Captivating us in writer/director Thomas Bezucha’s adaptation of Larry Watson’s acclaimed novel of the same name, LET HIM GO, Kevin Costner and Diane Lane reteam (they were previously Ma and Pa Kent to Clark Kent/Superman) for this emotionally gripping slow-burner, delivering award-worthy performances as George and Margaret Blackledge; the tacit, strong, and comfortable in his own skin Kevin Costner, and a powerhouse emotional showcase for Diane Lane. And be warned. Have tissues at the ready.
George and Margaret are a devoted couple. There is a comfortableness between them that speaks of their years together. Words aren’t necessary. George, a retired sheriff in Blue Sky and Black Hills country, is now content to work his farm along with his adult son, James. Margaret is clearly the woman behind the man and keeps things running smoothly as she dotes on her newborn grandson Jimmy, and her daughter-in-law Lorna, who live with them. When tragedy strikes and James is killed in a freak accident, Lorna and Jimmy stay with George and Margaret until the day comes when Lorna remarries Donnie Weboy, something that doesn’t sit well with Margaret. She has a difficult time with Lorna and Jimmy moving out of the house and across town with Donnie as Jimmy had become her focus in life. George, on the other hand, doesn’t say much about the situation, taking a more live-and-let-live position. But things change when Margaret sees Donnie abusing Jimmy and hitting Lorna on a public street. And from the look of the violence, Margaret knows this has happened before. Wanting to “rescue” Lorna and Jimmy, all hell is about to break loose when Margaret and George find that Donnie and the family up and disappeared without telling anyone.
Knowing that her grandson is in danger, Margaret makes a rash decision. She’s going to find them and bring them home – and she doesn’t care if George helps her or not. Needless to say, George is going, too. Embarking on a road trip filled with false leads and hope, things take a turn when they get to Gladstone, Montana and find Bill Weboy. It’s not just sleazy Donnie Weboy they will have to wrest Jimmy and Lorna from, but the entire Weboy clan.
LET HIM GO is a western drama in the truest sense of the word delivering a mesmerizing study of the intensity of loss and the manifestation of grief. There is a brutal ruthlessness that speaks to the depth of emotions at play, gripping your heart at every turn. Very smartly, Bezucha ages down Margaret and George from the book. In the book, we get the sense Margaret and George are more of a dottering old couple whereas in the film, they are still very much vital and active, thus allowing Bezucha to brings the talents of Diane Lane and Kevin Costner to the table. Bezucha also turns the story into more of road trip by reversing locations and very keenly takes us out of Watson’s 1951 and brings us into 1963, something which serves the character of Margaret well.
LET HIM GO is an award-worthy showpiece for Diane Lane. She is in emotional overdrive and it works beautifully to drive this story and Margaret’s journey to complete herself, to put her soul to rest over never being with her son when he died. She needs her grandson to be at peace in her soul. Lane is riveting. A tower of strength in many scenes. A bad ass in others. A mother who still mourns with so much love to give. A woman with the ferocity of a lioness protecting her cub. We are with her every step of the way.
On the flip side of Lane’s Margaret, we find Lesley Manville’s Blanche Weboy. WOW! Done up like a throwback madam of a whorehouse in the Old West with the hair, the make-up, the nails, she has a mouth and attitude like a trucker. This is a woman you never want to meet in a dark alley…or at your motel room door. She too is like a lioness protecting her adult cubs, but not as much protecting as it is owning them. She craves control (as does Margaret) and if it isn’t given willingly, it will be taken physically. Watching Manville and Lane go head to head in a key Weboy kitchen dinner scene is like a finals match at Wimbledon in triple tie-breaking games.
As George, Kevin Costner brings his usual tacit strength and presence where a look or movement speaks the words that never appear on the page or spoken as dialogue. And, of course, it’s family first. We’ve witnessed that in so many of his films and most particularly the past 3 years on “Yellowstone”. This is the Costner we know and love. And once we arrive at the film’s third act, the quiet strong George turns into a man of action when the Weboy clan breaks into his motel room. We go from a jump scare to full on razor-edged tension and fear. But after axed fingers, veiled threats by the Gladstone sheriff in a hospital room, and maybe a night of recovery at the shack of a young Native American boy befriended by Margaret, George goes into full-on “Dances With Wolves” attack mode. The stealth, the distraction of a fire on a porch, and then battling to the bitter end for those he loves. Break out the tissues. Costner brings his full life and cinematic experiences into this character of George. You believe in this character and his moral compass every step of the way.
Jeffrey Donovan is perfection as the slimy Bill Weboy while Will Brittain continues to make a name for himself with a chameleonic performance as Donnie Weboy. Booboo Stewart adds much to the western ambiance with his take on loner Peter Dragswolf and some beautiful scenes opposite Diane Lane.
Not to be overlooked is Trevor Smith’s production design. From the sparse and weathered aspects of the Blackledge farm to the Weboy homestead that looks as if lifted from the 1800’s, the authenticity is to be relished. And the detail and color brought to the Blackledge station wagon and all of the accouterments Margaret has loaded in, is more than defining.
Sound design is impeccable. And intertwined with the sound design, and moments of true silence that slowly morph with ambient notes of stair creaks, wind, the cocking of a gun, is Michael Giacchino’s score, his first western. A rich, lush, gorgeous score, there is a beautiful melodic flow that mirrors the beauty of the snow-capped mountains which cinematographer Guy Godfree captures so lovingly with widescreen panoramic vistas. Heavy reliance on piano works so well with this film emotionally and allows for the notes of single piano keys metaphorically feeling like the tears streaming down Margaret’s face along with the rains of sadness from the sky.
But for a key dinner scene in the Weboy kitchen which is a visual wonder with eye-popping splashes of color, a single light over the dinner table, and framing that embraces the elements of stealth and surprise without going into black negative space, Godfree and Bezucha embrace a visual aesthetic most often associated with photographer Saul Leiter. There is an overall greyish weathered palette to the film that works well given the somber mood of James dying and then Jimmy being gone. There is no sun and no shadow. Granted, part of that is due to the weather in Calgary which stood in nicely for Montana, but it is also clearly a design move – especially when we finally see color with vibrant pink and purple and the reddish glow of a new day dawning.
Directed by Thomas Bezucha
Written by Thomas Bezucha adapted from Larry Watson novel, LET HIM GO
Cast: Kevin Costner, Diane Lane, Lesley Manville, Booboo Stewart, Jeffrey Donovan, Will Brittain
by debbie elias, 10/28/2020
