Bill Munny: “It’s a hell of a thing to kill a man. You take away all he’s got and all he’s ever gonna have.”
A revisionist feature that in many ways is the closing bookend to the classic western, Clint Eastwood directs and stars in (notably his last picture in the genre he helped make famous again) 1992’s Academy Award Best Picture winner Unforgiven.
Throwing the traditional rhythm out the door, David Webb Peoples writes a tale set at the end of the Wild West where in every characters’ mind, they are the ‘good’ guy. Centred around a town called Big Whiskey, Wyoming, Sheriff ‘Little Bill’ Daggett (Gene Hackman – The Replacements) runs the town with an iron fist – banning any guns in the place (if they don’t listen, he makes an example of them). Also of note, the lawman, though not a great craftsman, is trying to build his own home.
Meanwhile, struggling Bill Munny (Eastwood – High Plains Drifter; A Fistful of Dollars) – a former violent gunslinger that has now settled down and become a farmer and father of two kids. . . his wife has sadly passed away, is approached by bounty hunter The ‘Schofield Kid’ (JaimzWoolvett) to see if he is willing to join him in killing two cowboys who maimed a prostitute in the above mentioned Big Whisky (the ladies have pooled their money together for a reward).
Visiting old friend Ned Logan (Morgan Freeman – The Shawshank Redemption), Bill, in financial difficulty, convinces him to once again be his right hand man. . . the pair riding off to join Schofield and split the $1000.00 bounty three ways.
Facing a problem with Little Bill, how do you meet the women, get further information, or collect the money if you’re not allowed to ride into his locale armed? Presenting a major complication, will the triumvirate be able to succeed at their mission? If so, can they all remain unscathed? Likewise, will they be able to collect their cash if they do the job?
Instead of being focused on the violence, perhaps more so than in any other western, you truly feel the weight of every death in this one rather than the glitz and glamour of the shootouts. Bill, a former alcoholic, did all of his damage under the influence, and, now sober, wonders if he can muster the same bloodthirsty nature he once had. As for Ned, he never truly was one for death, rather a man who watched Bill’s back while he did the deeds. Finishing off the posse, the Kid is more youthful talk and gusto than a true bounty hunter, just excited to be on an adventure like the ones he has heard about from the past. When death does rear its ugly head, it hurts the soul, leads to drink, and even brings hesitation into the act – and a psychological torment that lingers on in the soul for the rest of your life.
Likewise, you didn’t see most westerns trying to answer the wrongs done to a woman – the only reason Bill and Ned are convinced to join the cause. Another interesting note finds W.W. Beauchamp (Saul Rubinek) writing the Wild West stories of English Bob (Richard Harris – Gladiator) – a man we discover has mythologized his own tales (a wink to the fact that these movies have done the same). . . some humour comes from the fact that Beauchamp decides to follow Little Bill when his stories prove to be better and seemingly more authentic. Lastly, all of this goes hand in hand with the above statement that every character in this narrative thinks themselves the hero, but in reality, they are all a flawed combination of hero and villain.
The winner of four Academy Awards (also including Eastwood for Director, Hackman for Actor in a Supporting Role, and Best Editing by Joel Cox), Unforgiven is Clint Eastwood’s swan song to the western. Featuring a unique storyline, memorable performances, stunning cinematography (with some great silhouette shots), realistic locations, and so much more, even all these years later, it really pops. So, ride out to find this Best Picture winner, it might lead you to drink.