacing while the action is definitely attentive for the audience. During the more suspenseful moments, the cuts are definitely slow but engaging to maintain the tension between the main characters. Sound editor Donald Sylvester also adds atmosphere by using the sounds of the wind, horses, whistles, and such to play true to the film and its genre in terms of its suspense.  Music composer Marco Beltrami adds a bit of symphonic orchestra to the genre but uses it in a low-key approach with the rest of the score performed on acoustic guitars and string instruments to play to that old-school atmosphere of the western.

Finally, there's the film's cast and what a hell of a cast does it have. Smaller performances from the likes of Sean Hennigan as the Contention City marshal, Rio Alexander and Johnny Whitworth as two of Wade's men, Forest Fyre, Luce Rains, and a un-credited cameo from Luke Wilson who gives a great performance as one of Boles' posse. Benjamin Petry is good as the little Mark Evans who has a great line that comes from the original film while Lennie Lofton is sleazy as the land-grabbing Hollander. Vinessa Shaw, playing the Felicia Farr role, is good as the sexy Emmy who is charmed by Wade. Kevin Durand is funny as the annoying Tucker, who manages to hate both Wade and Evans for different reasons while having a scene where he sings a song that angers Wade.

Alan Tudyk of Firefly/Serenity fame manages to give an excellent, yet funny performance as Doc Potter who manages to have some funny one-liners while admitting to not carrying a gun very much. Gretchen Mol is wonderful as the caring Alice Evans who loves Dan but also despises him a bit for his choices as she tries to maintain the household. Mol, who shows a more hardened maturity than in previous roles, is only a few scenes which is a shame since her performance really stands out by not playing a conventional farmer's wife.

Dallas Roberts from Walk the Line is great as the money-hungry Butterfield who thinks he has control only to realize that money can't buy everything while eventually becoming a tool for Evans' own pursuits. Logan Lerman is excellent as William Evans, a boy who seems to idolize Wade while losing respect for his own father. His development in the film is handled very realistically as he learns about sacrifice and why his father makes choices that sometimes aren&#146t right as he plays the character with maturity and energy.

Peter Fonda is brilliant in his small but mesmerizing role as the old, gruff Byron McElroy who manages to have a lot of hatred for Wade as Fonda's exchanges with Crowe are just fun to watch. Fonda, who has done westerns in the past, manages to bring that old school attitude that shows he's been there before and his performance is truly memorable that even his late, legendary father Henry would've been proud. Ben Foster is the film's sole scene-stealer as the psychotic Charlie Prince. Foster, sporting a beard and marks around his eyes, is a force that has to be seen where though he's a more sadistic, traditional villain. He has his loyalties and wit as he tries to save the man he's admired so much. It's a great performance from the young actor who proves he can act with the likes of Fonda, Crowe, and Bale.

Christian Bale gives one of his best performances as the troubled, prideful Dan Evans who was played by Van Heflin fifty years before. Bale's intense, layered performance shows the actor bringing a subtlety and grit that isn't seen very often but only expanding his range following his work in recent years. Though his character doesn't have a lot of humor, he still manages to have some wit and charm while maintaining his own stance against someone like Russell Crowe. Russell Crowe, in the role of Ben Wade that was played by Glenn Ford, is brilliant. Though Crowe didn't manage to play a great western character in Sam Raimi's The Quick & the Dead, this film proves he was born to be in a western.

Crowe's mix of charm, sadism, and antagonist attitude proves to be right as he plays the Wade character to the hilt. More importantly, he makes the audience to either love or hate him in whatever he's doing. The comradery between two great actors like Crowe and Bale are just amazing to watch and what's really great to see in those performances is how much fun they're having. Bottom line, both Crowe and Bale bring the kind of performances that purists of the genre will surely love.

The 20007 remake of 3:10 to Yuma is a marvelous film from James Mangold thanks to its cast led by Christian Bale and Russell Crowe as well as its devotion to pay true to the western genre. The film isn't just a faithful remake to Delmer Daves' 1957 film but also ensures the vitality of the western genre as both films would make a great double-feature. In the end, 3:10 to Yuma is an exciting and enthralling film from James Mangold.

James Mangold Films: (Heavy) - (Cop Land) - (Girl, Interrupted) - (Kate & Leopold) - (Identity (2003 film)) - (Walk the Line) - 3:10 to Yuma (2007 film) - (Knight and Day) - The Wolverine - Logan - Ford v Ferrari - (Indiana Jones 5)

© thevoid99 2013

3:10 to Yuma (1957 film)

Based on the short story by Elmore Leonard, 3:10 to Yuma is the story about a rancher who accompanies a captured outlaw to a train station where he’s to go to prison while trying to evade the outlaw’s gang. Directed by Delmer Daves and screenplay by Halstead Wells, the film is a western that explores the complex relationship between a rancher and a criminal as they test each other in a game of wits and honor. Starring Glenn Ford, Van Heflin, Felicia Farr, Leora Dana, Henry Jones, and Richard Jaeckel. 3:10 to Yuma is an engaging yet thrilling western from Delmer Daves.

