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Debutant director Tommy Lee Jones and acclaimed screenwriter Guillermo Arriaga have produced something very rare in films these days - excellent simplistic storytelling. At times, the Mexican writer does mix scenes between flashback and the present but never really ventures into the Tarantino-like extremities of post modernistic fragmentation. The nonlinearity of the plot does nothing though to halt Jones as he gallops between playing his character, Pete Perkins, and coping with the pressure of a virgin directorial job brilliantly. Whilst watching, a personal struggle set in as to when I had ever seen visuals as sprawling and stunning as what Jones serves up. Granted, I am biased towards the great state of Texas as the largest mainland area in the United States somehow appeals to me with the vastly contrasting cultures and seemingly individual ideology distinguishing it from the rest of America. However, in a filmic world full of urban settings, seeing the Texas-Mexican border region in such a remarkable way is breathtaking.
The acting is stellar with Jones gaining a Cannes Best Actor award for his outing as the best friend of Estrada, kidnapping the border patrolman (Barry Pepper) who killed his Mexican friend. The grizzly Texan carries off the 2005 version of Eastwood's Unforgiven (1992), balancing leading man with director equally successfully, never letting the story drag or trying to be too experimental with his vision. One is left wondering whether his trip to Mexico is loyal or insane, and this is the sign of a thought-provoking film about cowboy values which are so often unexplored in bona fide Westerns. Again Pepper delivers a great supporting acting platform for the rest of the characters and the plot to bounce off, and it's his performance which really stands out. His character, Mike Norton, seems like trouble right from his introduction, and scenes ranging from unemotional sex with his wife (January Jones), viciously attacking Mexicans trying to cross the border, and being Perkins' hostage, prove what an underrated talent Pepper is.
The extras
Jones' commentary with Dwight Yoakam and January Jones, along with his interview accompanied by Guillermo Arriaga are both good even though the former only sometimes states some interesting facts. The "Making Of" explores the deserved plaudits from Cannes and is worth a look. Deleted and extended scenes and a piece on the music are also included but are nothing special.
The summary
With every minute filled with overtones of class, Three Burials certainly possesses the quality which warranted its 15 minute standing ovation at Cannes.
