Diane Lane and Kevin Costner have reunited on screen for the gripping family drama Let Him Go, a tense and emotionally driven film that was released to critical acclaim. The movie, which hit theaters in November, is an adaptation of Larry Watson’s novel of the same name, originally published by Minneapolis’ Milkweed Editions. The story unfolds in the 1960s, set against the stark, remote backdrop of North Dakota, where Margaret and George Blackledge (played by Lane and Costner) embark on a dangerous journey to retrieve their grandson from a volatile family.
The film opens with a powerful image that sets the tone for the emotional conflict to follow. Diane Lane’s character, Margaret, is seen clutching her young grandson to her chest, while Lesley Manville, playing the formidable Blanche, moves in from the other side, trapping the boy between them. This scene visualizes the heart of the story: two women staking their claim to a child, each determined not to let go.
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Margaret and George are driven by grief after the loss of their son. Their only remaining link to him is their grandson, who has disappeared after his mother, Lorna, remarried and cut off contact with the Blackledges. Determined to bring him home, Margaret and George track down Lorna and her new family to a secluded community ruled by Blanche, the step-grandmother, portrayed with chilling brilliance by Manville. Blanche is both friendly and hostile, her demeanor shifting like quicksand as she asserts control over the situation.
The tension between Margaret and Blanche drives much of the film’s drama. In one memorable scene, Blanche makes her feelings about the Blackledges clear. During a tense dinner, she says to George, “Lorna said you were rough bark,” before turning to Margaret with a sneer. “And I can see you’re no day at the races, ma’am.” It is a moment that perfectly encapsulates the growing animosity between the two women, each convinced of the righteousness of her cause. Margaret sees herself as the last hope for her grandson, while Blanche is determined not to let the boy go.
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Though we are on Margaret’s side, the film also delves into the complexities of her character. It becomes evident that Margaret’s relationship with her daughter-in-law, Lorna, was strained. Had Margaret shown more kindness in the past, the situation might have unfolded differently. As the story progresses, we see that Margaret’s determination to retrieve her grandson is rooted in both love and a sense of guilt.
Kevin Costner’s portrayal of George is quiet yet powerful. He is a supportive husband, willing to follow Margaret on this difficult mission despite his own reservations. In a particularly tender moment, George whispers to his wife while she sleeps, urging her to abandon the dangerous quest and “go home.” His concern for her well-being adds another layer of emotional depth to the film, as George tries to balance his love for his wife with the growing realization that they may be in over their heads.
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Let Him Go is a film that thrives on its silences. Writer and director Thomas Bezucha makes great use of the quiet moments, allowing the actors to convey their characters’ inner turmoil with just a glance or a subtle movement. Lane and Costner’s on-screen chemistry is palpable, honed from their previous work together in the Superman films. Their shared history brings a sense of authenticity to their roles as a long-married couple, navigating the uncertainties of their mission with a deep, unspoken understanding.
Bezucha’s direction is full of smart choices. He uses the vast, open landscapes of Canada, where the film was shot, to contrast with the enclosed, suffocating world that Margaret and George find themselves in. The majestic vistas underline the dignity and resolve of the Blackledges, while the cramped spaces where much of the action takes place—like the pivotal confrontation in a small hotel room—ratchet up the suspense and heighten the stakes.
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Lesley Manville’s portrayal of Blanche is a show-stealer, full of theatrical flair and malice thinly veiled behind a smile. Her exaggerated friendliness serves as a mask for her true intentions, and as the story progresses, her hostility becomes more overt. Manville’s performance contrasts sharply with the more subdued, plain-spoken performances of Lane and Costner, making her character feel like a force of nature that the Blackledges are ill-equipped to handle.
The movie is underscored by Michael Giacchino’s haunting score, primarily composed of piano-based melodies that build in intensity as the story unfolds. The music mirrors the growing tension, and Giacchino ends the film with a single, high note that perfectly captures the unsettling mood of the story’s conclusion.
Though Let Him Go features moments of action, the real drama is psychological. Much of the tension is derived from the character’s internal conflicts, doubts, and fears about the path they have chosen. Margaret and George know that their mission is fraught with danger and moral ambiguity, yet they press on, driven by a sense of duty and love that cannot be easily dismissed.
The film’s quiet nature may make it difficult to grab hold of at times, but its contemplative pacing is also one of its greatest strengths. By staying true to the spirit of Larry Watson’s novel, Bezucha has crafted a film that lingers in the mind long after the credits roll. Let Him Go is not just a story of a family in crisis; it is a meditation on loss, love, and the lengths to which we will go to protect those we care about.
