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With his English-language debut, Jacques Audiard, the French director known for his slow-burn, humanistic character studies, becomes the first foreign director to take on one of the most characteristically American of genres, the Western. Audiard’s “The Sisters Brothers,” while worlds apart from his socially realistic “Dheepan” and “Rust and Bone,” has a similar close-watched, leaned in sensitivity with its brotherly story, despite being set in a different time period. Infused with sweetness, graphic body horror (that, at times, spins a childlike icky humor), a high body count, and a high body count (adapted from Patrick deWitt’s 2011 novel by Audiard and Thomas Bidegain), this alcohol-soaked Frontier road trip constantly reinvents itself at every turn in fun, witty, and ultimately touching ways. Even if you classify Audiard’s film as either a revisionist Western or an absurdist Western, it manages to be both refreshingly new (without ever going to the extremes that the Zellner Brothers went to with “Damsel”) and nostalgically familiar at the same time.
The Gold Rush serves as the backdrop, which is said to have made the job of a Sheriff much easier: if there’s trouble, you just follow the gold to find out where the trouble is coming from. Nevertheless, when we first meet the central brothers Eli (John C. Reilly, who is as goofy, soulful, and excellent at physical comedy as ever) and Charlie (Joaquin Phoenix, who is quietly enigmatic) on a random dark night at the beginning of the film, there appears to be no wealth to be sought after. The pair of cold-blooded hit-men, who go by the amusing last name “Sisters,” murder a family of people in a tightly orchestrated set piece of nocturnal shootouts, with little regard for the ramifications of their decisions. The reason for this job and everything else is unknown; however, the ruthless duo reports to a much feared, mostly unseen mysterious crime boss known only as ‘The Commodore,’ and they routinely assassinate their way through the 1850s Oregon countryside. Along the way, they form bonds and have petty disagreements about the meaning of life, just as they kill with impunity.
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However, just as the soft-edged Eli begins to consider his future and continuing profession despite the unaffected heavy drinker Charlie’s shrugs, The Commodore assigns them to a new task. They will track down and assassinate a criminal named Hermann Kemit Warm (Riz Ahmed, who plays him with a cheeky air of mystery) for reasons that we will gradually piece together later; for now, he is simply a thieving adversary who once betrayed their boss. In comes Morris (Jake Gyllenhaal, who reunites with Ahmed after “Nightcrawler”), a bounty hunter for hire with a British accent who is tasked with delivering Warm to the brothers. The prospect of immediate wealth, however, causes everyone involved to reevaluate their priorities. The brilliant chemist Warm’s creamy invention, which makes gold glaringly appear in water, causes everyone involved to reevaluate their priorities at the same time. Both couples, who have been following parallel storylines for some time (which, admittedly, slows down the film’s previously engrossing rhythm), find themselves caught up in a plot to pit them against one another. Along the way, local madams, kind prostitutes, more accidentally amusing events, and, unfortunately, some dead horses enter the story, sharpening the tone of the film as an original yet studied homage to the genre as a whole.
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“The Sisters Brothers” is a delightful tale of familial ties that is expertly balanced with a slick cat-and-mouse story. Much of the film’s breezy charm can be attributed to John C. Reilly, whose comic timing works wonders for the meatiest and most multifaceted character of the ensemble cast. Phoenix is at ease in Charlie’s more reserved role, while Gyllenhaal’s familiarly tense demeanor and Ahmed’s mischievous performance both stand out. Reilly and Phoenix have excellent chemistry throughout the film; we believe their long-standing friendship as well as their occasional callousness, which is especially effective when the script slowly introduces the brothers’ backstories into the narrative. Audiard’s characteristically sensitive touch gradually lifts familial emotions, allowing them to linger in the air long after the credits roll in this bittersweet tale with a sentimental heart set in a dangerous milieu of blood, greed, and spiders (one in particular is responsible for the film’s most gross-out moment).
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This review was originally submitted on September 9th, following the conclusion of the Toronto International Film Festival.
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