The film is about a notorious criminal who is captured by a poor rancher after an encounter they had as the rancher is tasked to bring this criminal on a train to Yuma so he can go to prison. Along the way, the rancher has to evade a gang who is hell-bent on freeing their leader as this rancher named Dan Evans (Van Heflin) is dealing with intelligence and drive of Ben Wade (Glenn Ford). Though Evans is aware of how dangerous and cunning Wade is as he refuses to give in to Wade’s charms. A growing sense of respect between the two emerges in the course of the day as Wade offers Evans a way out so he can save his ranch. Still, it all plays to mind games where other forces start to create trouble leading to a climax where these two men have to do something for the mission at hand.

Halstead Wells’ screenplay definitely plays to the myth of the west as it is about pride and honor where two different men have very two different ideas about what is right and such. While Ben Wade is a criminal that does do very despicable things, he’s a man with limits as he doesn’t like to kill someone and has respect for the dead. Dan Evans is a man that just wants to do what is right for his family and gain their respect no matter how bad things are. Once Evans is given the task to accompany Wade to the train station, there’s complications not just from Wade’s gang but also people such as a stage line owner named Butterfield (Robert Emhardt) who is a man only interested in money. The people that would become Wade’s entourage all have reasons to want to put Wade in prison but there’s Wade’s gang led by his right-hand man Charlie Prince (Richard Jackel) who is a more wild individual that has no qualms about killing people and such.

Delmer Daves’ direction is filled with an array of exotic images of the American West that is filled with a lot of mythology and ideas about honor. Daves infuses a lot of unique compositions in the way he puts Wade and Evans into a scene to play out the tension while creating an intimacy that adds an element of suspense. There’s also some wide shots to capture the wide depth of field of the scenes in the small towns and such while using close-ups to help play out the drama. There are also moments where things do get very thrilling where Daves know how to create a sense of action but keep things simple but also engaging. Overall, Daves creates a very fascinating yet captivating film about justice and doing what is right.

Cinematographer Charles Lawton Jr. does amazing work with the film’s black-and-white photography to create some unique lighting schemes for some of the film’s exterior scenes as well as some shadings to help play out the atmosphere. Editor Al Clark does excellent work to create some style in the cutting from the use of transitional dissolves to some methodical cuts in the film’s suspense. Art director Frank Hotaling and set decorators William Kiernan and Robert Priestly do brilliant work with the sets to create the feel of the west along with the design of the saloons and hotels of the time.

Costume designer Jean Louis does superb work with the costumes from the clothes the men wear to the dresses that the women wear. The sound work of J.S. Westmoreland is terrific for the atmosphere it creates in the suspense scenes along with the layer of sounds in the shootout scenes. The film’s music by George Duning is fantastic for its sweeping orchestral music filled with dramatic touches as well as heavy compositions for the suspenseful moments along with a title song co-written with Ned Washington sung by Frankie Laine.

The film’s cast is marvelous as it features some notable small performances from Barry Curtis and Jerry Hartleben as Evans’ sons, Henry Jones as a town drunk seeking redemption, Ford Rainey as a Marshal, Sheridan Comerate as a man seeking Wade in an act of vengeance, and Robert Emhardt as the opportunistic stage line owner Butterfield whose only reason to capture Wade is money. Felicia Farr is wonderful as the bartender Emmy who is charmed by Wade while Leora Dana is superb as Evans’ wife who is hoping for things to turn out well for her family. Richard Jaeckel is excellent as the wild Charlie Prince as a man who is seeking to retrieve Wade in order to continue his pursuits as a criminal.

Van Heflin is remarkable as Dan Evans as a man who is full of pride but also a man deeply troubled by his misfortunes as he hopes to gain something despite the temptation that Wade offers. Glenn Ford is brilliant as the criminal Ben Wade as a man who is a notorious criminal but with a sense of morals as he adds a complexity and charm to his character. Notably as he and Heflin have chemistry in playing out their differences as well as similarities as men of honor.

3:10 to Yuma is a tremendous film from Delmer Daves that features outstanding performances from Glenn Ford and Van Heflin. The film is definitely one of the most compelling westerns that is highlighted by its suspense and themes of justice and honor. Notably as it also adds new layers into the mind of a criminal as well as the flaws of a hero. In the end, 3:10 to Yuma is a sensational film from Delmer Daves.

