Outlaw Jesse James is rumored to be the ‘fastest gun in the West’. An eager recruit into James’ notorious gang, Robert Ford eventually grows jealous of the famed outlaw and, when Robert and his brother sense an opportunity to kill James, their murderous action elevates their target to near mythical status.

Credits: TheMovieDb.

Film Cast:

• Jesse James: Brad Pitt
• Robert Ford: Casey Affleck
• Charley Ford: Sam Rockwell
• Frank James: Sam Shepard
• Zee James: Mary-Louise Parker
• Dick Liddil: Paul Schneider
• Wood Hite: Jeremy Renner
• Ed Miller: Garret Dillahunt
• Dorothy Evans: Zooey Deschanel
• Sheriff Timberlake: Ted Levine
• Henry Craig: Michael Parks
• Martha Bolton: Alison Elliott
• Governor Crittenden: James Carville
• Major George Hite: Tom Aldredge
• Narrator (voice): Hugh Ross
• Mary James: Brooklynn Proulx
• Tim James: Dustin Bollinger
• Express Messenger: Joel McNichol
• Baggagemaster: James Defelice
• Engineer: J.C. Roberts
• Ukrainian Train Passenger: Darrell Orydzuk
• Young Train Passenger: Jonathan Erich Drachenberg
• Danish Train Passenger: Torben S. Hansen
• Ida: Lauren Calvert
• Sarah Hite: Kailin See
• Albert Ford: Jesse Frechette
• Wilbur Ford: Pat Healy
• Deputy: Joel Duncan
• Store Customer: Stephanie Wahlstrom
• Newsboy: Adam Arlukiewicz
• Photographer: Ian Ferrier
• Onlooker at Jesse’s Death: Michael J Rogers
• Small Boy at Jesse’s Death: Calvin Bliid
• Bob’s Girlfriend: Sarah Lind
• Bowery Saloon Singer: Nick Cave
• Bowery Saloonkeeper: Matthew Walker
• Edward O’Kelly: Michael Copeman
• Ella Mae Waterson: Laryssa Yanchak
• Marshal Craig (uncredited): Anthony Harrison

Film Crew:

