Let Him Go
Pride is a wondrous concept. Somehow, it has kept Kevin Costner in the spotlight, well past his sell-by date. If Waterworld couldn’t end his time at the top, then surely nothing ever will. Destined to work in solid supporting roles with an odd blip of lead potential, Let Him Go, his latest film and first under the command of director Thomas Bezucha, sees the star as a retired sheriff, grieving the passing of his son. After the kidnapping of his grandson, he and wife Margaret (Diane Lane), set out to rescue him. Set deep in the heart of Montana – Where else would cowboys still ride their horses? – Let Him Go relies on the leading characters and their love for the Western genre, in its ever-dying days. It can’t be long now; this genre is on its last legs, and this cast are enjoying the ride for as long as they can.
Enjoying is not, perhaps, the right word for the characters in Let Him Go. While the cast may revel in this contemporary western, the characters they portray see the and toil in grief and dismay. Linking up with various strangers of fleeting importance, they set off on the trail, in search of their missing grandson. Some supporting stars linger on the screen longer than expected, overstaying their welcome in these uncomfortably friendly rural lands. Lesley Manville, of all the talented actors to ever grace the screen, is the weakest link here. Her mannerisms and performance are fine, the usual high standard of her craft is ever-present, but the writing and reason for her character are fumbled, at best.
This is a shame, since the characters within Let Him Go are the asset Bezucha relies on quite often. His narrative depends on them coming across as real, relatable human beings. Each are shown to have deeply rooted anxieties and loves, the mixing of which is sometimes strong, but often coming up short. Thankfully, the two leading characters are represented with reliable dignity; Costner and Lane turn in performances that far exceed their recent projects. It has been a considerable drought for the pair of them, so to see such meandering, acceptable quality is a positive surprise towards the audience. Strong chemistry with one another breaks down several of the expected, turgid barriers that may crop up in relatively small dramas, and their performances are all the better for it.
Staunch he may be in any capacity; Costner excels when faith is placed in him. Let Him Go reaps the rewards of such trust, and in turn provides a narrative that, for all its predictability, is worth experiencing thanks to its strong performances. Emotive, charged with that ever-delicate energy a soft, deft narrative brings, Bezucha crafts a competent film that muses on its themes well. There is much to be desired, but the execution and likeability of its simpler notions cannot be denied. Simplicity and minimalistic flair to the direction and tone make for a comfortable drama that shows the healing process of grief, but cannot take its themes that extra step towards enlightenment. If this marked the final nail in the coffin of the western genre, then so be it. Let Him Go utilises the last breath of a historical genre as the backdrop to an emotionally stretched bit of drama.