(USA 1992 131m) DVD1/2
They had it coming
p/d Clint Eastwood w David Webb Peoples ph Jack N.Green ed Joel Cox m Lennie Niehaus art Henry Bumstead
Clint Eastwood (William Munny), Gene Hackman (Sheriff “Little Bill” Daggett), Morgan Freeman (Ned Logan), Richard Harris (English Bob), Saul Rubinek (W.W.Beauchamp), Jaimz Woolvett (The Schofield Kid), Frances Fisher (Strawberry Alice), Anna Thomson (Delilah Fitzgerald), David Mucci (Quick Mike),
So the jailhouse chorus sang in Chicago, but the title is even more apt for Eastwood’s stunning revenge western. Not only does it reinvent the genre in much the same manner as Leone and Peckinpah before him, it reinvents the mythology of the west. Unforgiven has no decent men, only real men, men aware of their capacity for both good and evil while longing for the simple pleasures retirement can afford.
In the Wyoming town of Big Whiskey in around 1880, two cow hands, drunk on whisky, facially disfigure a prostitute and are only fined for the crime. Hurt by the injustice, the other ladies of the institution band together to offer a reward of $1,000 for anyone who kills the attackers. Hearing of it, a young gunslinger tries to encourage a retired outlaw to take on the job, and the latter agrees but only if his old partner in crime – also now retired – can come with him.
Eastwood had by the time of the film’s release long since joined the Hollywood aristocracy, and had made a few fine westerns of his own in the years following his retirement from the saddle of Sergio Leone (particularly The Outlaw Josey Wales). Yet, though Josey is an excellent film, it just doesn’t quite have the underlying depth of Unforgiven. Unlike in most westerns, there is no hero here. William Munny may have never killed a man in eleven years, but that does not eradicate a man’s past, a past that haunts his older, sober self. He was a killer, and a vicious killer. As he admits in the final showdown “I’ve killed just about everything that walked or crawled at one time or another.” Yet he’s only one of four central characters at the heart of this tale. There’s Hackman’s brutal self-righteous Bill, who thinks he’s above the law and dreams of building his own house, only to be let down his poor carpentry; Harris’ cowardly bragging Bob who makes the mistake of speaking of queens on Independence Day; and Freeman’s now kindly but once vicious Ned who misses his own bed. After his earlier beating by Hackman, Eastwood dreams of the avenging angel with snake eyes and is terrified by what awaits him. By the finale, he has become that same avenging angel, taking out Hackman and his cronies single-handedly, before downing his first glass of whisky in over a decade.
With such characters it would have been easy for Eastwood and Webb Peoples to rest on their laurels, but Unforgiven never rests. It’s not only a film about revenge and rough justice, but loss, regret, love and, more than anything else, death. As many critics have commented, this film really shows you how hard it is to kill someone. As Munny himself says, “it’s a helluva thing, killing a man.” Each of our protagonists knows that there’s a bullet out there with their name on it and they can only wait for it to hit home. (A fact further symbolised by the sunset and dusk photography of Jack Green, which serves as a ravishing counterpoint to the very real violence on display.) Yet to praise Eastwood the director is to overlook the actor, and this is arguably his greatest performance, a world-weary antihero who knows his own worth, but who has somewhat comical trouble shooting a can and mounting his horse for the first time in years. Hackman, Freeman and Harris are all magnificent in support, too, as would one expect and, if it was too PC to allow Freeman’s colour not to be mentioned in a time when it most certainly would, it’s only a minor quibble (John Ford’s West wasn’t real either). As Eastwood emerges from the saloon threatening those who might gun him down, one recalls Harris, when he said it was hard to shoot royalty because of the awe they inspire. Clint may be no king, but he’s Hollywood royalty and Unforgiven is a film to strike awe.
A wonderful piece here Alan of one of my all-time favorite westerns, and really films of any kind. The only western that I could place above it in my own very personal favorites list would be Rio Bravo. And even then it would be close. In my list for this decade, Unforgiven is going to be in my top 3.
That finale to close the film still amazes me every time I watch. And as you rightly point out, there are a number of performances to praise here — Hackman, Freeman, Eastwood. I also think that Peoples deserves a lot of praise for penning an outstanding screenplay. I’m very, very glad to see this one make your list.
I like this film. Ironic that its one of the most violent “anti-violence” films ever made. I’ll agree that its Eastwoods best western, a tale of evil men commenting on a life of slavish destruction and never really liking it. Eastwood and Peoples commentary on how professional killing never really let’s loose its grip haunts the viewer back to the film again and again. Clint is terrific here, best performance ever. But, HACKMAN is the real show. For a actor so gentle, he often plays the psychotic, violent baddie better than anyone. My favorite western is THE SEARCHERS, but this one would be creeping in at No. 2 or 3.
