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Dickson, Industrial Change and Historical Revision

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Dickson, Industrial Change and Historical Revision Mapping Contemporary Cinema ii.i'V. Brad Pill in '¡he Assassinalion of esse James hy ilie Coward Robert Ford The Assassination of Jesse James by the Goward Robert Ford is something of a throzvback to 1970s Hollyvuood, a time when filmmakers such as Sam Peckinpah, Robert Altman and Michael Cimino were responsible for revising the Westerti. Andrew Dominik's The Assassination of revisionist approach to the Western Industrial Change and Jesse James by the Coward Robert Ford (2007) made by a major studio gambling on an Historical Revision is somediing of a throwback to 1970s up-and-coming director, Andrew Dominik. Hollywood, a dme when film-makers This essay explores points of comparison in The Assassination such as Sam Peckinpah, Robert Altman, between The Assassination of Jesse James of Jesse James by the and Michael Cimino were responsible for and its 1970s counterparts, in particular Coward Robert Ford revising the Western, the US film industry's the question of genre revisionism and the most enduring genre. Altman's McCabe and industrial practice of gambling on new By Simon Dickson Mrs. Miller (1971), Peckinpah's Fat Garrett & talent. Billy The Kid {\ 973), and Cimino's Heaven's Gate ( 1980) challetiged genre conventions High stakes filmmaking and have been read by critics as left-liberal The film's production dates back to early KEYWORDS: The critiques of US history. These films also 2004, when Warner Bros, and Brad Pitt's Assassinalion of Jesse James signalled the ways in which the studios - production company. Plan B Entertainment, struggling with falling attendances — acquired the rights to Ron Hansen's 1983 by (lie Coward Robert Ford, accommodated autcur-dircctors, allowing novel The Assassination of Jesse James by the them altnost unprecedented creative Coward Robert Ford. Ridley Scott and his Andrew .Dominik, Brad control. Considering the various industrial, company Scott Free Productions also joined Pitt, Warner Bros, genre economic and cultural changes since that the project soon after its concepdon. It was period. The Assassination of Jesse James serves Dominik who had shown inidal interest in revisionism, western. as an ititeresdng case study: an avowedly Hansen's novel "as a story of people and 64 Film Matters Surmner 2012 Mapping Contemporary Cinema .!hanü;e and Iiist-oncal Revis!<in ... Bi'i.ovv Brad Pitt in 'I he Assassination of Jesse James by the Coward Roberl Ford and creative control over projects in which they appeared" (Mann 50-51). Whilst Pitt's star power may have had little effect on the box office, it certainly held sway in enabling Dominik to make the film according to his original vision. The implication here is that as a result of concerted pressure by Pitt and Scott, Dominik's artistic vision was maintained during the editing process despite Warner Bros.' concerns. And, in genercd, the post-production process of the film can be seen as symptomatic of Warner Bros.' and other major studios' auteur-friendiy attitude during the late 1990s and early to mid 2000s. During this period. Paramount Pictures' specialty division, Paratnount Vantage, also made compromises to suit certain film- makers' demands, particularly with regard to film running times. For instance, Sean Penn's Lnto The Wild (2007; 148 min.) and Paul Thomas Anderson's There WiU Be Bhod The post-production process of the film can be seen (2007; 158 min.) substantially exceeded the as symptomatic of Warner Bros. ' and other major average running time of 120 min. So, as in the 1970s, die early 2000s wimessed major studios'^ auteur-friendiy attitude during the late 1990s studios gambling on auteur-direetors, while and early to mid 2000s. offsetting this risk with big-name stars and trusted producers. emotions that were vivid and realistic [...]. projects, opening to enthusiastic praise at The major studios' willingness to "just- The fact that they happened to be two the Toronto International Film Festival, and say-yes" was a hallmark realized by various legendary figures of American history some estimable reviews (McCarthy, Ebert). powerful figures in the industry, including added a level of drama but was really a The approval of reviewers was far from Jeff Robinov, who assumed his position as seeondary issue" (Levy, par. 21). Doininik's unanimous, however, with various critics president of Warner Bros. Pictures Croup early sentiments revealed his desire for a condemning the film's indulgent three-hour in J a n u a r y 2008. However, as a result of character-driven feature well in advanee running time and lack of immersive action the commercial failure of The Assassination of production. Seemingly unconcerned by sequences. Warner Bros, had predicted this of Jesse James (along with There Will Be this commitment, Warner Bros.' decision