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…
A classic western. Held its own, yet made out of time. It felt like a long lost prequel to the Dollars films. Tense and immersive, impressive production design that seemed ultra realistic.
When Unforgiven was released, many critics saw it as an elegy to the Western genre. It felt like the last great Western in many ways, made by one of its most prominent stars. That its plot is about old gunslingers going on one last bounty with each other only furthers that belief. The film even opens and closes on these idyllic shots of the west, like a cover for dime store novels, accompanied by lugubrious guitar music.
But an elegy implies a level of grief over the loss of something or someone; whereas Unforgiven, if anything, is Eastwood shoveling dirt onto its grave, making sure it's buried as deep as possible. I've never seen a film as caustic and unrelenting…
After watching a bunch of Spaghetti Westerns, this movie is way more intense with its depictions of the realities and consequences of taking another man's life.
If you know me you know I don't care for Westerns (or Clint Eastwood for that matter), but I dig the prostitutes driving the story and what I suppose is an anti-violence message they put in there somewhere. It's not bad. For a western.
Nice to remember that Clint Eastwood did plenty more than talk to a chair or make a bunch of movies that I nearly injured myself rolling my eyes during. This one is probably flawless. I mean...I'm giving it all of the stars.
I don't quite buy into the notion that Unforgiven is a "deconstructionist masterpiece"--for as many tropes as the film subverts, just as many are played perfectly by-the-numbers--but I can't deny that the film is a fantastic send-up of the Western genre, a great book-end to a style of film-making that has never truly re-emerged.
Upends the myth of the west with gritty realism and meta-commentary, but its transcendence comes from its complex morality. Do we cheer the vengeance or sit somber in its reality?
Unforgiven is a solid Western film & that's as much as it is.