Remembering The Morality Clause.
Audiard’s cowboy duel is both raunchy and smart. After many numbers of feeble attempts of different makers trying to achieve the perfect western drama, Audiard seems to have got his intentions closest to the perfect one. And mind you, it is not for his gut-wrenching man-ly inedible sequences or an Eastwood-y slickness but his surprising delight of weaving the entire script from a kid’s textbook morale tale. Very few of such genre films offers you a soothing final chapter to invest all your chips in. And even though there is a lot of Butch Cassidy And The Sundance Kid in it, this apotheosis of brotherhood equation has its own rhythm. And is it is entitled to be, the story revolves around two brothers hunting down for their livelihood that is more likely to be ignited not from the necessity but passion.
And the justified background story to their trajectory is a cherry on top of the journey that they go through. Crossing around borders, woods, rivers and mountains, neither the high pitched dramatic sequences nor tiny notorious tactics that their nature is brimmed of, is what gives them a deeper cut. The three dimensional perspective is endeavored by the negative and edgy bits of it. Like when Reilly lies blatantly to Phoenix to get an upper hand on an argument. On the opposite side of the coin, if Reilly and Phoenix are sharing an already cemented bond, Gyllenhaal and Ahmed gets to start from the scratch.
Throughout the course of their role, a genuinely moving procedure through which they connect with each other, is the highlight of it, no matter how much their opinions and agendas keep evolving. Audiard has managed to capture the carefree lifestyle of the people living in that era through humor, like when a spider gets inside Reilly’s mouth or the usual gags involving a drunken bar fight; which to be honest is getting too Hollywood. On performance, Gyllenhaal makes sure in initial stages itself, that you feel the attraction and compassion of his towards Ahmed in his first meeting, where he too has kept his promises till the end.
Surprisingly, Phoenix has a comical and a bit straightforward role to portray, stretching his muscles as much as he can in the allotted narrow range, he fails to overpower other actors on screen. And riding at the front is Reilly as a complex and morally challenged elder brother of an irresponsible guy, he portrays a similar overprotective role to the film itself as whenever the storytelling gets damp, he pulls it out right with his bare hands.
If chugging out the last act, it would have been your usual self discovering journey that we have all been through plenty of times in a movie. But for a brief period of time where all these lead characters share a similar interest, something magical sparks out from the screen just like something glossy invaluable material bubbles up from the water. And circling the entire sub-plots of these characters within one strike, is just a fine example of writing that The Sisters Brothers shares with you.