Quick Take: True Grit is a vast improvement over its predecessor thanks to the Coen brothers’ ingenuity, as well as phenomenal performances by Jeff Bridges and newcomer Hailee Steinfeld
True Grit has proven to be quite the powerhouse during its time in theaters. Joel and Ethan Coen’s adaptation of the classic Charles Portis novel opened on Dec. 22 and has grossed over $86.5 million to date, despite never taking the top spot at the box office. It has become the Coen brothers’ most financially successful film in their long and storied career. Audiences love it, critics (myself included) put it on their Best of 2010 lists and it’s generating a ton of awards buzz.
Not too shabby for a modestly budgeted western that started out in the shadow of one of John Wayne’s most iconic roles. I would argue that not only does True Grit overcome the stigma of being yet another remake, it actually improves on the original in just about every way possible. It may sound blasphemous to die-hard fans of The Duke, but that doesn’t make it less true.
As fans of both the novel and the Wayne film know, the plot centers on 14-year-old Mattie Ross (newcomer Hailee Steinfeld), a headstrong girl seeking to avenge the murder of her father. Tom Chaney (Josh Brolin), one of his own hired hands, gunned him down and proceeded to steal his horse, his cash and two California gold pieces. Mattie is outraged to discover that the authorities won’t pursue the killer into Indian Territory, so she vows not to rest until Chaney is hanged.
She takes it upon herself to hire a U.S. Marshal to get the job done, choosing Rooster Cogburn (Jeff Bridges) after hearing that he is the most ruthless, trigger-happy man available. Their first discussion — held through an outhouse door — doesn’t go well, but the weary Cogburn soon discovers that Mattie doesn’t give up easily. He eventually agrees to go after Chaney for a large fee, but only realizes after the fact that Mattie plans on tagging along to ensure her money is well spent.
Mattie and Cogburn soon find themselves with company on their trek in the form of LaBoeuf (Matt Damon), a talkative Texas Ranger who might not be able to back up his bragging with action. He wants Chaney to hang for a separate crime in his state, but Mattie expects the full brunt of retribution to come for the murder of her father. Based on our short time with the girl, we know who will win the battle of wills; what keeps us watching is how long it will take for LaBoeuf to comprehend it.
The Coens continue the creative streak they’ve been on since No Country for Old Men, in part by taking what they engineered for that bleak modern western and applying it to the real deal. At first blush, they’ve made a solid genre picture. But, as with everything the Coens do, there’s plenty of subtext and underlying themes that are sure to enrich the film upon repeat viewings.
Their screenplay is admirably faithful to Portis’ brilliant novel, much more so than the first adaptation. Most of the clever dialogue is lifted directly from the book, and the Coens also wisely restore the bittersweet conclusion that the 1969 version eschewed in favor of a sappy, feel-good ending.
Of course, the outstanding performances contribute significantly to the film’s success. The resurgent Bridges had some big shoes to fill by taking on the role of Rooster Cogburn — he even wears the character’s trademark eye patch over the opposite eye as a sign of respect for his predecessor — but the actor ultimately surpasses Wayne’s Oscar-winning performance. Whereas Wayne was essentially playing upon his own public persona, Bridges inhabits Cogburn almost exactly as Portis describes him in the novel, creating a contradictory character full of anger and love, violence and tenderness.
Steinfeld, in her first major role, seems destined for a Best Supporting Actress nomination (it should be for Best Actress, but we won’t get into Oscar politics here). Her work as Mattie Ross is funny and intelligent, plus she deftly avoids any semblance of “child actor syndrome” in her line readings. She’s presented as a grown-up in a 14-year-old’s skin, which is exactly how she comes across as the narrator of Portis’ tale.
Damon and Brolin also deliver fine supporting work in a predominantly comedic capacity, but True Grit is clearly a showcase for Bridges and Steinfeld. Factor in Roger Deakins’ absolutely gorgeous cinematography and Carter Burwell’s hymn-influenced score, and you’ve easily got one of 2010’s best films. It’s a must-see, preferably on the big screen.
True Grit is rated PG-13 for some intense sequences of western violence including disturbing images.
Grade: A
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