A retired sheriff and his wife, grieving over the death of their son, set out to find their only grandson.
Chuck says:
I was about halfway through Thomas Bezucha’s Let Him Go when in my notes I wrote, “Let’s see how this ends…” At that point, I had many mixed feelings about the film – many things I liked, yet there were almost as many that I didn’t – and I knew that how I would ultimately feel about it would depend on the conclusion.
Let’s just say, they didn’t stick the ending.
Go is a film that’s right in my wheelhouse. It’s a great looking modern period western, it has a compelling story and features solid performances from two screen veterans who are both instinctive film actors, able to convey much by doing little, their chemistry the backbone of the entire movie. But, there’s something missing here as the main threat Bezucha employs in his adaptation of the novel by Larry Watson is dubious in construction and narratively thin.
The time is the early 1960’s, the place is Montana, where retired lawman George Blackledge (Kevin Costner) lives on a modest ranch with his wife Margaret (Diane Lane). Their son James (Ryan Bruce), his wife Lorna (Kayli Carter) and their baby boy also reside there when tragedy strikes. An accident results in James’ death, an incident that has unforeseen ramifications.
Jump ahead three years, the Blackledges are attending the wedding of Lorna to Donnie Weboy (Will Brittain), a man with a shady past and a dark temper. Without notice, the couple move away, leaving Margaret heartbroken. Determined to see her grandson again and find out why the Weboy’s left so abruptly, she convinces George to help her track them down. With connections made during his years as a sheriff, this is easy enough but what they find is unexpected. The Weboys, led by the harpy-like matriarch Blanche (Lesley Manville), have a reputation of being a violent, unreasonable family who don’t let anything stand in their way of getting what they want. And when the Blackledge’s show up on their doorstep, see Lorna is being abused and say they want their grandson back, that just doesn’t sit well with the clan.
What ensues is a fairly tense game of cat-and-mouse, the Blackledges trying to rescue Lorna and their grandson, the Weboys stopping them at every turn. And herein lies the problem – Who are the Weboys? Why are they allowed to run roughshod over the local police and populace? Why are they so intent on keeping Lorna and the boy when its obvious they are tolerated and not loved? And just why is Blanche so damn hateful? Bezucha’s deliberate pacing allow us ample time to turn these matters over in our minds, the problem growing much larger the longer this isn’t addressed.
The feud between the family seems arbitrary, a conflict dictated by the needs of the script rather than narrative logic. Whether additional background about the Weboys is provided in Watson’s novel, I don’t know, but it’s sorely needed here. Purpose is paramount for any character and that it’s lacking makes for a less than satisfying film, one that skirts with being just an exercise in violence-and at one point sadism – and little else.
The chemistry between Costner and Lane is the main attraction here, the interactions between the two natural and unforced. You believe they’ve been married forty years and are able to read one another at a glance, conversing without saying a word. Their nuanced, rich work keeps us engaged, hoping the story’s climax will justify our investment. Unfortunately, that’s not the case, as Let Him Go ultimately proves to be a missed opportunity that leaves us wanting more.
Pam says:
The best-selling novel, “Let Him Go,” by Larry Watson, has snagged an all-star cast including Diane Lane, Kevin Costner and Lesley Manville to bring this dramatic crime thriller to life. Unfortunately, this visual version of the story has too many missing pieces which are probably left back on the pages of the book to make it one that is satisfying.
Margaret Blackledge (Lane), a no-nonsense horse trainer and her husband George (Costner), a retired police officer, live in the remote West, living a simple life with their son, James (Ryan Bruce), daughter-in-law, Lorna (Kayli Carter), and infant grandson until one tragic day hits and James is found dead. We quickly fast-forward to many years later and Lorna is remarrying Donnie Weboy (Will Brittain). It’s an awkward ceremony for obvious reasons as Margaret and George attend, but there’s something else more deeply disturbing about it. Quickly, we understand as Margaret witnesses shocking physical abuse from Donnie toward not only Lorna, but little Jimmy. And then the family disappears into thin air leaving Margaret and George devastated.
Margaret is a head-strong, independent woman who convinces her begrudging husband to join her in a mission to find Jimmy and bring him home to live with them. The preposterous idea that Lorna will cooperate is laid out on the table by George, but nevertheless, he and Margaret hop in the car to venture into unknown territories. George, using his law enforcement connections, uncovers clues as to their whereabouts, but the close-knit communities are the likes of whom they’ve never seen. The Weboy family has its clutches in every business and family within a 100 mile radius and have no intention of helping Margaret and George who will face life and death decisions as they attempt to save Jimmy.
Screenwriter and director Thomas Bezucha carefully lays the foundation for this story, deliberately building the tension, and leaving several unanswered questions which are seemingly for dramatic purposes. These questions, unfortunately, are never answered and while a movie can never cover everything in a novel, these elements created a mystery that could have made for an even more explosive ending. Instead, the gaping holes in the story line just made it frustrating.
Additionally, while Lane’s character is bold, determined, and strong, with the heartbreak and compassion clearly just beneath the surface, her choices are sometimes in conflict with who this character is. Costner’s portrayal of George is steady and consistent as the level-headed protector who learned years ago that when Margaret makes up her mind to do something, she does it. Both Lane and Costner bring an element of believability to their roles as a long-married couple who are facing a very different retired life than they planned. Lane gives Margaret the backbone she would need in the era, defying gender stereotypes yet still relying on her husband for emotional support. This is her story to tell and while we feel every step she takes, the conflicting and missing story elements disconnect us from her character and the film.
While “Let Him Go” tries your patience at times, the premise of the film continually cuts through your gut as you place yourself in their shoes. Would you do anything to save a grandchild in peril? What if that child was your only connection left with your deceased son? It’s harrowing and Bezucha never lets up on the conundrum George and Margaret face which forces the viewer to confront that issue as well.
Where the story takes on a less credible element occurs as the couple encounters the smarmy, sneaky, and underhanded Weboy family. The family, lead by matriarch Blanche (Lesley Manville) is over-the-top yet captivatingly entertaining. Surprisingly, this character has more layers and Manville hones in on them with subtle brilliance. Blanche’s number one son, Bill (Jeffrey Donovan) sends chills down your spine with his sardonic smile slowly curling up on his face. The rest of the family is exactly what you would picture a backwoods, uneducated group to look and act like. And obviously, George and Margaret are fish out of water here making it a good guys versus bad guys with no shades of grey type of story.
“Let Him Go” is a gritty yet gorgeously shot period piece which becomes nothing more than a preposterous thriller. With its equally ridiculous ending taking away from the seriousness of Lorna’s situation and the unanswered questions which could have added so much to the story, not even Costner and Lane’s heartfelt performances can make this a memorable film.
2 1/2 Stars
