All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
William Munny is a retired, once-ruthless killer turned gentle widower and hog farmer. To help support his two motherless children, he accepts one last bounty-hunter mission to find the men who brutalized a prostitute. Joined by his former partner and a cocky greenhorn, he takes on a corrupt sheriff.
"I ain't like that no more. I ain't the same, Ned. Claudia, she straightened me up, cleared me of drinkin' whiskey and all." - William Munny to Ned
As a punishment for not having seen "Unforgiven" until today, I deserve to be on the receiving end of Little Bill's whip. My body should be displayed outside saying "THIS IS WHAT HAPPENS TO PEOPLE WHO HAVEN'T SEEN THIS MOVIE!"
"Unforgiven", to keep it nice and short is an absolute masterpiece.The performances are absolutely fantastic and the star power in the film is almost unparalleled. Clint Eastwood, Morgan Freeman, Gene Hackmann and Richard Harris are absolutely amazing in their roles. Eastwood in particular, captures the essence…
Defying the entire mythology of the Old Wild West, Unforgiven is unlike any western before or after it for this tale completely strips bare the very culture & legacy that has built itself around the west and, in simple words, marks the end of a bygone era in cinema. And who better than Clint Eastwood to hammer down the final nail on this spent genre's coffin.
Unforgiven tells the story of William Munny; a once merciless assassin in the glorifying days of the Wild West who now has retired to a peaceful life with his children. But when a young bloke shows up with an offer to join him for a bounty of $1000, Munny ties up his laces for one…
The ultimate deconstruction of the classic western: stereotypes are thrown off the bridge while dramatic conventions are turned upside down, the nihilism of it all when we try to categorize it in the genre we used to recall so vividly, a forceful, smart and at times melancholic achievement.
Perhaps the best argument for Clint Eastwood as a savvier, craftier and more complicated filmmaker than the one many consider him to be. It’s a commentary on movie violence, yes, and a meta riff on much of Eastwood’s own career, but what ultimately elevates the 1992 Best Picture winner is the way it avoids being a diatribe about any of those things and instead ends as a festering challenge.
Full review here.
It's a hell of a thing, killin' a man. Take away all he's got... and all he's ever gonna have.
The comments in my log for the 2013 Unforgiven quickly turned to this film instead and I commented on how I'd love to see Clint Eastwood star and/or direct one more Western before he calls it quits. After yet another rewatch I'll admit that I might be wrong. The odds of coming close to the greatness of this film again are slim and damn if it isn't one hell of a sendoff to a genre that will undoubtedly never find the peak of popularity it once had ever again.
As a movie about America, rivals THE GODFATHER as maybe the best ever. Also like the Godfather, it's just damn fun to watch.
America is far too complex a place for any one story to explain it; but the one UNFORGIVEN tells is a revealing one. William Munny - our hero - is a reformed killer. A killer of women and children whose memory is peopled by the ghosts of his undeserving victims. When we meet up with him, he's a widower and a failing pig farmer with two kids to care for. When he's persuaded to dust off his gun, he tells himself it's because the folks he'll hunt down "have it coming" - an act of honorable revenge…
Death is not the great equalizer. It is a centrifuge, separating those who stare willingly into its snake-eyes from those who dare not look, let alone live, towards it. That unflinching few can look death in the eye as easily we cowards peer at our own reflection, for them it is the same. They are death.
They may masquerade under different guises. English Bob is the jingoistic gentleman who kills only those beneath his sights. Little Bill can rationalize murder when the victim has broken the law and deserves punishment. Bill Munny's masochistic mask of the reluctant killer is the most cumbersome ruse and the one that must be sloughed off.
The drunkard who trembles in front of bourbon. The…
I went empty handed for this and came back with my hands full. Full of feels. I was not expecting that from a western movie. Manly tears and based. Great movie, Clint.
It’s a Hell of a Thing, Killing a Man
Eastwood is an ex-gunfighter brought out of retirement to kill two cowboys who slashed a prostitute’s face. Near-mythic western is slow, thoughtful, and chilling—not at all the violent shoot-em-up many expected from Clint. Slack direction and sluggish editing slow things up, but the script (by David Webb Peoples), performances, and mood are first-rate—and the climax is positively terrifying. Winner of many Oscars, including Best Picture, Best Director, and Best Supporting Actor (Hackman—wonderful, as always).
Imagine forty years after a classic western has ended. Maybe the hero is enjoying his power a little too much and maybe the villain has begun to regret some of the things in his past. This is the plot to Unforgiven. It takes the western genre and flips it on its side. Gone are the glorifications of bravery and lack of consequences, in Eastwood's film you feel every bullet, see every death and every frame is filled with grit. The film is a thrilling adventure through the extremes a man must face near the end. With comedy peppered throughout and the best stars you could ask for (Eastwood, Freeman, Hackman and Harris) this movie should be a mandated watch in all seven continents.
A feminist Western with no strong female characters.
Suck it, Bechtel test!
Squint Eastwood stars and directs. His style is very reminiscent of the old Western, meaning that it's quite stripped-down and basic with few attention-grabbing flourishes. Brian De Palma, this ain't. But there's nothing all that bad about that. It allows the text of the story to rise to the surface, Eastwood taking a step back and allowing the great script to just be great.
And it is great. A breakdown of the traditional Western in their misogyny and endless hero worship of murderous scoundrels, the film seems to validate all the complaints I've had with the work of Sergio Leone, from the Man With No Name himself!
A pretty and well-acted genre exercise, but too many of the characters and situations seem to only exist to push the themes of the film, resulting in less of a Western and more the idea of a Western. Its ideas about storytelling and the lies we tell having their own truth flies a little better, probably because the film keeps those aspects low key.
"Deserve's got nothing to do with it."
The death of the Western genre is one of the most disheartening developments to happen to Hollywood filmmaking in the past twenty years. But if any film was going to represent the end of an era, what better choice than UNFORGIVEN? Sure, we've gotten some great representations of the genre since then, some of which I may enjoy more than Clint Eastwood's magnum opus, but I don't think a film has more succinctly depicted the end of an era as well as Eastwood does here. It's only fitting then that this was the last western Eastwood both starred and directed in.
But despite being an Eastwood show through and through, it was the characters in and passing through Big Whiskey…
Print quality: C-. (Scratches, both vertical and horizontal, present on every frame.)