Delmer Daves Films: (Destination Tokyo) - (The Very Thought of You (1944 film)) - (Hollywood Canteen) - (Pride of the Marines) - (The Red House) - (Dark Passage) - (To the Victor) - (A Kiss in the Dark) - (Task Force) - (Broken Arrow (1950 film)) - (Bird of Paradise (1951 film)) - (Return of the Texan) - (Treasure of the Golden Condor) - (Never Let Me Go (1953 film)) - (Demetrius and the Gladiators) - (Drum Beat) - (Jubal) - (The Last Wagon) - (Cowboy (1958 film)) - (Kings Go Forth) - (The Badlanders) - (The Hanging Tree) - (A Summer Place) - (Parrish) - (Susan Slade) - (Rome Adventure) - (Spencer’s Mountain) - (Youngblood Hawke) - (The Battle of Villa Fiorita)

Related: 3:10 to Yuma (2007 film)

© thevoid99 2013

Out of Sight

Based on Elmore Leonard’s novel, Out of Sight tells the story of a bank robber and a U.S. marshal who fall for each other as the robber plans a big robbery on a businessman. Directed by Steven Soderbergh with a screenplay by Scott Frank, the film is a crime movie with a sense of humor and sex appeal as it marks Soderbergh’s first foray into mainstream filmmaking following a period of unconventional films. Starring George Clooney, Jennifer Lopez, Ving Rhames, Steve Zahn, Don Cheadle, Dennis Farina, Catherine Keener, Isaiah Washington, and Albert Brooks. Out of Sight is an entertaining yet stylish film from Steven Soderbergh.

After another bank robbery that was almost successful, Jack Foley (George Clooney) is back in prison. This time in Florida, Jack calls his ex-girlfriend Adele (Catherine Keener) to contact a couple of his friends in Buddy (Ving Rhames) and Glenn (Steve Zahn) to help him out on an escape. Meanwhile, U.S. marshal Karen Sisco (Jennifer Lopez) is celebrating her birthday with her dad (Dennis Farina) as she goes to the Florida prison for some business. Instead, she tries to stop an escape only to be stopped by Buddy as she and Jack are put in a trunk where an attraction ensues. During the getaway, they meet up with the Glenn who ends up screwing things up when he takes Karen where she nearly got injured.

With Jack and Buddy hiding out and planning to go to Detroit to rob a businessman named Ripley (Albert Brooks) whom they knew at another prison a few years ago with Glenn. It was there that Jack and Buddy learn about some diamonds Ripley had where he was friends with another convict named Maurice (Don Cheadle). Jack is still infatuated with Karen whom he calls one day as she manages to capture an escaped convict named Chino (Luis Guzman) to be part of a task force with the FBI. Yet, Jack and Buddy make another escape with Karen still carrying feelings towards Jack. Karen decides to go to Detroit to stop Jack while learning that Glenn is also there but with Maurice and his two goons in Kenneth (Isaiah Washington) and White Boy Bob (Keith Loneker).

In Detroit, Jack learns that Karen is there as the two meet again as both know what they’re going to do. When Maurice decides to change the plans for the robbery, things get a little crazy as Karen decides to follow leading to a showdown between her and Jack.

For a bank robber, the job is tricky as the robber has to get in and steal cash, and get out. A guy like Jack Foley isn’t a typical bank robber since he doesn’t use a gun but rather his charm and intellect. Unfortunately, he can’t get the job done once he’s out of the bank. When he and his friend try to make a big robbery in Detroit with some vicious criminals, the only thing that is stopping Jack isn’t the dangerous criminals and things that can go wrong. It’s his heart and it’s for the woman who is supposed to the enemy in a U.S. marshal named Karen Sisco.

The film is in a way a battle of wits and of the sexes but in a more playful yet casual manner. Jack is a guy who is very smart in the way he deals with crimes and how he plans things. Karen is a woman who is very tough and is willing to take down criminals with style. When these two people meet, sparks happens as the two are both conflicted about what to do with each other. Among the people who watch this are Buddy and Karen’s dad who are concerned about this wondering why Karen didn’t arrest them or why Jack didn’t do anything to confront her.

Scott Frank’s screenplay is very playful in the way he develops and creates fully-fleshed characters along with some witty dialogue. The humor and use of flashbacks for the film creates a story that has a very unconventional rhythm and tone. A lot of it is due to the fact that it sets up this big heist at a man’s house to find the diamonds. Yet, there’s some stops and bumps on the way for Jack and Buddy as they have to deal with Glenn, who is essentially a fuck-up, along with Maurice who is an ex-boxer with a vicious streak. Frank’s script is a highlight of the film as it helps elevates the film’s stylized direction of Steven Soderbergh.

