The film Text copyright (c) Filmverdict 2006-present. Any film titles and artwork used are copyright of their respective owners.
When composed effectively, odes, whether literary or filmic, are perfect ways to bring an epoch to a close. After the exploits of figures such as John Wayne, James Stewart, Gary Cooper, Sergio Leone, John Ford and Don Siegel, Clint Eastwood saw Unforgiven as the appropriate film to unofficially conclude the classical stance of conventional Western films and his own illustrious career in the fêted genre - the Californian legend nods to hosts of eminent films in the field, ranging from Ford's She Wore a Yellow Ribbon to Leone's Once Upon a Time in the West. Unlike contemporary celebrated efforts like Tommy Lee Jones' superb Three Burials of Melquiades Estrada or Ang Lee's Brokeback Mountain where old-school figures try and exercise their brand of justice on a society which has become more civilized, Big Whiskey, Wyoming promotes district legislation, a perfect platform for the visceral Gene Hackman to exercise his law and order.
Little Bill Daggett isn't simply a bully however. He may use Richard Harris' English Bob and Morgan Freeman's Ned to illustrate this point before the inevitable tense shootout between the evil quasi-dictator and our reformed protagonist (Eastwood), but his moralistic stance can be seen as having some juice if one ignores the fact that he appears to be an utter psychopath - the sheriff is simply doing his duty. As fine as Hackman is in his villainous role though (he received a Best Supporting Actor Oscar for his superb efforts), this is Eastwood's show. With invaluable assistance from David Webb Peoples' exceptional screenplay, the director weaves the story of Munny (himself), a retired gunslinger vying for one final payday, with intricate emotion and a constantly sombre tone. Munny is a traditional Eastwood character - his star continues to shine because his trademark silences and stares can say more than an entire monologue in many cases, and Munny, along with Harry Callahan and The Man With No Name epitomise this anti-hero reality. Munny, Ned, and The Schofield Kid (Jaimz Woolvett, a struggling television actor these days) are certainly an unorthodox team and ethically suspect in their endeavour, but this is the Old West, a fact hit out of the park on many occasions by Eastwood, and wicked acts (a whore has her face cut up) seemingly never get ignored. Even though Daggett is the upholder of the law, the person wounded is a prostitute (arguably the bottom of the barrel in terms of occupation), and Munny is a former killer of countless women and children, the audience is still expected to root for the struggling father - an assumption which was perfectly balanced and executed in what would now be a highly-debated set of circumstances.
With his revisionist Western, Clint 'Director' Eastwood nearly surpasses his mentors in regards to everlasting impact - the 1992 recipient of Best Picture and Best Director gongs at the Academy Awards is certainly now seen as a modern masterpiece and an archetypal work from his directorial career. Eastwood had helmed fourteen features previous to Unforgiven and that figure has almost doubled in the years since, fluctuating between pure commercialism (particular Dirty Harry sequels) and bleak award-winning dramas (Mystic River and Million Dollar Baby). Surely though the legend has never filmed such a grand finale to a tale as he did in his Western swansong. Munny will still be 'unforgiven' for his past sins even if he eradicates Daggett in his very personal vendetta but the final shootout is untainted cinematic genius. Not meaning to suggest that the director is arrogant by any means but the presence of sensationalist biographer and manufacturer of myth, Beauchamp (Saul Rubinek) shadows contemporary film writers worldwide who still see the tense scene as career-defining for everyone involved, even legends the calibre of Hackman and his masterful director. Of all the people to have there, his glistening eyes show how he is witnessing something special, something legendary - us too.
The extras
The picture and sound transfer in this Special Edition are superb. The 5.1 mix captures the rolling claps of thunder and heavy rain wonderfully. On Disc One, Richard Schickel, critic and biographer of Eastwood, contributes a fine commentary which points out some interesting facts and technical issues involved in the shoot. A lengthy awards list, a trailer and biographies of the main cast and crew are also included. On Disc Two, "Making Unforgiven" is a good 22 minute original documentary produced in 1992. It illustrates how most of the crew have been working with Clint on his films for many years and so consequently the production was undertaken like clockwork. It's also worth noting that during the conversations on horseback, the actors had to sit on ladders because the animals wouldn't stand still long enough. "All on Accounta Pullin' a Trigger" is a 10th anniversary retrospective of the film which also lasts around the 22 minute mark. Morgan Freeman hosts the usual mix of movie snippets and new interviews but the piece lacks depth. "Eastwood� A Star" is sixteen minutes you can gloss over as long as the hour-long "Eastwood on Eastwood" is viewed instead. Schickel's documentary recruits John Cusack as narrator and ventures through the legend's career with Eastwood himself popping up relatively frequently to add valuable insight. The examination of his early career in particular deserves kudos. Continuing this trend of early Clint, "Maverick: Duel at Sundown" is an actual episode from his 1959 days as Red Hardigan in this 49 minute treat.
The summary
An intense and unforgettable homage, Clint Eastwood's Unforgiven is a brutal resurrection of the old-fashioned (yet blurry) conflict between good and evil. Tense and expertly acted, a true classic.
Agree? Disagree? Say so in the Guestbook!