Somewhere in the four-plus hours of film that New Zealand director Andrew Dominik shot for “The Assassination of Jesse James by the Coward Robert Ford” has to be a cut fully capable of winning an Oscar for Best Picture. This version, however, is not it, but it’s beautifully filmed and supported by incredible acting. Length (157 minutes) and a few scenes that wander off just enough to deflate the plot’s naturally thriving tension are the only hurdles too high for this underrated ensemble to jump.

Based on Ron Hansen’s book of the same title, “Jesse James” is a historical fiction account of the great American outlaw: the man, the myth, the legend (literally) — Jesse James. It tells the story of how the young man Bob Ford, who would eventually come to kill him, joined the famous gang of bandits and how he came to commit the “cowardly” act that forever lived in infamy.

Brad Pitt and Casey Affleck as the two titular characters form one of the more intriguing relationships on the screen. As the one huge name in the cast, Pitt is perfectly cast as James, a cold outlaw that creates tension by utilizing the fear of everyone around him. Affleck is the socially awkward Ford, who used to idolize James growing up. Now that he’s become part of the gang, Ford’s ideal image of his hero has been shattered. The transformation he goes through from being naive to pulling the trigger on James gives Affleck an incredible range to work with. He’s simply under-appreciated in Hollywood or he’s really selective.

That’s not to diminish, however, the talent around him. Sam Rockwell, Paul Schneider and Jeremy Renner have impressive chemistry as part of the James’ brothers gang. The script provides great subtext for their characters, but each is capable of so many levels. One minute they’re joking around and the next they’re bullies or even killers.

Lastly, cinematographer Roger Deakins does absolutely gorgeous things with the lighting of this film. From the onset there’s the scene of the James gang waiting in the woods for a train they’ve obstructed to stop so they can loot it. The train’s headlight shines through the trees as it moves and ripples over their hooded faces, elevating the anticipation of the first action sequence of the film. On the whole, “Assassination” has the look of a great cinematic tragedy. The assassination scene in particular is so visually memorable. All the deaths in the film, in fact, have that traumatic effect on the audience.

Then there’s length. Scenes just kind of get lost. The excellent ending really pulls you back in to the film and leaves a favorable impression, but many middle sections are too quiet despite the ever-growing tension caused by the inevitability of the film’s conclusion. It’s hard to believe there wasn’t a way to edit this film to make it of both tolerable length and a bit more streamlined through the middle because this cast, crew and story is clearly worthy of more recognition for this first-class effort.

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4/5 Stars

The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by Andrew Dominik
Written by Andrew Dominik, Ron Hansen (novel)
Starring: Brad Pitt, Casey Affleck, Sam Rockwell, Jeremy Renner

The first thing that stands out about “The Treasure of the Sierra Madre” is that it’s not gun- shy about its moral storytelling. From the get-go, legendary director John Huston, who wrote the script and directed based on a novel by B. Traven, feeds us foreshadowing about the perils of money and seeking great fortune. In the beginning, the prospector, Howard, played by Huston’s father, Walter, in a role that won him an Academy Award, warns us “I know what gold does to men’s souls.” From there on out we know we’re in store for great human conflict fueled by greed, paranoia and the American dream.

As a classic Western, “Sierra Madre” is not as exciting or action-packed as it is interpersonal drama and suspense. There are still gun fights and encounters with indigenous people (in this case Native Mexicans), but the focus is on three men, Dobbs (Bogart), Howard (Huston) and Curtin (Holt) who agree in principle to search for gold in Mexico and split the earnings fairly. When they discover gold, the wealth becomes real and paranoia sets in, especially with Dobbs, who cooks up delusional schemes of deception and even threatens to kill without hesitation.

Bogart’s turn as the dirty, malcontented and often crazy Dobbs is — in my opinion — the film’s stand-out performance. Huston is written as the complement to that high-strung and distrusting character and that’s what makes him noteworthy too. Bogart really pushes our comfort level; he makes us take the film’s “who might cross who” game seriously. It doesn’t necessarily work without his character putting ideas in the others’ (and our) heads. He gives a face to the rotten side of human nature that we’re ashamed of but have to acknowledge exists.

Huston, most importantly, provides us the sense that these men have honestly nothing else to concern themselves with other than money. Although we want to believe they can take solace in the unexpected friendship they’ve discovered and inherently trust one another, Huston has convincingly set the stage for doubt and desperation. He’s guided by a rigid moral compass in the creation of this film that even manages to express itself poetically once or twice. As Dobbs tries to sleep by the fire believing he has killed someone, the flames of the fire dance brighter to suggest the inner wrongdoing Dobbs is experiencing — and presumably that he has sinned and is bound for hell.

A few scenes felt a bit out of place or unnecessarily dragged out, so “Sierra Madre” doesn’t always keep you actively interested, but the inherent human truth that Huston explores that relates so closely to our everyday wants and desires is such a beacon for this film. The shoes of these three men are some of the easiest characters’ shoes to step in in all of film because its so fundamental to us. Even as children we make pacts that show we trust others and believe that everything will be fair and equitable. Huston just tells that story from the adult perspective using the trappings of classic Westerns.

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4/5 Stars

The Treasure of the Sierra Madre (1948)
Written and Directed by: John Huston, based on the novel by B. Traven
Starring: Humphrey Bogart, Walter Huston, Tim Holt