Soderbergh’s direction is another highlight of the film for the way he presents the film by straying from the conventions of a crime film and the infusion of a love story in the film. Soderbergh use of hand-held cameras and stylish shots while also presenting things in a straightforward manner. Soderbergh’s unconventional direction goes from the way he cuts to the present narrative to the flashbacks while creating a wonderfully rhythmic montage of a smoldering yet exotic scene where Jack and Karen get it on. Soderbergh also creates different moods for the varied locations of the film such as Miami and Detroit where Miami is lively and Detroit is more eerie. Overall, Soderbergh creates what is definitely an engaging and fun crime film.

Cinematographer Elliot Davis does a phenomenal job with the film‘s photography from the bluish exterior look for the daytime scenes in Detroit to the more colorful shots of Miami. The nighttime scenes interior and exterior are presented in a more natural look while the love scenes have a more softer look to bring something that is truly seductive. Editor Anne V. Coates does an amazing job with the editing as she adds a lot of style to the film in its rhythm from jump-cuts, freeze-frames, and dissolves to keep things moving. Even the love scene where the montage of dialogue and undressing really gives the film some amazing movement as it’s the technical highlight of the film.

Production designer Gary Frutkoff, along with set decorator Maggie Martin and art director Phillip Messina, does some excellent work with the set pieces such as the hotel room that Jack and Karen make love in to the Miami places the characters interact in. Costume designer Betsy Heimann does a very good job with the costumes from the stylish clothes that Karen wears to the colorful Miami clothing that Adele wears. Sound editor Larry Blake does a brilliant job with the sound from the intense, active moments of the film such as the escape to the montage where dialogue overlays some of the things happening in the love scene. The film’s score by David Holmes is another highlight of the film for its snazzy, laid-back score that is a mix of jazz and electronic music to play up the film’s sense of style while the rest of the soundtrack is a mix of jazz and soul music.

The casting by Kathy Driscoll and Francine Maisler, with Sonya A. Avakian for the Detroit scenes, is superb as the film features an array of appearances from Viola Davis as a friend of Kenneth, Nancy Allen as Ripley’s mistress, Paul Calderon as a FBI agent in Detroit, Wendell B. Harris Jr. as Karen’s superior, and Michael Keaton in a cameo appearance as Ray Nicollette from Quentin Tarantino’s adaptation of Elmore Leonard’s Rum Punch called Jackie Brown. Other notable yet memorable appearances includes Catherine Keener as Jack’s ex-girlfriend Adele, Luis Guzman as a convict named Chino, Keith Loneker and Isaiah Washington as two of Maurice’s henchman, and Steve Zahn as the unreliable screw-up Glenn.

Dennis Farina is really good as Karen’s dad who has a very funny scene where he talks to Ray about an incident involving a convict and a woman while Albert Brooks is also good as the timid yet intelligent Ripley. Ving Rhames is superb as Buddy, Jack’s partner-in-crime who likes what he does but also has a devotion towards his sister as he is the conscience of sorts of the film. Notably as he brings some subtle humor to his performance as it’s really one of the standouts in the film. Don Cheadle is great as Maurice, an ex-boxer who takes charge over the robbery while bring ruthless as Cheadle brings an energetic performance with some humor for a very dark characters.

Finally, there’s George Clooney and Jennifer Lopez in magnificent performances for their respective roles as Jack Foley and Karen Sisco. Lopez’s calm yet cool approach to Karen Sisco is truly the best performance of her career where she proves she can be tough and engaging in quieter moments. Yet, she also oozes sex appeal as it’s the performance that made her into a superstar. Clooney’s performance as Jack Foley is a real breakthrough as it confirms what is expected from Clooney in terms of charm and sex appeal. At the same time, Clooney proves to be very funny and very direct when he is in business mode. Clooney and Lopez together are brilliant as the two have wonderful chemistry that is very restrained and full of wit as they are the highlight of the film’s ensemble cast.

Out of Sight is a remarkable yet enjoyable film from Steven Soderbergh featuring a top script from Scott Frank and fantastic performances from George Clooney and Jennifer Lopez. In terms of the films Soderbergh has done in his career, this is definitely one of his most accessible as well as one of his most entertaining. Even as its use of editing and shooting styles give something that art-house fans can enjoy. In the end, Out of Sight is a spectacular crime film from Steven Soderbergh and company.

Steven Soderbergh Films: sex, lies, & videotape - Kafka - King of the Hill - The Underneath - Gray’s Anatomy - Schizopolis - The Limey - Erin Brockovich - Traffic - Ocean’s Eleven - Full Frontal - Solaris (2002 film) - Eros-Equilibrium - Ocean’s Twelve - Bubble - The Good German - Ocean’s Thirteen - Che - The Girlfriend Experience - The Informant! - And Everything is Going Fine - Contagion - Haywire - Magic Mike - Side Effects - Behind the Candelabra - Logan Lucky - (Unsane) - (High Flying Bird)

The Auteurs #39: Steven Soderbergh Pt. 1 - Pt. 2

© thevoid99 2011