Product Details

• Actors: Brad Pitt, Casey Affleck, Sam Shepard, Molly Parker
• Directors: Andrew Dominik
• Format: AC-3, Closed-captioned, Color, Dolby, Dubbed, NTSC, Subtitled, Widescreen
• Language: English (Dolby Digital 5.1), French (Dolby Digital 5.1), Spanish (Dolby Digital 5.1)
• Subtitles: English, Spanish, French
• Dubbed: French, Spanish
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.66:1
• Number of discs: 1
• Rated: R (Restricted)
• Studio: Warner Home Video
• DVD Release Date: February 5, 2008
• Run Time: 160 minutes
• Average Customer Review: 3.7 out of 5 stars  See all reviews (336 customer reviews)
• ASIN: B0010DR4BO
• Amazon Best Sellers Rank: #14,123 in Movies & TV (See Top 100 in Movies & TV)
• Learn more about "The Assassination of Jesse James by the Coward Robert Ford" on IMDb

Editorial Reviews

Amazon.com

Of all the movies made about or glancingly involving the 19th-century outlaw Jesse Woodson James, The Assassination of Jesse James by the Coward Robert Ford is the most reflective, most ambitious, most intricately fascinating, and indisputably most beautiful. Based on the novel of the same name by Ron Hansen, it picks up James late in his career, a few hours before his final train robbery, then covers the slow catastrophe of the gang's breakup over the next seven months even as the boss himself settles into an approximation of genteel retirement. But in another sense all of the movie is later than that. The very title assumes the audience's familiarity with James as a figure out of history and legend, and our awareness that he was--will be--murdered in his parlor one quiet afternoon by a backshooting crony.

The film--only the second to be made by New Zealand–born writer-director Andrew Dominik--reminds us that Dominik's debut film, Chopper (2000), was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise.

Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerizing in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a wellnigh-novelistic backstory for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie "Western" The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title.

Still, the real costar is Roger Deakins, probably the finest cinematographer at work today. The landscapes of the movie (mostly in Alberta and Manitoba) will linger in the memory as long as the distinctive faces, and we seem to feel the sting of its snows on our cheeks. Interior scenes are equally persuasive. Few Westerns have conveyed so tangibly the bleakness and austerity of the spaces people of the frontier called home, and sought in vain to warm with human spirit. --Richard T. Jameson

Product Description

Everyone in 1880s America knows Jesse James. He’s the nation’s most notorious criminal, hunted by the law in 10 states. He’s also the land’s greatest hero, lauded as a Robin Hood by the public. Robert Ford? No one knows him. Not yet. But the ambitious 19-year-old aims to change that. He’ll befriend Jesse, ride with his gang. And if that doesn’t bring Ford fame, he’ll find a deadlier way. Friendship becomes rivalry and the quest for fame becomes obsession in this virile epic produced in part by Ridley Scott and featuring gripping portrayals by Brad Pitt (winner of the Venice Film Festival Best Actor Award) as Jesse and Casey Affleck as the youth drawn closer to his goal…and farther from his own humanity.

Most Helpful Customer Reviews

339 of 357 people found the following review helpful

5.0 out of 5 stars An Homage to Western History in a Moody Daguerreotype Style February 7, 2008

By Grady Harp HALL OF FAMETOP 50 REVIEWERVINE™ VOICE

Format:DVD

THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD is one of the finer films about the history of the Old West 'heroes' such as Jesse James. It is difficult to describe the degree of high quality of the way in which this film has been created: the script (adapted by Andrew Dominick from Ron Hansen's novel) is as poetic as it is gritty and flows like a Shakespearean tragedy both in narration and in dialog; the exceptionally fine cinematography by Roger Deakins captures the flavor of the times, shot in subtle lighting whether in darkly intimate interiors or on the vast plains at times heightened by snowlight, but always in the feeling of the quality of daguerreotypes; the musical score by Nick Cave and Warren Ellis is strangely apropos without seeming to borrow from any previous source; and the cast of fine actors play the film as a true ensemble work. Director Andrew Dominik has accomplished a masterpiece.

The story begins subtly in the last year of the James gang at the final train robbery in 1881. Jesse James (Brad Pitt) and his brother Frank (Sam Shepard) have gathered remnant criminals to bolster their decimated gang - Dick Liddel (Paul Schneider), Ed Miller (Garret Dillahunt), and Wood Hite (Jeremy Renner) among them. The Ford brothers want to ride with Jesse: 19-year old Robert (Casey Affleck) idolizes Jesse and his older brother Charley (Sam Rockwell) enjoys the attention of the gang's fame. Jesse James, at only age 34, is at the end of his career, content to be at home with his wife Zee (Mary Louise Parker) and children. But Robert's adoration results in a chain of events that slowly dissembles the gang and results in Robert's obsessive revenge for Jesse's murder of one of the members fired by the promise of reward for the capture of Jesse James, dead or alive.... History and the title of the film tell the plot so there are no surprises here. It is the inevitable unfolding of the drama and the tension of the interplay of the actors that drives the mood of the story. The film does not stop with the killing of Jesse James but instead follows the descent of the lives of Robert (now wealthy and in love a stripper - Zooey Deschanel) and the progressing insanity of Charley to an end that fades like the proverbial sunset on a time in our history we will never forget.

