3:10 to Yuma: The Beginnings of a Genre's Resurrection?

Long bereft of the stars who once embodied the American hero, the Western film genre has, in recent decades, failed to live up to the memory of its glory days as the toast of Hollywood. In fact, excluding Dances With Wolves, the modern Western genre has failed to live up to much of anything at all, instead existing as a cinematic dinosaur whose storied past has since given rise to new, more technologically captivating thriller genres, i.e. science fiction. Today’s filmmakers have shied away from westerns, most likely because of their perceived lack of popularity and consumer-value. Director James Mangold (Walk the Line, Kate and Leopold) breaks the mold, however, with his visually stunning 3:10 to Yuma. Boasting a pair of star performers in Russell Crowe (Gladiator, A Beautiful Mind, Cinderella Man) and Christian Bale (American Psycho, Batman Begins, The Prestige), 3:10 to Yuma, anticipated as the savior that might resurrect the Western genre (albeit as a remake), has produced mixed reviews. Critics and movie-goers alike are generally pleased with the dazzling special effects of Mangold’s film, but remain undecided on their opinions of the performances of the lead actors, as well as the film’s somewhat convenient ending. Despite what I considered a weak ending, I thought the film was, on the whole, an interesting addition to an otherwise dead genre, whose captivating visual effects and thought-provoking character portrayals make it an entertaining and attractive contribution to modern cinema.

Response to Big Boy's "3:10 to Yuma" Blog Posting

For the most part, I share your evaluation of 3:10 to Yuma. I was thoroughly displeased with and share your disdain for the film’s convenient ending, which is, as far as I can discern, largely the product of the “father-son” element of the film, which you point out was one of Mangold’s additions to the original plot. I feel that the new elements which you point out (the “father-son” complication and the chase through the railway construction zone) do little, if anything, to develop the storyline, instead (in the first case) diluting Christian Bale’s performance and (regarding both) complicating the audience’s ability to understand and appreciate the storyline. The “father-son” element for me did nothing to foster empathy for or interest in Bale’s Dan Evans, instead detaching me from the storyline and forcing me to grapple with a somewhat unrealistic transformation in his character (his goal-change from earning 200 dollars to earning his son’s respect after the boy’s unexpected fusion with the rest of the party) from realist to romantic hero, and his questionable status as the protagonist. I disagree with you, however, in your assessment of Russell Crowe’s Ben Wade. I found Crowe’s Wade to be a deliberately designed, thought-provoking character (until his surprising and apparently out of character change of heart at the end) who’s contradictory and juxtaposed personalities as cold-blooded leader of a ruthless gang and reflective artist provide depth and dissonance to a collection of more shallow and one-sided (albeit well-performed) personalities (i.e. your acclaimed Charlie Prince).

Response to Telecommuniculturey Blog Posting - "Newton's Cradle: 3:10 to Yuma, Reviewed"

Your post presents an interesting evaluation of 3:10 to Yuma. While I share your appreciation for the excellent acting in the film, I was disappointed to see that you did not really address the ending and it’s rather (in my opinion) convenient nature. I had a hard time swallowing Wade’s rather out-of-character change of heart after hearing Dan’s heart-wrenching life story, and as a result felt cheated by the movie’s abrupt closure. In addition, I found Dan’s goal change to be slightly out-of-character, although not as much so as Wade’s. Despite the disappointments which life has dealt him (many of which you articulate in your post), I felt that either the script or Bale’s acting set Dan up as a calculated, methodical man throughout the entire movie. While his desire to be the tragic (and his son’s) hero puts a romantic, almost “feel-good” closure on an otherwise dark plotline, I saw the transformation as abrupt, uncharacteristic, and rather unbelievable, dampening an otherwise brilliant performance. Outside of these end-of-film details, however, I generally agree with your assessment of 3:10 to Yuma as as an overall entertaining piece with memorable acting but underdeveloped characters.