The Big Picture Tommy Lee Jones' The Homesman is a melancholic Western from the filmmaker/star — and it boasts a sprawling cast loaded with prodigious talent as well. No stranger to the director's chair, having taken the reins of the excellent Three Burials of Melquiades Estrada in 2005, Jones showcases his very obvious affection for the genre via his particularly sensitive treatment of a moving tale.
The year is 1854 and in spite of an obvious proficiency for business, an early attempt to court a suitor falls flat for Mary, and she is left despondent once more. When it comes to light that three local women in the village have become unstable as a result of their own sets of desperate, traumatic circumstances, it's up to one of the townsfolk to escort them to a communion in Iowa for close care.
The texture and look of the film is somewhat reminiscent of the films of Kevin Costner in its use of landscape and sense of grandiose, old-fashioned adventure. The scenery is endless. While flashes of humor occur in the script, mainly courtesy of Jones' sardonic quips and dry retorts, The Homesman is mournful, moody and filled with sadness. It is also very well-scored — the music able to enhance the sense of adventure or preempt danger effectively.
Hilary Swank is extremely powerful, carrying the movie with her impossibly delicate balancing act of inner strength, selflessness and repressed emotional fragility. While her Mary has committed herself to helping the suffering, her own suffering has gone untended to, and Swank captures the internal wounds with extreme care.
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