Each of the actors is exceptional, and despite the glory of having big name stars associated with the cast, the effect is one of pure ensemble work. The 160 minute running time of the film never seems too long, so well timed is the pacing of the story and the pauses for understanding the interior aspects of each character's mind. This is a haunting film, unusually fine in every detail. It deserves, and demands, attention. Grady Harp, February 08 Read more ›

187 of 214 people found the following review helpful

5.0 out of 5 stars A Haunting Character Exploration Of Idolization And Self Diginity. This Is A Masterpiece. October 10, 2007

By Kaya Savas VINE™ VOICE

Amazon Verified Purchase

As a fan of the western genre I look forward to pretty much every western I hear is in the works since they come so few and far between nowadays. I am also a huge fan of Sergio Leone and Terrence Malick; two directors who use extremely long takes with exquisite deep focus photography. I had never heard of Andrew Dominik until I researched this film, and when I checked his history and saw that he had only done one other film called Chopper I felt skeptical as to what he would do with The Assassination Of Jesse James By The Coward Robert Ford. Then I saw the trailer which sent chills up my spine and even made my eyes water, and this film became my top priority for the fall.

The film follows Robert Ford and two of his brothers as they join the James brothers for one final robbery. Robert Ford played brilliantly by Casey Affleck sees Jesse James as his idol. He followed his stories throughout his childhood and he wants nothing more than to be accepted by this man. Affleck portrays Ford as a very insecure and quiet man who almost feels ashamed for being himself. Being the youngest of five brothers one can assume he is tired of being at the bottom and one day wants the fame and attention that someone like Jesse James gets. Brad Pitt plays the complex Jesse James brilliantly with a performance that will send chills up your spine. His character is pretty hard to analyze. One can infer that James is a man who enjoys his reputation but sometimes longs for a life without the attention so that he can be happy with his wife and family. Another important character in this film is that of Charley Ford who is played by the great Sam Rockwell. With this film Rockwell proves he is capable of amazing things as an actor.... He adds many dimensions to the character that otherwise would be meaningless to the overall plot. Charley Ford is just as complex as his brother Robert Ford or Jesse James. The cast is overall amazing and each person involved with this film puts on the performance of their career.

As the story progresses things become more and more tense. It's important to note how Dominik handles a film where the ending is given away in the title. The movie isn't for everyone. The 2 hour and 40 minute running time may ward of some movie goers, but it's nothing to be intimidated by. I did see a few people walk out of the screening I went to, which always strikes me as rude no matter what you think of the film. Dominik handled this project very much in a way that Terrence Malick handled The Thin Red Line. The characters are more focused than in a Malick film, but the structure is very similar. This film is all about the characters, which is why we almost forget that Jesse James dies at the hand of Robert Ford in the end. Everything leads up to that moment, which as a scene by itself is breathtaking. I don't think I have trembled in my seat as much as I did with that scene; truly crafted by a masterful filmmaker.

Creatively speaking the most important thing to note is Roger Deakins' absolutely stunning cinematography. I have never seen a more beautifully shot film in my entire life of watching movies. The colors and the lighting are just so phenomenal. The use of soft focus while contrasted with incredible deep focus shots blew me away. The most amazingly shot scene is definitely the train robbery at the beginning where everything is lit by lanterns and every light source glows with radiance. I am calling it now that this film will win Deakins an Oscar, because if it doesn't then I will lose considerable respect for the Academy. No one can deny the brilliance of the cinematography in this film and how it paints a deep layer of emotion for the story.

Another creative marvel of the film is the haunting score by Nick Cave and Warren Ellis. The duo caught my attention with their gritty score to the Australian made western, The Proposition. Once I heard that they were doing this film it became even higher priority for me to see. The score is very interesting in that there isn't that much score in the nearly 3 hour film. There were three central themes they played throughout to basically create atmosphere and create transition points in the narrative; although their score during the assassination scene is the real reason why it's as brilliant as it is. It's a score that truly deserves people's attention and is worth owning when it's released.

