The death of the western as a viable film genre remains, even to this day, a perplexing motion picture issue. It could be argued that the glut of horse opera product that flooded the pop culture market between 1940 and 1980 extinguished any artistic or commercial viability the category had left. Indeed, Hollywood loved to spread the oater’s morality play mandates as thinly as possible. Part of the reason was popularity. Until political correctness condemned its conceits, kids played Cowboys and Indians and the pioneers were looked upon as great land emancipators, not the catalysts for cruel, cutthroat genocide. How the mythos went from machismo to mass murder is definitely a topic for another time. But it does help explain why the sagebrush saga has seen better days. Along with a draught of compelling creativity, post-modern audiences just aren’t eager to revisit our country’s more primeval past.
Perhaps that’s why James Mangold’s remake of 3:10 to Yuma is so strict in its storyline dynamics. This second version of Elmore Leonard’s short story (the first, in 1957, featured Glen Ford and Van Heflin) revolves around a simple rancher who, in a desperate act for much needed money, decides to escort a rogue outlaw to the title train, an express that leads to prison, and eventually, the gallows. Actors such as Tom Cruise and Eric Bana were originally considered for the project, but Mangold managed to score a box office bonanza when he cast Christian Bale (Batman himself) as Civil War veteran Dan Evans and Russell Crowe as suave train robber and ruthless killer Ben Wade. Rounding out the supporting parts with Peter Fonda, Ben Foster, Gretchen Mol, and Alan Tudyk, he had performers worthy of pulling off the impossible—making this manner of film compelling to a consumed-by-CGI audience.
For the most part, he succeeds in spades. 3:10 to Yuma has its off moments, and its unexplored potential, but for the vast majority of its running time, this is an excellently made and superbly acted throwback. Mangold is not out to deconstruct the genre ala Unforgiven, nor is he trying to contemporize or reimagine his homage ala The Quick and the Dead. Instead, this is the kind of mild mannered, if action packed, movie that the Italians targeted with their spectacular splatter spaghetti updates. After an exciting opening stagecoach hold up, the narrative becomes a series of metaphysical standoffs waiting for some glorified gunplay to forward the momentum. This is a good looking film, one that captures an Old West authenticity that’s unique among its motion picture peers. This is a grubbier, dustier western, a movie that frequently mentions the hardship and the horror of eking out an existence on the fringes of a still-forming nation.
In that regard, one has to stop and mention the magnificent work of Christian Bale. Playing a Northern veteran of the War Between the States (with his own humiliating past to protect), there’s a real desperation in his performance, a quiet helplessness that carries over to his gaunt face and hobbled physicality. Missing a foot and more considered than confrontational, Evans makes for an unusual hero. Not only do we need him to buffer Wade’s craven cult of personality, but we hope he will find his inner strength as well. The combination creates real tension, and gives Bale lots of room to play. In turn, he’s both pathetic and powerful, a presence that demands attention even if all it results in is nothing more than mockery. With a scraggly beard and sullen eyes, we witness the kind of alienation and angst we’d expect in a post-modern movie. But thanks to his amazingly accomplished acting, it all becomes part of a much more meaningful whole.
Crowe, on the other hand, is quite the quandary. He’s supposed to be larger than life, a charmer who’d enjoy conning you as much as killing you. Instead of delving deep into his character’s psychosis, or the rationale behind his antisocial stance, the actor merely grandstands. You can practically hear him having too good of a time, a leprechaun-ish lilt in his voice almost mocking everything the movie stands for. It’s a brave creative choice, since it could easily alienate the audience. After all, Wade will go through a last act change that pushes our perspective of him into fairly uncharted territory. One can indeed question whether Crowe actually prepares us for this possibility. When he turns on the intensity, he’s as grave as they come. But in the lighter moments, when he’s joking and jesting, we’re stuck stewing over the man. His rogue routine raises enough questions to turn his character into quicksand—substantive at first, but with some rather shaky foundations underneath.
The rest of the company is crafty and first class, with Ben Forster literally stealing the film as Wade’s trusty and treacherous sidekick Charlie. He’s evil personified, a man metering out his own idea of justice one blazing six-shooter at a time. When he appears onscreen, all bets are automatically off, especially during the opening/closing action sequences. He’s ruthless, with just a touch of feyness to render every act doubly despicable. He’s unpredictable and yet totally calculated, a lethal combination indeed. He acts as a counterweight to the cavalier tone taken during some of the movie’s more trite moments. Similarly, Alan Tudyk’s venerable veterinarian is a wonderful reminder of the definite dangers involved. Whether it’s repairing bullet wounds or reminding the posse of their purpose, he’s a wonderful voice of reason. Add in Peter Fonda’s grizzled grimness (including a rather nasty backstory) and a real flair for bullet bravado, and you’ve got a really fine cinematic sentiment.
There are a couple of minor misgivings however. The entire subplot with the son, an ungrateful little knave that eventually comes around to his dad’s way of thinking, asks too much of an already perplexed viewer. Why this kid loves the outlaw life and vicarious violence is only suggested, though it appears to be derived from a love of dime novels and press puffery. He’s worked back into the overall tone about halfway through, even if we’re not sure why he’s around. Then there’s the Civil War angle. Bale wears his service literally, the war wound haunting and hobbling him. Yet other characters who mention their part in the conflict do so without a lick of significance, as if their conscription in the nation-defining event was similar to going down to the local saloon for a snort. It’s confusing, and lacks closure. Still, 3:10 to Yuma does a direct job of both bending and blending archetypes. Luckily, the narrative avoids most of the standard stock personas, even if Crowe ends up bedding one of the cleanest looking whores in all of Arizona.
Most of the praise goes to Mangold, however. He keeps things lively, and never forgets that a contemporary audience likes their wicked weaponry in full muffle blast mode. The gunfights are staged in a highly kinetic manner, the participants constantly plotting and moving in an attempt to avoid that hot kiss of lead. The finale is probably the best two on twenty showdown in the history of the genre, made even more effective by the emotional bond we feel with these characters. Even better, this director lays out the basics for a possible genre rebirth. All that’s required is a simple story, capable stars, an acknowledgement of the current medium trends, and a filmmaker that’s capable of meshing them all together. The results can only hope to be as effective as 3:10 to Yuma. In the realm of remakes, this one surpasses its still significant sources.