Written and directed by David Lowery, “Ain’t Them Bodies Saints” is one of those movies you need to see to really appreciate. On paper, its premise doesn’t sound like anything new, and it isn’t very complex or intricately plotted. The film is purely an exercise in the craft of filmmaking: directing, editing, sound, cinematography and acting.
The picture revolves around a young outlaw couple (played by Rooney Mara and Casey Affleck) living in 1970s Texas, but this isn’t a raucous, action-packed film. Instead, it takes a quiet, poetic and meditative look at these young outlaws’ lives.
We first meet our outlaw couple in the middle of shootout between them and the police. Bob Muldoon (Affleck) decides to turn himself in and take the blame for everything that’s happened so that his wife, Ruth (Mara), can raise their child —which she’s carrying at this time — in peace.
Bob is sent to the slammer, and Ruth is given a house by an old friend, Skerritt (Keith Carradine), where she takes care of her daughter, Sylvie.
One day, Bob escapes and sets out across Texas to reunite with Ruth, who, meanwhile, has befriended a shy police officer named Patrick (Ben Foster). In this way, “Ain’t Them Bodies Saints” isn’t so much about Ruth and Bob’s lives as outlaws but about their lives after that period.
As far as story goes, that’s pretty much it. “Ain’t Them Bodies Saints” isn’t concerned with plot but with character and mood, as well as creating an atmosphere. And Lowery and his crew certainly do create a wonderfully beautiful and dreamy atmosphere. The rich, soft cinematography by Bradford Young is absolutely gorgeous, giving the movie an old-fashioned and glamorous look. Most of the outdoor scenes are either photographed at sunrise or sunset, giving them a slightly orange tinge, while the scenes that take place within crowded interiors have an amber glow.
Daniel Hart’s instrumental score mirrors the moods in the movie almost perfectly: Sometimes, it’s calming and tranquil, and at other times, it can be stirring and haunting. The instances when Lowery doesn’t use the music — and instead emphasizes the other non-diegetic sounds within the movie, like the wind, rain, birds, crickets or the sound of a distant train horn — are just as effective. Together, these components create a feeling of comfort and nostalgia. The small-town, suburban neighborhood where Ruth and Sylvie live, the wide-open empty fields with deserted farmhouses and the cloudless (or nearly cloudless) orange skies evoke a simpler, bygone era. This atmosphere is perhaps the best thing about the movie.
It also helps that the lead performances are strong. Mara (who has become one of the best young American actors) gives a subtle but powerful performance. Her Ruth is gentle and nurturing when it comes to taking care of her daughter, but also tough and resilient.
Affleck is admittedly a little bland, but it actually works in his favor. Bob is not overly showy, arrogant and charismatic like most outlaw heroes but is, instead, straightforward and plain. His love of Ruth and Sylvie (whom he hasn’t met) seems to be the only thing motivating his actions, as opposed to money or the thrill of committing crime. He’s a dreamer — when he reunites with Ruth and Sylvie, he plans to take them away and build a farm somewhere — but doesn’t have a solid plan for fulfilling it.
Given the circumstances of the story, Mara and Affleck only have a few moments together, but those few delicate and intimate scenes, we’re completely convinced of their character’s relationship.
“Ain’t Them Bodies Saints” is a difficult film to recommend. Most people simply won’t have the patience for it or woul feel frustrated that more doesn’t happen in it. But it’s refreshing to see something this simple and small-scale, yet so beautiful and engaging. It goes to show that good filmmaking can elevate material that doesn’t sound all that interesting to begin with.
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