And call me crazy, but there is something electrically exciting in watching Eastwood explode in the end. Its almost like watching sweating dynamite roll closer to the edge of a revene to fall and combust when it hits the bottom. I really feel William Munny’s capacity for decency and good. However, and I think this is the brilliance of his performance and the film, its that capacity for making good that emotionally drags him back to the depths of depraved evil. The moral parallels at work in this film are far more complex than any other western ever made and, particularly any othe Eastwood western ever made. What seems like a simple plot is really far more psychologically and emotionally layered than meets the eye. That’s why we respond to it. That, and watching Eastwood destroy everything in his path is just, gulp, damned entertaining. Only Eastwood could make UNFORGIVEN.
I have two reactions to the ending. The first is the most obvious and the one you point out: it’s just an incredibly badass, “Eastwood moment” and hard not to be entertained by it all. But it’s also sad to realize that Will has been dragged back to being the same man, doing the same things he used to do… which he had vowed would never happen. Interesting that it draws these reactions simultaneously.
And, if you don’t agree that Hackman’s performance is the show stopper here I say think about this: Think of every character Gene has ever played in his career. Popeye Doyle in THE FRENCH CONNECTION, The Senator in THE BIRDCAGE, Harry Caul in THE CONVERSATION (his BEST performance), Buck Barrow in BONNIE AND CLYDE, Lex Luthor in SUPERMAN (a personal favorite). Think of these performances real hard. Now, rewatch the moment in UNFORGIVEN when he’s literally kicking the shit out of Richard Harris. No performance before or since could EVER indicate this actors capacity for the unflinching evil on display here. Face contorted, gleeful in his deed and angry as hell. Little Bill is a showcase for Hackman’s DARKER side. A side, frankly, I never knew he had. Showstopper here? Definately. He Oscared for UNFORGIVEN. Rightfully so.
Though I’m no great Eastwood fan (at least when it comes to his directorial work), Unforgiven is a fine piece of work. One lingering doubt remains years after I saw it: can one really believe that Eastwood and particularly Freeman were once cold-blooded killers, or does it play as a contrivance of the screenwriter to invest them with depth? It’s been to long, and I’ll have to revisit the film to settle my uncertainties but your statement about the “once vicious, no kind” Freeman stirred the pot a bit. And on a minor note, I rather hate those hambone names (Will Muny, Big Whisky, Little Bill, etc.). But, quibbles – definitely deserves a place on the list.
MM0238 I’ve always thought the ‘hambone’ quality of the names and locales is one of the points of the film… it’s all about myth of the west both fact and fiction. The fiction of the west is stupid nicknames like that that had no basis in reality OR ‘cool factor’. I think the writer character kind of flushes this point out further.
DAVE AND MOVIEMAN-the ending of this film does precisely the two things mentioned. That’s the point. The sadness of Munny’s return to evil is precisely because he has no other opportunity otherwise for good. Destiny knocks and says this is what must be done for final redemption. The ending also makes abundantly clear, JOEL, the former capacity of Munny’s ability to be a cold-hearted killer. His quickness, precision and, ultimately, regretless execution of mass violence work as a charted tour of his prior, well-done and effective work. The fact that Will and Ned are both alive and aging at the beginning would also indicate that they were extremely good at what they did. Had they not been? They probably would have fallen victim to a rival ot a back-fired assasination. Nah, I think its clear from the get-go that Eastwood and Freeman were bad-asses before there arthritis days arrived. Hard killings, cheap booze, hookers and raw elements were there life before they said “ENOUGH!”
Let’s give credit to the female cast as well, led by Frances Fisher’s unforgiving Strawberry Alice. They span a gamut of emotions and motivations, with the great irony being that the actual “cut-whore” of the onetime working title is the one most inclined to forgive her attackers. She might have been satisfied with Davey Boy’s offer of a horse as compensation had her peers not demanded a more severe penalty. The bounty the women raise isn’t just a matter of revenge but an act of rebellion against their domination at Greeley’s and in Big Whiskey. While some may speculate that the film’s final title also has something to do with the Eastwood character’s mental state, it most obviously refers to the women’s attitude toward the cowboys, and their crucial role in the story deserves some recognition.
Good point, Samuel… and even the “minor” performance of Davey is outstanding. He comes across as truly remorseful for having been caught up in the situation — and in actuality, he was involved only because of friendship with Quick Mike. His murder scene is very well done and sad.
I agree with Dave. Samuel Wilson’s astute comment is dead-on.
Lovely review Allan, he’s Hollywood’s royalty alright. The best part is that Eastwood knows this fact and exploits it…Cheers!
Who would have thought that Eastwood would blossom into one of THE autuers of the next decade and a half – giving established giants like Spielberg and Scorcese a run for their money? And with works of such deep maturity, wisdom and intellectual and emotional engagement. Yet another actor turned director to give poor old Marty a sleepless nights before the Oscars, until he nabbed one.
