All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
High Plains Drifter
Welcome to Hell
A gunfighting stranger comes to the small settlement of Lago. After gunning down three gunmen who tried to kill him, the townsfolk decide to hire the Stranger to hold off three outlaws who are on their way.
With High Plains Drifter, Clint Eastwood created arguably the most debatable and ambiguous film of his entire career - both as an actor and as a director. There is so much about this eerie western that doesn't get answered. So many details missing. So many presumptions to be made.
Most revisionist westerns of its time were busying themselves rewriting the West as it had been told by Hollywood, mostly wrongly, for over 40 years. Eastwood decided to take the traditional mainstream western, slap it around a while and show that something could still be done with it - just as long as it was willing to change.
It's well known by now that Eastwood's mysterious stranger rides into a town…
The Stranger: All these people, are they your sisters and brothers?
Preacher: They most certainly are.
The Stranger: ...Then you won't mind if they come over and stay at your place, will ya?
And when the preacher's stunned, passive look further betrays his hypocrisy, Eastwood, not content, has the holy man graciously invite the cast-out patrons into his and the other townspeople's homes... not charging them "one cent more than regular hotel rates."
A relentlessly bleak allegory of the human (American?) capacity for cowardice and avarice, with Eastwood's Stranger an almost Chigurh-like supernatural presence – slightly funnier, and only slightly more righteous.
Somebody left the door open and the wrong dogs came home.
Everyone probably expected Clint Eastwood's directorial debut to be a western, but he opted to make a thriller in Play Misty for Me instead while ignoring what would have been a sure fire bet. For his sophomore effort, Eastwood might have thought there was no use putting it off, so he directed his first western, except High Plains Drifter is unlike any western Eastwood had starred in before and unlike most westerns ever made.
"It's what people know about themselves inside that makes 'em afraid."- The Stranger
Well that was a nice refresher. I saw High Plains Drifter for the first time just over a year ago and liked it a lot. In the time since I first watched it I forgot much of what happens in it. Somehow I completely missed the supernatural themes presented the first time I watched it. This time I felt like an idiot for having missed them before. These supernatural elements improve the film in my opinion.
Clint Eastwood is the baddest of badasses as perusal in High Plains Drifter. In this one he isn't as sympathetic as in some of his other Westerns, but you can't help…
Pungent little revenge tale that's unfortunately soured by a certain, how shall I put it, rapeyness. Eastwood's treatment of women in his early films always makes my skin crawl, and here we have not one but two gals who despise The Stranger until he forces himself on them, whereupon they decide that he's dreamy after all. (Though it's unclear to me whether the one he outright rapes later sleeps with him merely so that she can unlock his door for the assassins. Couldn't she just stick a knife in his heart while he sleeps?) That significant ickiness aside, though, the film has fun with its darkly comic scenario, which amounts to a one-man inversion of Seven Samurai in which…
Eastwood plays a literal/figurative Angel (Demon) Of Death in this psychological horror film posing as a western. Loaded with horrifying sequence after horrifying sequence but the scene where The Stranger slowly rides out as the dumbstruck town looks on in a mixture of confusion and pure fear has to rank as one of the most bone-chilling moments in all of Eastwood's oeuvre.
a delightful tale on hypocrisy. would have been excellent if not for its poor portrayal of women
This review reportedly contains spoilers. I can handle the truth.
A better-than-average western with great sound design and music and a compelling anti-hero, swinging back and forth from being sledgehammer blunt and mysteriously subtle.
As expected, the more negative Letterboxd reviews comment on the enormously offensive rape scene early on. I found it extremely upsetting at the time, but as the film progressed, I found that I had taken Eastwood's bait: in essence, I saw him waltz into town and assumed I was supposed to be rooting for him. Later into the film, a scene like that may have been less effective because of what we begin to see in the character. Although the scene still ends in a way that seems a shade misogynistic, it's not the horror that, say, something like Once Upon a Time in America is.
For real, though... all these white people look the same. Is that the real issue I have with westerns? Just that I can never tell who's who?
Far better than any of Eastwood's other pre-Unforgiven westerns.
Whoa. A metaphorical western movie?
I'm very shocked by how much of an art movie it was.
This was deep.
Clint is as cool as always. This character is so great. Very quotable.
I would say that he should have done more damage.
A very bold film for Clint Eastwood, as he takes the man with no name archetype to its natural conclusion - a rapist and murderer. No wonder John Wayne hated it. When the movie drifts into surreal horror it works less well, but the last ten minutes is highly satisfying.
Clint = Class
A good movie about guilt and vengeance.
yes, it's quite a simple plot and yes, the direction is pretty obviously a tribute to siegel and leone... but that's not a bad thing if it's done well and it's done very well indeed by eastwood in only his second directorial effort. the simplicity of it all helps - no fat, only lean. both the supernatural westerns have an atmosphere quite unlike anything else...
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