• “A” Camera Operator: Roger Deakins
• Unit Production Manager: David Valdes
• Set Decoration: Janice Blackie-Goodine
• Producer: Brad Pitt
• Producer: Ridley Scott
• Executive Producer: Tony Scott
• Casting: Mali Finn
• Executive Producer: Brad Grey
• Editor: Dylan Tichenor
• Set Designer: Patricia Norris
• Editor: Curtiss Clayton
• Executive Producer: Ben Waisbren
• Art Direction: Troy Sizemore
• Sound Re-Recording Mixer: Ron Bartlett
• Executive Producer: Lisa Ellzey
• Set Designer: Grant Van Der Slagt
• Producer: Dede Gardner
• Sound Designer: Leslie Shatz
• Director: Andrew Dominik
• Associate Producer: Ron Hansen
• Producer: Jules Daly
• Music: Nick Cave
• Music: Warren Ellis
• Stunts: Alex Green
• Stunts: Guy Bews
• Unit Production Manager: Brian Leslie Parker
• Special Effects Makeup Artist: Christien Tinsley
• Stunts: Sean Skene
• ADR Editor: Kimberly Harris
• Stunts: Terrance Leigh
• Stunts: Dale Gibson
• Key Hair Stylist: Iloe Flewelling
• Stunt Coordinator: Brent Woolsey
• Stunts: Tom Eirikson
• Locale Casting Director: Jackie Lind
• Dolly Grip: Bruce Hamme
• Casting Associate: Lauren Bass
• Music Editor: Jonathan Karp
• Associate Editor: Peter McNulty
• Dialogue Editor: Hugo Weng
• Set Designer: Terry Gunvordahl
• First Assistant Director: Scott Robertson
• Stunts: Rick Skene
• Foley Artist: Robin Harlan
• Stunts: Tom Glass
• Foley Mixer: Randy Singer
• Set Dresser: Laura Cuthill
• Locale Casting Director: Deb Green
• Assistant Editor: John Paul Horstmann
• Makeup Artist: Jean Ann Black
• Supervising Sound Editor: Richard King
• Dialogue Editor: Michael Magill
• Stunts: Jacqueline Loewen
• Sound Effects Editor: Hamilton Sterling
• Foley Artist: Sarah Monat
• Color Timer: Terry Haggar
• Sound Re-Recording Mixer: Doug Hemphill
• Sound Effects Editor: Michael W. Mitchell
• Special Effects Supervisor: James Paradis
• Still Photographer: Kimberly French
• Location Manager: Rino Pace
• Music Editor: Will Kaplan
• Makeup Department Head: Gail Kennedy
• Property Master: Dean Goodine
• Assistant Art Director: Kimberley Zaharko
• ADR Mixer: John P. Fasal
• Sound Designer: Christopher S. Aud
• Script Supervisor: Nancy Joy McDonald
• Digital Intermediate Editor: Devon Miller
• Visual Effects Producer: Sophie Leclerc
• Set Designer: Michael Madden
• Set Designer: Gordon White
• Hairstylist: Chris Harrison-Glimsdale
• Transportation Coordinator: Coleman Robinson
• Dialogue Editor: Allen Hartz
• Unit Publicist: Lee Anne Muldoon
• Set Designer: Brad Milburn
• Sound Effects Editor: Michael Babcock
• Set Dresser: Jack Lowen
• Stunt Coordinator: Billy Burton
• First Assistant Sound Editor: Andrew Bock
• First Assistant Sound Editor: Linda Yeaney
• Chief Lighting Technician: Martin Keough
• Assistant Set Decoration: Sean Blackie
• Makeup Artist: Rochelle Pomerleau
• Steadicam Operator: Damon Moreau
• Rigging Gaffer: Gordon Schmidt
• Costume Supervisor: Kelly Fraser
• Foley Supervisor: Christopher Flick
• Production Sound Mixer: Bruce Carwardine
• Foley Editor: Mark Pappas
• Assistant Costume Designer: Lizzie McGovern
• Digital Intermediate Colorist: Michael Hatzer
• Production Office Coordinator: Jill Christensen
• First Assistant “A” Camera: Andy Harris
• Special Effects Coordinator: Maurice Routly
• First Assistant Editor: Hugh Ross
• Assistant Art Director: Jackie Bagley
• Foley Editor: Michael Dressel
• Post Production Supervisor: David Dresher
• Stunts: Joe Dodds
• Production Accountant: Dorothy Precious
• Negative Cutter: Mo Henry
• Foley Editor: Jonathan Klein
• Stunts: Dave Hospes
• Boom Operator: Geo Major
• Construction Coordinator: Alfred A. Arndt
• Location Manager: Robert Hilton
• Set Dresser: Amber Humphries
• Stunts: Chad Cosgrave
• Stunts: Jesse Thompson
• Stunts: Jordan Dodds
• Assistant Sound Editor: Jacob Riehle
• Stunts: Corry Glass
• Stunts: Michael Langlois
• Stunts: Jason Glass
• Boom Operator: Markus Wade
• Extras Casting: Louise Mackiewicz
• Graphic Designer: Craig Humphries
• Stunts: Kristy Glass-Suitor
• Stunts: Greg Schlosser
• Set Dresser: Marlis Wilson
• Assistant Property Master: Shelly Goldsack
• Second Assistant “A” Camera: David Lourie
• Digital Intermediate Producer: Michael Kennedy
• Key Grip: Rick D. Schmidt
• Assistant Chief Lighting Technician: Mike Gould
• Stunts: Shane Pollitt
• Stunts: John Scott
• Stunts: Reg Glass
• Stunts: Jim Finkbeiner
• Production Office Coordinator: Nicole Florian
• Extras Casting: Janet Powers
• Casting Assistant: Elizabeth Shoai
• Second Assistant Director: Karen Sowiak
• Set Dresser: Stacey Gooch
• Stunts: Lyle W. Edge
• Assistant Accountant: Carol Rothel
• Assistant Editor: Marie Gaerlan
• Stunts: Colt Cosgrave
• Stunts: Bret Edge
• Stunts: Wacey Finkbeiner
• Stunts: Dennis Hambling
• Stunts: Randy Hambling
• Stunts: Jim Randle
• Stunts: Blake Schlosser
• Stunts: Jodi Terhoch
• Stunts: Kyle Thomson
• Stunts: Russ Wideman
• Second Assistant “A” Camera: Susan Strembitsky
• Video Assist Operator: Rob Doak
• Assistant Editor: Alex Hepburn
• Best Boy Grip: Chris Speers
• Assistant Property Master: Johnny Jones
• Assistant Accountant: Raluca Sheridan
• Assistant Location Manager: Jay St. Louis
• Assistant Location Manager: Stuart Becker
• Third Assistant Director: Lisa Jemus
• Set Designer: Marilyn Humphries
• Storyboard Artist: Al Berg
• Art Department Coordinator: Wendy Dobson
• Set Dresser: Jay Benoliel
• Transportation Captain: Dean Robinson
• Transportation Co-Captain: Ray Breckenridge
• Title Designer: James Leake

