Here is a different example of violence, or the threat of violence, in film, and it is a far, far better film than the ridiculous mayhem of Birds of Prey, the most recent movie I reviewed. Suspense, excitement and anxiety are created and sustained by making the story personal and imperative, such as that which is presented here.

Thomas Bezucha’s film takes place in 1963, when ranchers George and Margaret Blackledge (Kevin Costner, Diane Lane) travel from Montana to North Dakota to retrieve their young grandson, whom they believe to be in danger from their new in-laws. The story unfolds slowly, patiently, as George tries to adjust to the unwavering determination shown by his wife. This is Margaret’s journey; she refuses to alter course, or back down, or think twice about the danger she is leading them into by her actions. The strength of the story is that we cannot blame her at all; her righteousness cannot be denied.

Bezucha’s script, based on Larry Watson’s novel, examines the notion of family ties from several perspectives, with a complexity that illuminates both sides of the custodial question. Is it wrong for Blanche Weboy (the marvelous Lesley Manville) to want her son and his new wife and stepchild (the Blackledge’s grandson) to return to their family homestead where her other grown sons reside? Not on the surface. But Margaret senses the peril that surrounds the place for anyone who opposes Blanche, and it falls to former lawman George to save the boy, even after he receives a vicious physical setback. Of course then this drama races to a fiery conclusion.

The relationship between George and Margaret is the key to unlocking this movie’s rewards. It is full of quiet interludes, a distinct space between the two of them that is only breached a few times, but then in memorable fashion. Restraint is the hallmark of this movie, both in the personal drama and in the constant threat of violence. George does everything possible to restrain himself from killing these dastardly Weboys until the moments arrive to fight or perish. To be good, and right, is to refrain from the deadly violence for as long as humanly possible, no matter what. Knowing that, and depicting the terrible consequences of that restraint, is what makes a movie like this one work so well. ☆ ☆ ☆. 14 November 2020.