THE STORY – Robert Grainier is a day laborer building America’s railroads at the start of the 20th century as he experiences profound love, shocking defeat, and a world irrevocably transforming before his very eyes.
THE CAST – Joel Edgerton, Felicity Jones, Kerry Condon & William H. Macy
THE TEAM – Clint Bentley (Director/Writer) & Greg Kwedar (Writer)
THE RUNNING TIME – 102 Minutes
Clint Bentley and Greg Kwedar have already firmly established themselves as an esteemed filmmaking team. In 2021, “Jockey” (written by both but directed by Bentley) made a splash at that year’s virtual Sundance film festival, thanks to a tender screenplay and a powerful performance by Clifton Collins Jr. And of course, their film “Sing Sing,” with Kwedar behind the camera, was one of last year’s most acclaimed films, leading to an Oscar nomination for the pair (along with Clarence Maclin and John “Divine G” Whitfield) for Best Adapted Screenplay. Now, they’re back with another contemplative drama: “Train Dreams.” This time, Bentley is in the director’s chair. Once again, the duo shows their ability to tap into the gentler side of humanity, with another leading character facing the tough demands of masculinity and an uncaring society. It’s a beautiful portrait of the work it took to lay the foundation of our present-day country, carried out by unheralded, anonymous laborers who all had a story to tell.
The figure at the film’s center is Robert Grainier, played by a stunning Joel Edgerton. Robert is a logger who makes his non-fortune by chopping his way through the American northwest at the start of the 20th century, helping provide lumber and develop land for a rapidly expanding nation. One day, quite by chance, he meets his eventual wife, Gladys (Felicity Jones). The two settle down in a self-made cabin on a handsome plot of land, and it’s not long before they welcome their first child, Kate. They settle into a routine of Robert frequently setting off on logging jobs for long periods while Gladys stays home to raise their child. But this time apart takes its toll on the couple, and soon, forces outside of their controlmake drastic changes to their peaceful existence. Indeed, many of the scenes of Robert at home with his wife and daughter occur during sunset, as if to suggest that time is slipping away from all of them.
With “Train Dreams,” Edgerton gets a chance at a leading role that requires him to be on-screen for nearly the entire film. But even so, he remains a stoic figure of few words, meaning Edgerton must convey many of his thoughts and reactions through pure physicality. The camera frequently pushes close into his face, giving him the chance to show off some impressive yet subtle, emotive acting skills. His dark eyes crinkle, and his brow furrows, adeptly conveying a host ofvarying feelings with only slight changes to his features. He’s completely believable as an outdoorsman from over a century ago. Jones is a worthy counterpart, and the two have fantastic chemistry that helps believably sell their quickly formed but deeply felt bond. Kerry Condon appears in a delightful but brief part as a resourceful forest ranger named Claire, effortlessly pulling off a spunky, no-nonsense attitude that shows her to be self-sufficient. She’s described as “unafraid of anything that walks, creeps, or flies,” and Condon’s performance makes this believable.
“Train Dreams” tells a powerful story that, while celebrating those who worked hard to solidify infrastructure, avoids painting the country they helped to expand as a triumphant, unblemished state. In fact, a major aspect of the film’s opening sequences is the way that Chinese immigrant workers were discriminated against, deported, or worse, by bigoted white laborers. It’s a smart choice that doesn’t undermine Robert’s story while also reminding audiences of the difficulties that certain groups have faced throughout America’s history – and, of course, the parallels to similar forms of violent discrimination carried out today are impossible to ignore.
The most laudable element of the film is Adolpho Veloso’s breathtaking cinematography. From the first few frames, it’s clear that this film will be an absolute thing of beauty. He’s helped by the gorgeous natural terrain of the film’s setting, of course, but with natural lighting and flattering framing, Veloso makes the more majestic parts of America look about as good as they possibly could. The camerawork, through thoughtful framing, also frequently underlines the film’s themes of how man and nature complement each other well when they coexist in unforced harmony. And some of the most striking screen images smartly resemble the composition and feeling of old-timey photographs from the era. Bryce Dessner’s powerful, unhurried score also effectively imbues a grand feeling into a story that may appear small-scale and low-stakes on the surface.
The film’s contemplative set-up is by far more compelling than some of the plot mechanics that follow, but “Train Dreams” remains throughout a powerful, gorgeous look at those who’ve lived quiet lives with an unexpectedly large impact. Bentley and Kwedar have created yet another delicately crafted stunner.
