leaping from one character to another..
Coen Brothers’ western ride on the tell tale narration is much more layered than Leone’s grimy cowboy attitude. With a storytelling like such, that is a compilation of various tales, often tends to lose the grip and fails to make you root for the track despite of leaping from one character to another. But this shear passion of Coen Brothers cuts all these rumored hoax of cinema and soars above all with an adaptive and layered script. As always, the storytelling is often brimmed with humoristic tone which is aptly balanced and never shucks away the intensity of the gunpowder.
The first act pretty much works like your textbook structure, that shows you the brief description of what is about to come; not to mention it is the funniest bit of all. Franco takes in the second chapter, that gives you a more Eastwood-y feeling like wooden boards creaking, wind howling and gunshots puffing smoke, it characterizes the western world, the best. Neeson’s act is the one that haunts you the most, for both the reasons; its beauty and sadism.
It has the range to soothe you and give you the goosebumps, that harrowing silent pitch on screen cannot be toned down by even the beautiful live location it wanders through. Gait’s sort-of-a-diary-version has the thirst for seeking the truth out, hardwork and patience, combining all this, it is certainly the most glorifying segment of all. Kazan’s personal venture is complex to the core where the uncertainty of the trajectory easily helps Coen Brothers to fiddle with your emotions. And the last section of the segment is so bizarrely ingenious that you are left with your head spinning on the edge of the seat.
The final act on the cart is more scary than it is funny, you can practically see each step of the structure leaning towards a darker path, no matter how ironical the stories keep getting, and on that note where Coen Brothers are messing with you subconsciously, this is a complete triumph on the western drama. Now, having these many plots and ergo these many characters, each actor gets a stand out moment to impress the viewers with their expressive performance. But the ones that do among this caliber of cast, are Kazan, Gaits, Gleeson and Neeson.
Unlike such stories usually does, there is no mutual theme to it, it may feel coequal, but each tale has a rare soul that emits a newer version, a fresher version of itself. The execution is undoubtedly on the mark, and armed with such meticulous script, its grittiness is what’s bubbled up by the Coen Brothers. Aforementioned, there are few fluctuations on the nature of the layered segments, it still bodes well to the flow of the movie and never comes across any bumps. The Ballad Of Buster Scruggs is, yes, your typical Coen Brothers adventure that is crafted out with a sensational cast, but personally I’d choose True Grit version vocab of theirs.