to reaction during the film's post-production Bhod and Into the Wild), this attitude began grant writing and directing responsibilities period, which lasted well over a year, and to shift. After transitioning to president, to Dominik, a relatively novice Australian had applied pressure to Dominik to make Robinov had Warner Bros, merge with New filmmaker proved to be a big risk. Warner changes, leading to a delay in the film's Line Cinema and then went about closing Bros, may have found some consolation in release. However, in a dispute over the their respective speeialty divisions, Warner the fact that a major star, perhaps even the final cut, the major studio faced opposition Independent Pictures and Picturehouse. biggest star in the industry, was lined up to from Scott, as well as Pitt and Dominik. In Paramount Pictures made a similar move play the lead role. By the time of release an interview, Pitt commented: "We were by consolidating Paramount Vantage into tliough, even Pitt's considerable star power fortunate to have the time we needed to the parent studio. More recentiy, Robinov's was unable to generate strong box office get it j u s t right. The first version was four strategy "involves making fewer but more returns. Domestically, The Assassination of and a half hours long and I thought it was ambitious movies, cutting back on sweetheart Jesse James recouped barely 10 per cent of its fantastie" (Foley). Regarding Pitt's influence, producer deals and at long last integrating original budget of $30 miUion. Dominik stated: "He was definitely the its corporate sibling DC Comics more During the same year, similar films touting most powerful person involved with the tightly into tiie movie division" (Barnes). some of the industry's biggest stars suffered movie [...]. He's the only reason the movie These ehanges constitute an emphatic a similar fate, including Oliver Hirschbiegel's happened" (Carnevale). Indeed, the power move away from the kind of artistic semi- The Invasion (2007; starring Nicole Kidman, dynamics between stars and studios has independent production that The Assassination Daniel Craig), Michael Winterbottom's been consistentiy in flux since the industry's of Jesse James embodied; a shift evidenced A Mighty Heart (2007; Angelina J o l i e ) , and Colden Age. For instance, die J i m m y Stewart by variou.s directors running into difficulty Robert Redford's Lions for Lambs (2007; starring Winchester '73 (1950), directed by in seeking funding for their films, including Tom Cruise, Meryl Streep, Robert Redford). Anthony Mann, proved to be a great success, Dominik, whose upcoming Killing Them Soflly In the case of the latter. Cruise's influence which Universal Studios had not expected. (2012) is backed again by Pitt's produetion approximated to Uttie, making the film o n e Stewart was granted half the profits thanks company, but financed independently, and of his lowest grossing of all time. In terms of to a lucrative studio deal made by his agent. Paul Thomas Anderson, who even after the critical success. The Assassination of Jesse James Lew Wasserman. Such a deal "established a eritical success of There Will Be Blood, could fared better than these other left-field precedent of granting stars far greater power not entice Universal Pictures to greenlight his 65 Film Matters Siurioier 2012 Mapping Contemporary Cinema Siirioi) DickstJti ' •• '''V^ Jeremy Renner and Paul latest project. The Mast^ {2012). Robinov's S( hneidrr in 'ITie Assn.\sintiiwn nf Je.'ise recent strategy (and a wider conservatism in the industry at large) seems to echo this turn away from auteur-driven films in the late 1970s and 1980s (witii the spectacular failure of Heaven's Gate [Miehael Cimino, 1980] seen as a key driver of this change). Prominent figures in the current industry who are willing to gatnble on risky, artistic projects are now few and far between and the shouldering of risk has, once again, become the province of independents: the distribution rights for Dominik's and Anderson's forthcoming features, for example, have been acquired by the Weinstein Company. A J e s s e J a m e s to suit the times Historian T. J. Stiles notes that the story of Jesse J a m e s "has been remade again and again" in history books, popular fiction, and Hollywood films, including Henry King's Jesse Janees (1939), Nicholas Ray's The True Story of Jesse James (1957), Philip Prominent figures in the current industiy who are Kaufman's The Creat NorthßeU Minnesota Raid zjvilling to gamble on risky, artistic projects are nozv (1972), Walter Hill's The Long Riders (1980) and more recently, Warner Bros.' American fevu and far hetzveen and the shouldering of risk has, Outlaws (2001), directed by Les Mayfield once again, become the province of independents. (qtd. in Robinson). Undoubtedly, there is an attraction to J e s s e as a charismatic and enigmatic figure and most accounts, filmic paranoia.
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