“Diane Lane and Kevin Costner Reunite in the Intense Family Drama ‘Let Him Go'”
A striking image in the gripping film “Let Him Go” captures Diane Lane on the left side of the frame, holding a young boy close to her chest, while Lesley Manville approaches from the right, trapping the boy between their figures.
This scene encapsulates the central conflict of the film, an adaptation of Larry Watson’s novel published by Milkweed Editions. The boy is Margaret’s grandson, the child of her deceased son. His mother, Lorna, has remarried and vanished. Margaret and her husband, George (Kevin Costner), have tracked them to a remote 1960s North Dakota enclave.
There, they encounter Blanche, the new step-grandmother, played by Manville in a performance that mixes exaggerated friendliness with an undercurrent of hostility and contempt. Blanche’s outward charm masks her true feelings, which eventually surface.
At a tense dinner, Blanche tells George, “Lorna said you were rough bark,” then turns to Margaret and adds, “And I can see you’re no day at the races, ma’am.” This moment highlights the power struggle between the women over the child. As in Watson’s novel, the film’s tension is driven by character interaction rather than action. Long, quiet scenes convey Margaret and George’s anxiety about their mission, while Blanche’s unspoken hostility suggests she will not let them leave with their grandson.
“Let Him Go” exudes a sense of mournful inevitability, depicting characters ensnared in a dilemma with no easy resolution. We sympathize with Margaret, yet recognize her past shortcomings in her relationship with Lorna, which may have influenced the current situation. George supports Margaret’s decision but shares a tender, ominous moment when he whispers, “Go home, go home,” as she sleeps.
The film’s contemplative nature makes it a unique experience. Though it features action, its core is the internal struggle of its characters. Writer/director Thomas Bezucha wisely cast Lane and Costner, who have previously portrayed a married couple on screen, allowing them to convey complex emotions with subtle glances. Bezucha also makes effective use of the Canadian landscapes to emphasize Margaret and George’s dignified struggle and stages the climax in a cramped hotel room with clear suspense. Manville’s theatrical performance contrasts sharply with Lane and Costner’s restrained portrayal, reinforcing the sense that they are out of place.
Michael Giacchino’s score, predominantly piano-based, complements the film’s tone. As the movie progresses, the music intensifies, culminating in a final, haunting note that perfectly captures the film’s mood.
