It’s not often you’ll get me to sit down and watch a Western. I’m a man of modernity; I struggle to be engaged by the simplistic age that preceded the industrial revolution. Whilst I am an avid fan of certain genres of classic cinema, I’m inclined to believe that the distinctive style of the Western has not aged particularly well. I find the level of clichéd melodrama that inhabits the average Western almost painful to watch. How can you not cringe every time a silhouetted cowboy swings open the Saloon doors to the clang of his spurs?

Now, with that off my chest, you’ll understand just how surprising it is for me to admit the following:
I thoroughly enjoyed James Mangold’s remake of 3:10 To Yuma.

Dan Evans (Christian Bale), a struggling rancher in the Arizona desert, stumbles across famed outlaw Ben Wade (Russell Crowe) and his gang during the midst of an armed coach robbery. Evans and his son’s take the sole survivor of the ambush to the doctor of the nearby town of Bisbee, where Wade happens to be enjoying a celebratory drink. Letting his guard down, Wade is eventually captured and coach owner Grayson Butterfield enlists Evans, whom is desperate for the money, to help transport Wade to Contention where he is to board the 3:10 train to Yuma prison. However, Wade’s right hand man Charlie Prince (Ben Foster), a merciless psychopath, has no intention of letting his idolized leader board the train.

It’s evident from the first glimpse of the expansive Arizona skyline that Mangold has an affinity to the genre. Despite staying loyal to story of the original, which is certainly nothing out of the ordinary, Mangold shoots the film mindful of a modern audience. Whilst this has lead to the gore being turned up a notch (I don’t recall a horse ever being blown to pieces in a classic Western before), it has also meant the use of the latest in cinematographic tools to help capture some truly thrilling shootout and chase sequences. Despite most of the film unfolding within the two key townships, at every chance he gets cinematographer Phedon Papamichael makes sure that the vast alien landscape and the magnificent sweeping skylines remain synonymous with the genre. Modern imaging has made the setting quite a refreshing spectacle to behold, as the use high definition technology gives unparalleled detail to the barren landscape in a way that truly exemplifies just how wild the West was often said to be. 21st century sound engineering has also done nothing but favours for the outdated genre; as the ricocheting of bullets and the thunderous gallops of horses is exhilarating to hear in surround sound. Even though the aspects of the genre i generally dislike remain in tact, such as the simplistic narrative structure and hackneyed scenarios, the modern techniques used to capture the drama reinvigorates the Western for the 21st century.

Another success of 3:10 To Yuma is the great level of depth given to the primary characters, particularly antagonist Ben Wade. Mangold makes the most of their journey to Contention, providing Evans and Wade with ample time to get on each others nerves and form a unique bond. The modern reworking of the script prevents the dialogue from forming clichéd characterisations, instead making for thoroughly engaging cinema. There’s an earnest desperateness to Christian Bale’s portrayal of Dan Evans’ as he fights to retain his land and gain the respect of his family. Be it a crazed magician in The Prestige or the The Dark Knight himself, Bale continues to prove he can convincingly pull of any role and do so with flair. But If Bale shines in his role, then Crowe truly dazzles. The glimpses of decency that lie underneath Ben Wade’s callus exterior are expertly revealed through Russell Crowe’s dynamic performance. Despite spending a most of his screen time handcuffed with a gun to his head, you never doubt that he’s not the one in control. Whilst Crowe and Bale provide the film with most of its steam, the remainder of the cast do well to keep the train on track. Ben Foster is downright evil as Wade’s right hand man Charlie Prince, mercilessly killing with a cold look that makes Arnie’s Terminator look like a giant teddy bear. Foster’s performance is genuinely terrifying to watch, but with his striking white leather jacket donned and his ever deadly twin revolves at hand, you won’t be caught dead looking away from the screen.

Conclusion:

3:10 To Yuma doesn’t feel like it’s missed the train. Make no mistake; it’s a film for the 21st century. Mangold’s cinematic flair captures the thrilling power play between Bale and Crowe, both superbly casted opposite each other. Yuma pays homage to the classic Western by staying true to the genre’s conventions, but does so with a fresh set of eyes that gives the film a welcome place in a modern multiplex.

Follow the author Anders Wotzke on Twitter.