I was shaken by this film; it really got to me. The raw power of the visuals and the performances take the audience on a haunting character exploration of idolization and self dignity. This isn't a typical western of the genre and it really isn't a revisionist western either. It's unique and original and you will not forget this film. Casey Affleck, Brad Pitt and Sam Rockwell give the performances of their careers. Andrew Dominik's meticulous attention to detail and craftsmanship proves his capability of being a great filmmaker. Top it off with the genius photographic talents of Roger Deakins and the musical brilliance of Nick Cave and Warren Ellis and you have one of the greatest films I have seen in my life. This is a masterpiece. Read more ›

58 of 70 people found the following review helpful

5.0 out of 5 stars The Best Film of 2007 January 9, 2008

By Laudan Tehrani

Format:DVD

This film is a breathtaking account of the life and times of Jesse James. I am in complete awe that this movie wasn't more widely released because it was the best film of the year. Brad Pitt, Sam Rockwell and Casey Affleck give astounding performances, but Affleck's portrayal of the tormented and obsessive ally to James is beautiful and absolutely unforgettable. It is a shame that movies like this can come out and be mostly ignored...it should at least be nominated for Best Picture, Best Actor, Best Supporting Actor, and Cinematography.
This is a must see and once you do yourself the favor of indulging in this epic, you will then know why.

12 of 13 people found the following review helpful

5.0 out of 5 stars Think Bresson, Altman, Malick: Cinema with a Capital C June 5, 2008

By Doug Anderson VINE™ VOICE

Format:DVD

If you are looking for a shoot 'em up cowboy film then keep looking, but if you are looking for a mesmerizing look at the post civil war American psyche then this is your masterpiece. Every shot is a masterpiece of composition; not since Days of Heaven has a cinematographer so expressively captured the forlorn beauty of the American landscape and the American psyche and the intimate bond between the two. Through the magnificent expressionist lens of cinematographer Roger Deakins, every slant of light and shade seem constructed/designed to evoke the immense mystery, and the immense emptiness at the heart of all physical things. The more sensitive the onlooker the more intimate will be the bond between landscape and psyche. This is the poetry, this is the mythos not just of the American western but of American literature. From Hawthorne to Poe to Melville to Emily Dickinson to Ambrose Bierce to William Faulkner to Robert Frost, the stories that take place within the American landscape are inevitably stories of biblical proportions, of men and women struggling to forge something out of the light and the shade.

This is a film about American poetry and mythos. Specifically about the transitional poetry and mythos of America c. 1880, a time when the individual and the nation itself were still suffering the devastating psychic effects of the war; a time when both were desperately in need of a new poetry, a new mythos, a new way to behold the world.

This film is about looking at the way we craft mythos. One way nations have done this is to craft heroes. But its not always the poets that have given us our heroes, sometimes our most effective mythos come from the most unexpected sources. In the 1880's the spinners of far-fetched dime store yarns crafted a hero out of Jesse James.... Perhaps because their fictions were more accessible and their heroes more easily understood than were the fictions and the heroes of Melville or Twain, these home-spun yarns were immensely popular. These wildly inventive tall tales captured & shaped young boys imaginations and provided them with someone to emulate because the Jesse James of the dime store novels always knew what to do in every situation, knew how to use his guns but only used them when he had to, and, most of all, he never doubted himself. Jesse James, the fiction, was a new kind of American hero: independent, adventurous, and egalitarian (he robbed from the rich and gave to the poor).

Brad Pitt as outlaw Jesse James is none of these things. This Jesse James is a selfish tyrant who lords it over the other gang members who he treats as servants lucky to be in his company. He is a loner, isolated even from his own brother. He seems to have a deep connection with his wife and children, but perhaps only because they are the only people he knows that do not carry guns. As iconically handsome and ideally suited to play Jesse James as Brad Pitt is, though, the real star here is Casey Affleck who is absolutely fascinating as the forsaken dreamer Robert Ford, a young man who Jesse James reluctantly recruits and even more reluctantly befriends. Ford is also a loner and his understanding/connection with Jesse is predicated on the fact that they each seem utterly alienated from the rest of humanity and singularly suited to provide the other with a discomfitting kind of companionship. Never was a young man more conflicted about his hero than was Ford about James. From the moment that he meets him, Ford is both completely enamoured with and completely disillusioned with his boyhood hero. And Affleck makes Ford's internal conflict absolutely palpable every minute he is onscreen. In James company Ford is boyish and insecure and starstruck and yet capable of unexpected insight and shrewd critique. But, there is a driving motive behind everything that Ford does for he wants nothing more than to step out of the shade to which he feels condemned and into the light that James occupies; though things will not unfold in the way he imagined they would, his wish will eventually come true, but to accomplish this he must do something truly extraordinary himself, and, ironically, the only extraordinary thing he can think to do is to kill his hero Jesse James.

This is ultimately a fascinating film about the constructive and destructive power and effects of the myths we tell and live by. And about how weak a thing is truth next to the overwhelming appeal of a good narrative, especially one sanctioned by public opinion. Read more ›