I’ve never been a big fan of the western genre. They all feel the same, sport similar clichés and, predictably, end with a gunfight in your classic, broken down, western town. “3:10 to Yuma” hasn’t changed my mind about this genre. It still sports all the weaknesses of western films and a few more. What it does offer is some of the best acting of the year and some really complex characters that may be so multifaceted their development borderlines “stupid.” In any case, “3:10 to Yuma” doesn’t do too badly being another crummy western.
Dan Evans (Christian Bale) is ex-Northern soldier who lost his leg in the war. His family lives on a ranch in the midst of a drought and he can’t afford to pay off his land. His family doesn’t respect him and he limps around pathetically on his wooden leg—A constant reminder of his weakness. Russell Crowe’s character, Ben Wade, plays the outlaw wanted for robbing over twenty wagons. When caught, Evans volunteers to accompany Wade to the train leaving for Yuma prison; in return, he gets paid enough money to finance his land. The result is a long trip where Wade is lost, found and even needed so he can help his captors out of sticky situations.
As one might have guessed, Wade and Evans are the two most interesting characters in the film. Wade wants to escape, but we often find him helping his adversaries. Why? Is he a better man than we believe? Evans’ son thinks so, and puts his money on it in the end. What of Evans himself? The man has lost a great deal of honor and his trip to escort Wade drives him for more reasons than money.
In one of the best scenes of the film, Evans becomes the last one willing to get Wade on the train. In the midst of gunfire from Wade’s men, Evans drags him among barrels and horses to avoid being shot. Finally, Wade tells Evans he’s not doing it anymore. He could have escaped Evans grasp with ease, but decided to protect him instead-- Now he chooses to leave. Evans fights back and the result nearly leads to his death. However, before Wade can kill him, Evans admits that he’s never been a hero; even his family has always looked down on him. Realizing why Evans is really trying to get him on the train, Wade agrees to being put on board.
It’s somewhat confusing as to why actions like that take place during the film. Sometimes it makes sense and sometimes it doesn’t. It’s really inspiring to see Evans so persistent and Wade becoming so humane to help him. (After all, the point of American westerns is to spark inspiration. Right?) At the same time you wonder why though. Is Wade a better guy than we think? The ending reveals all. If anything, this movie really bears down on the concept of honor. I don't think the western genre has ever seen such complex characters as these and it really says something about director Mangold’s talent. No doubt many enthusiasts will analyze and dissect these intricate characters until Armageddon.
On the other hand, there are the glaringly bad flaws associated with character relevance and goals. Peter Fonda, a fantastic actor in his own right, was by far one of the more interesting characters in the supporting cast. It is hinted at the beginning that there is some dark, past history between him and Wade, but do we ever find out what that is? Let’s just say the potential for Fonda’s character is “thrown” away. Ben Foster’s character makes an excellent secondary, or “real,” antagonist for the film. He always speaks about what Wade “had done for them,” but we never know exactly what that is. On another note, I found it interesting that there were some subtle homosexual hints coming from that character—Whether this was meant to be, I can’t say. The character gallops along with Wade’s men, trying to save his leader without much external motivation. (Even though it’s made pretty clear that Wade wouldn’t do the same for him.)
What of Evans’ family? Though his oldest son sneaks away to help his father and troop, Wade’s gang knows that Evans is helping escort Wade and where his family lives. Does Evans leave any assurance that his family won’t be harmed? No. All he has is the hope that his fourteen year old son will stay and protect his mother and sibling from a gang of eight ruthless gunmen.
The way Wade is handled on the way to the train station is rather mindless as well. Evans and the rest of the law enforcement act like Wade doesn’t have any arms or is permanently latched to his horse. He’s a killer and they seem to forget that. As an obvious result, a couple of the characters are introduced as nothing more than cannon fodder.
The final gunfight was expected and fun, but hard to swallow. How a man with a wooden leg sprints across rooftops while keeping his own against fifty men is beyond me. Something so ridiculous would have worked in “Shoot’Em Up,” but for a serious movie with real substance I expected a smidge more realism.
If anything makes “3:10 to Yuma” worth watching, it’s the acting and character traits of Bale, Crowe and their respected characters. Bale’s performance is Oscar worthy and Crowe looks so natural in his role. “Yuma” may have truly been lost had it not been for these two talents. Perhaps it will grow in me in a few years—It’s a good-looking movie with some charming qualities, but it's also a pretty typical western.
**½ out of ****
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