Guy de Fraumeni's Hollywod In The Hamptons

3:10 To Yuma

Living in a political vacuum as we do, I find it propelling me into the past for a breath of untainted restoration. The good old Western survives for just that purpose. When the meaning of good and bad, and virtue and villainy have been swift-boated to a watery grave, we float aimlessly on a skittish raft, certain of no rescue. Then, miraculously, the nightmare is surprised by the staccato blare of a bugle - the Cavalry is on the way! The Western offers us some sureties. The good guys wear white hats, the bad guys the black hats. The swift smirking-smearers had many believing that the wounded, decorated veterans were bad guys for being against war and the war perpetrators heroes even though they'd all wormed their way out of actual participation in warfare. But we can count on who and what is good in the dusty, crusty Western.

The new, old-fashioned 3:10 to Yuma is faithful to the classic horse opera and feels no need to re-invent the genre. Instead, it banks heavily on its very bankable star, Russell Crowe and he rides the role with Cavalry assurance to glory. (And, he's the bad guy in a black hat.) The good guy, Dan Evans, is an extremely fine Christian Bale. His cadaverous jaws lock onto convincing pain. He'd been a Union army sharpshooter. Wounded and partially maimed, he is now homesteading in the Arizona territory, still fighting-fighting to keep his land. Bad weather has the predatory bankers of flourishing capitalism, beating at his doors. His baleful goodness is almost holy. Crowe's outlaw is as ruthless as he is charming and, as primitive as he is intellectual. Both actors, Crowe and Bale, are quintessential American range riders. Crowe is a native New Zealander and Bale is from Wales. Can these guys act?

A frenzy of gunfire emblazons the screen as it rips up the film's sensitivity, however, the molten fury sets the stage for the keener combat to come: a mental and physical duel between two very different but equally strong men. This is the day they meet. Crowe is holding up an armored coach being protected by Pinkerton agents armed with a primitive machine gun that helps to unleash unbridled violence. Bale has happened by and helps capture Crowe and, more. Bale is no hero but, he's in dire need of money. His barn has been burned by his creditors and threatened to raze the entire ranch. For payment of enough money to save the homestead and the respect of his wife and two sons, he agrees to escort the prisoner to the close by town of Contention, where he'll be taken by the Feds on the 3:10 train to Yuma for prosecution. It is obvious to him that it won't be easy. Crowe's killer-outlaw is a wily, bright and sly conniver, able to devise all sorts of escapes. Tougher still, Ben's partner has gotten away with what's left of the gang and, he is brazenly terrifying and waiting.

3:10 to Yuma was originally adapted to the screen in 1957 from a short story by Elmore Leonard. Directed by Delmer Daves, it's been somewhat of a cult favorite. It's by-the-books, straight-up Cowboys vs. Outlaws format has only been padded to a 2 hour length and beefed-up for more bloodshed so, don't expect much novelty. An exception is Crowe's sinfully nasty sidekick as played by Ben Foster. His androgynous, lithe and strangely different notion of what we expect an Old West psychotic to be, can really shake you up. It ably abets the powerful performances of the leads and adds an extra layer of thought by the new director, James Mangold (Walk The Line). The question of masculinity is as present as the frothy horses. Christian Bale's gaunt pride of Evans' struggling to reclaim his wife (Gretchen Mol) smacks of impotent sadness whereas, Crowe's artistic sociopath Ben Wade, enjoys a dominating freedom, reveling in the hatred he attracts. Evans' teenage son (Logan Lerman) considers him a wimp and, in a way looks up to Wade. Dan Evans maintains honor above all but is he the man he's expected to be? And, what does the audience expect? Of course, there's the ultimate showdown. In this case, it is big and it long and, as expected. A surprise? Look for a grizzly bearded Peter Fonda.

What's new about 3:10 to Yuma is its different Box Office category, plunked down between the top Blockbuster's popcorn tier and, at the bottom, feisty Independents. 3:10's distributor, Lionsgate appears to be backing the sturdy entertainments the Golden Age studios thrived on.

Guy Jean de Fraumeni is the producer/writer/director of award-winning European and American feature films. He has been a judge at Major Film and TV award competitions including the Oscars, the Emmy's and various film festivals. Sarah Halsey assists him.

Back to Contents