3:10 to Yuma
|Distributor:||Lions Gate Home Entertainment|
In Arizona in the late 1800s, infamous outlaw Ben Wade and his vicious gang of thieves and murderers have plagued the Southern Railroad. When Wade is captured, Civil War veteran Dan Evans, struggling to survive on his drought-plagued ranch, volunteers to deliver him alive to the “3:10 to Yuma,” a train that will take the killer to trial. On the trail, Evans and Wade, each from very different worlds, begin to earn each other’s respect. But with Wade’s outfit on their trail—and dangers at every turn—the mission soon becomes a violent, impossible journey toward each man’s destiny.
Here’s hoping James Mangold’s big, raucous, and ultrabloody remake of 3:10 to Yuma leads some moviegoers to check out Delmer Daves’s beautifully lean, half-century-old original. That classic Western spun a tale of captured outlaw Ben Wade (Glenn Ford)—deadly but disarmingly affable—and the small-time rancher and family man, Dan Evans (Van Heflin), desperate enough to accept the job of helping escort the badman to Yuma prison. Wade, knowing that his gang will be along at any moment to spring him, works at persuading the ultimately lone deputy to accept a bribe, turn his back on “duty,” and go home safe and rich to his family. That the outlaw has come to admire his captor intriguingly complicates the suspense. All of the above applies in the new 3:10, but it takes a lot more huffing and puffing to get Wade (Russell Crowe this time) and Evans (Christian Bale) into position for the showdown. Mostly, more is less. To Mangold’s credit, his movie doesn’t traffic in facile irony or postmodern detachment; it aims to be a straight-up Western and deliver the excitement and charisma the genre’s fans are starved for. But recognizing that contemporary viewers might be out of touch with the bedrock simplicity and strength of the genre—not to mention its code of honor—Mangold has supplied both Evans and Wade with a plethora of backstory and “motivations.” At the overblown action climax, the crossfire of personal agendas is almost as frenetic as the copious gunplay. (By that point the movie has killed more people than the Lincoln County War.) Best thing about the remake is Russell Crowe’s Ben Wade, a Scripture-quoting career villain with an artist’s eye and a curiously principled sense of whom and when to murder. As his second-in-command, Ben Foster fairly pirouettes at every opportunity to commit mayhem, and Peter Fonda contributes a fierce portrait of an old Wade adversary turned bounty hunter for the Pinkerton detective agency.—Richard T. Jameson
Never let it be said that the Western is dead. Because every time its last rites are read, another filmmaker moves in and produces another fine entry to an enduring genre that’ll simply never go away. In this case, the film is 3:10 To Yuma, and the filmmaker is James Mangold, straight off his Oscar-winning Johnny Cash biopic, Walk The Line.
3:10 To Yuma is, however, a far different beast, bringing together two of the most magnetic male leads in modern day cinema. On the one hand, there’s Christian Bale as the law-enforcing Sheriff, and he’s facing off against Russell Crowe’s killer. Unsurprisingly, it’s the conflict and sparks between these two that ignite the film, and turn it into a film well worth seeking out.
For what director Mangold realises is that the trick with 3:10 To Yuma (named after the prison train that Bale’s character seeks to put Crowe’s on) is to give his two stars room to work, and injecting plenty of action and excitement into the mix. The end result, while not a top-notch Western, turns out to be a real cut above most of the current multiplex fodder. Even if Westerns aren’t usually your thing, it’s well worth giving this one a try.—Jon Foster
The soundtrack to director James Mangold’s gritty 2007 Western, 3:10 to Yuma, features a score by Italian composer Marco Beltrami. Echoes of Ennio Morricone’s classic spaghetti Western symphonies are evident in Beltrami’s moody orchestral pieces, albeit in a more modern and minimalist light, as revealed on the chiming “Main Titles” and the foreboding “Trial By Fire.”