Thomas Ayres

Many are quick to dismiss this movie as being too long and too self-indulgent, something with little substance beneath its stylish surface. If you're looking for a shoot-em-up adventure, this might not be for you. ''Assassination'' is more Terrence Malick-esque lyricism than John Ford-style muscularity, exploring the myth of Jesse the infamous bandit whilst simultaneously delving into the emotional highs, lows and unknowns of Bob's downward spiral -- befriending his childhood hero only to face disillusionment over James' true nature. A stern, selfish criminal with an aching to get away from everyone, Jesse is misunderstood by the masses, his men, and his family. The film's excessive title is the perfect representation of the outlaw's legacy because, like the frequently paradoxical voiceover narration (beautifully written and spoken), it again contradicts the truth. The titular act was less an assassination by a coward than it was an assisted suicide by an obsessive, deranged fanboy. Both men knew it would happen there and then, and Jesse welcomed the end knowing his history would outlive Bob's. As a result, Ford is now known as the Oswald to James' Kennedy, the Chapman to his Lennon. This is where the movie is at its most profound - it's an insightful, but sadly timeless meditation on idol worship. This isn't a film for everyone. It's elegiac, introspective, and ultimately tragic. It's unafraid to prioritise unpredictable character dynamics over clear-cut plotting, and slow, lengthy conversation scenes over high-stakes action set pieces (though there are a few of those, which are as tense and powerful as anything). Still, in its ambitious ideas and in its artful execution, the movie is staggeringly well-realised. If you have any love and appreciation for the craft of filmmaking, you'll be overwhelmed. The dialogue, much of it lifted from the novel of the same name, is genuinely poetic without ever overreaching - you'll want to rewind certain moments just to listen to it again. Nick Cave and Warren Ellis' melancholy soundtrack is simply too beautiful to express with words (so I won't); the production design and forest/mountain/wheatfield-heavy scenery transports you to a different time and place; and the performances from everyone, which include many bit-players, are perfect. I think the involvement of Brad Pitt and Casey Affleck is a stroke of casting genius - the former plays the most famous, idealised man of his era, the latter plays a quiet man who's often overlooked by his older brother. Pitt gives arguably his finest performance here, embodying both the subtle and psychotic features of his larger-than-life character flawlessly - he often resembles a ghost. And Affleck is wistful and heartbreakingly fragile. His voice is a wonder unto itself. I could listen to him read the phone book. And I could watch this film forever.

For most other directors this would easily be a career high-point, but such is the consistent quality of the Coen brothers' filmography that Blood Simple has been undeservedly under-appreciated by many. This is a taut, taciturn, tense and twisty thriller, despite (or maybe because of) its ultra-low budget. It's undoubtedly rough around the edges, but that cinematic grit is part of the charm, and complements the violent, unsettling tone of the movie well. And every element of the brothers' craft (dialogue, cinematography, editing, sound, music) is precise, and in perfect harmony with each other. As a piece of independent, genre filmmaking, Blood Simple is endlessly impressive. The hallmarks of their sensibility are evident here from the start - the humour/horror blend of Fargo; the sparse, natural soundscape of No Country for Old Men; the noir pastiche of Miller's Crossing/The Big Lebowski, etc; the pitiable, amusing stupidity of the selfish/money-chasing characters of well, everything they've subsequently made. The environment is unmistakably Coen too, and not just the barren landscape of 80s Texas (i.e No Country). Many of their films seem to centre around creepy, dangerous motels and hotels, and that's very apparent here. The characters are thinly developed, but that's intentional. Everyone in the story is unknowable, always plotting a plan, or an escape. The actors bring them to life very naturally. Character actor legend M. Emmet Walsh is a standout, as the eccentric, probably psychotic private detective. And Frances McDormand, in her debut role, conveys a lot despite doing, and saying, very little. The film's atmosphere is eerie but irresistible, and there are a couple of set pieces (always involving bodies and blood) that genuinely mesmerise. The finale, which is funny and disturbing in equal measure, leaves you pondering some surprising questions as the credits roll; questions about the plot, yes (how? what? why?), but more interestingly, questions about real things, like fate and the future, morality and mortality. That a 90 minute exploitation movie could provoke and impress so much is an inarguable testament to the Coens' talent. Watching Blood Simple, it's clear they always had it.