The Coen Brothers’ True Grit is as stubborn as a mule. It’ll say what it wants to say in the manner in which it chooses and it’ll take it’s time about it. The film is an exercise in faithful adaptation, not in that I know because I’ve read the original novel but in that it’s in no way adapted for a modern cinema audience and makes no attempt to update vocal intonations or iron out plot longueurs and needless detours that other adaptations would surely trim, alter or cut altogether.
It’s admirably re-watchable and has been the first film that I’ve seen in some years that I can imagine myself enjoying even on the tenth viewing.
As always with the Coen Brother’s the filmmaking is flawless but the standout craft on display in True Grit is the convincingly 19th century performances. The ongoing problem I have with period pieces is that the actors all compose themselves as if they’re in the 21st century and will, after a long day’s shooting on set, drive home in their cars and spend the night on the internet or watching television. But not for a second here do you believe that Jeff Bridges’ gnarled Rooster Cogburn, Matt Damon’s proud but flawed LeBoeuf or Hailee Steinfeld’s stern and plucky Mattie Ross have such modern conveniences to while away the time… the Coen Brothers present you with the world as it was some 150 years ago and never do you doubt it.
Many other filmmakers might have been concerned about the outdated attitudes towards race and sex in the story and modernised many of the encounters, but they would not have been faithful. The Coen’s keep in LeBoeuf’s obvious attraction to an underage girl and makes it poignant rather than sinister and the various knocks, falls and scrapes the girl herself is subject to are not papered over or pulled back from. These are hard times and it’s people are even harder.
The dialogue in True Grit is sometimes indecipherably old fashioned and delivered too quick to take in on the first viewing, but there lies one of the film’s great pleasures. Like reading Shakespeare or Joyce half the battle is concentrating on what’s being said and the temptation to stray away from the narrative is often all too great. But resisting these temptations and holding your attention is rewarded by a great adventure with some very exciting and funny moments.
It’s a curious piece also for it’s truthful, but not necessarily entertaining, conclusion. Mattie, unlike Damon’s titular Ryan in Saving Private Ryan, does not “earn this” and her eventual path in life raises questions about the trail of destruction she and her counterparts leave behind in the film. But her resolve from start to end is neither sentimental nor poetic: she has a job to do and once it’s done that’ll be the end of it.
Rest assured that from titles to credits this is a film that you will love and watch over and over again for years to come.
5/5
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