Movie Reviews:

• John Chard: Perfection.

  I think I will just come right out and say it from the off, this is a masterpiece, a truly spell binding, mesmerising tour de force that seeps class from every pore. I have often found myself cringing and turning my back on those who use in film debate the tired old defence of “it’s not for everyone”, but here I find I have no choice because this picture is purely for those enamoured with poetic beauty and precision film making at its highest. Those in search of an all action gun toting western need not apply, in fact those merely after popcorn fodder to while away an evening viewing should steer well clear. Andrew Dominik’s second directorial effort is a character and dialogue driven piece of work, its thematic heart swirling with intelligence and elegiac beauty.

  The story centrers around the final days of notorious outlaw Jesse James, and how one of his young disciples came to murder him on April 3rd 1882. Using Ron Hansen’s novel as its source, it also fills in the gaps as to what became of the murderer Robert Ford as regards the subsequent aftermath of killing the infamous Jesse James. The film is dealing with issues all to prevalent in modern day society, we are witnessing perhaps the first instance of celebrity status gone berserker, we see how the press glamorise the nasty piece of work that was Jesse James, turning him into some sort of quintessential noble outlaw. We observe a stalking menace yearning to be like his hero, a young and impressionable fellow who’s hurtling towards infamy completely oblivious of the pitfalls and irony of it all.

  Structually the film is perfect, and to me the film defines the old saying of art on the silver screen. The performances of the lead actors are incredible, Brad Pitt gives a career high as Jesse James, all teetering villainy yet perfectly befitting the prince charming outlaw persona so gleefully built up by the press. Sam Rockwell is Charley Ford, and here he proves that movie big wigs really need to start giving the guy some more dramatic roles to get his teeth in to. Yet as good as Pitt & Rockwell are, both men are left trailing in the wake of Casey Affleck’s performance as Robert Ford, childish emotion fused with flecks of dark undercurrents as Affleck layers a perfect show. How the academy chose to ignore this performance should be seen as an act of treason against American cinema.

  Few films have left me open mouthed in admiration at the quality on show, but shot after shot, frame after frame, this really is as gorgeous as it comes. Roger Deakins photography sublimely pleasing the eyes at every edit, be it lush rolling hills cloaked in snow, or shadowy figures appearing like ghosts from locomotive smoke, with Deakins firmly cementing his reputation as a master of his craft. The score from Nick Cave & Warren Ellis perfectly captures the ambiance and texture of the piece, with Cave himself bagging a cameo performance as a bar room busker. It’s incredible to think that this is only director Andrew Dominik’s second feature film, following on from the hugely enjoyable Chopper in 2000, it is now evident that New Zealand can lay claim to producing a talent that if all goes to plan, will go on to become a director to rank up with the best of them.

  As it is, and just right now, The Assassination Of Jesse James By The Coward Robert Ford should be filed along side Vertigo as a member of that club that only admits the greatest American films of all time, and that be even if it was directed by a Kiwi, wink wink America.

  Masterpiece. 10/10