I am with you for the most part here Bobby, though his last film, which broached a nasty strain of racism, was not the work of an auteur. But he made two bonafide masterpieces in his career: the film reviewed here (quite impressively I might add) and LETTERS FROM IWO JIMA.
I also love ‘Letters from Iwo Jima’ Sam. I also think he has a few other masterpieces though beside just these two.
DAVE and SAMUEL WILSON-Excellent points made. But, like everything with this film, there is more than meets the eye initially. Nobody in this film is really satisfied in the end. Strawberry Alice, Delilah and the girls look on in horror and regret in the end, understanding the malevolence they unleased and the destruction of souls that result. Their revenge on Little Bill and the rest of the baddies in Big Whiskey are just a surface satisfaction that masks the sorrow that has now been inflicted on the good people of the community and resurrection of the darkest corners of Bill Munny’s nature. They look on in despair as they realise their actions have snow-balled to effect everyone in the worst possible way. I think Big Whisky, if it existedn would have become a ghost-town of drunks and neerdowells because of the scarring they invite. Bill Munny’s arrival in Big Whiskey might have given them quick satisfaction but left a residew of dread that is far more present forever than any point they are making.
This is one of your greatest submissions at the site Dennis. Simply spectacular.
BOBBY J-Yup, Yup, Yup! Who, Indeed, would have thought this man would fly so high and so brilliantly. He is the very model of what was once great about Hollywood film-making. In his eighties now, Eastwood is that war-horse taught by the elites of a generation long since gone. Sergio Leone, Don Segal and others helped educate and mold the thinking and logic of this great director. As Allan rightfully commented, Eastwood is royalty in the Hollywood film-making community. He attracts todays biggest stqars because they are given the freedom to do there thing while feeling secure in the old ways of a style long forgotten. The studios love him as he has brought, in every instance, every film in ahead of schedule and under budget. He saves the companies money and makes them money as well. Critically, he adds smiles to their faces as well as most of his films a reviewed as works of art. A slew of Oscars (including two BEST PICTURE and BEST DIRECTOR wins), only adds heat to his fire. He can do whatever he wants.
Obviously this movie is a masterpiece of the 90’s or any decade. Weird that I think the film he made the next year (‘A Perfect World’) is his masterpiece and his best film of the decade. Cahiers du Cinema named it the best picture of 1993, many don’t know that. If any underrate it you should see it again, with a fresh set of eyes.
Also as a point of discussion, something my friends and I have gotten into on occasion is what is the great western of the 90’s. Many of my friends say this is (and they may very well be right), I say it’s ‘Dead Man’, and still some others with more mainstream ambitions say ‘Tombstone’ (I’d obviously disagree with that as fun as that film is). Or other? Thoughts?
I really like Dead Man as well, and have always had a love of the badass factor of Tombstone (Val Kilmer is great as Doc)… but personally I don’t think it’s even close. My opinion is incredibly slanted, though, because as I said earlier I would put it at 1 or 2 on a personal list of westerns. I don’t think another in the genre even approached until the release of The Assassination of Jesse James.
‘The Preposition’ is a modern western that also deserves a mention here.
‘Assassination of Jesse James by the Coward Robert Ford’ is a sublime film, I agree 100%.
Jamie, A Perfect World is strong stuff until it bogs down in sentiment a bit at the end. Eastwood got a great performance out of Costner, and the film has an extraodrinarily enigmatic opening shot of a prone Costner, a Casper mask, and dollars blowing in the wind.
I would go with Unforgiven as the best western of the 90s though I think highly of Tombstone and its might ensemble cast. But that’s another film that seems to sputter to its finish compared to the Eastwood, which nails the landing.
I agree on the sentiment of ‘A Perfect World’ but I’ve always thought in that film he’s earned it. ‘Unforgiven’ as great as the ending is, as several have already commented, it is ‘too badass’ as someone said. Now this is certainly a strength, but in a movie condemning violence can we take it 100% seriously (as a serious point against violence) when it shows violence as so exciting and ‘bad ass’? To me ‘A Perfect World’ for its authenticity is a deeper and more depressing film, two things that ‘Unforgiven’ shots for (and doesn’t wholly miss I admit, just not as good as ‘A Perfect World’ in my eyes).
I also think watching ‘A Perfect World’ in 2:35 is really something. I think it’s his best film to look at.
“…this film really shows you how hard it is to kill someone.” Indeed. But then it is also a powerful demonstration of the fact that it only takes a momentary lapse, or for that matter a spark, to surmount the threshhold and cross that barrier that separates a human from other animals.
To be honest I was expecting the movie to be much higher in your list. A wonderful piece nonetheless.
Excellent piece on one of my favorite Westerns; and, except for the recent The Assassination of Jesse James by the Coward Robert Ford, can’t think of another Western that captures the “sunset” feel of the closing of the frontier so well (and to far more serious effect in Unforgiven). Unquestionably my single favorite Eastwood film — thank you.
A Jesse James fan, a man after my own heart.