Unforgiven




We all got it coming, kid.

Though Unforgiven is undeniably a Western, it is ironic that it isn't overly concerned with the general subject matter that usually comes with the turf.

After a prostitute's (Anna Levine) face is brutally cut by a cowboy, her enraged, ahem, coworkers pool their money together to offer as payment to whoever kills the two offenders. The harsh sheriff of the town, Little Bill (Gene Hackman), passed a lenient charge on the two men in question and he will not tolerate anyone thinking about killing the men for the money. Over in Kansas, Bill Munny (Clint Eastwood) learns of this and, despite being reformed of his wicked past by his dead wife, sets out to kill one last time for the money. Led on by the big talking Schofield Kid, (Jaimz Woolvett) Munny also entices his old friend Ned Logan (Morgan Freeman) to come along as well.

The thing that makes this such a wrenching tale of violence and regression is not just the incredible script, characters and story, but its truly honest expression of tragedy. It does not wallow in itself or the events that transpire. As most films tend to ignore, it's not the lack of hope that makes an unforgettable tragedy, but the loss of it. Tantalizing snatches of what might have led to happy endings permeate the story, but it's not to be. From nearly the very beginning it is somehow clear that killing the men is a horrible mistake, even despite the lack of justice shown towards what they have done. That single truth tears the audience between wanting to root for the good guys and wishing they'd turn back and go home. That leads to the other equally important trait of the film: the honest portrayal of violence. Many label Unforgiven with an anti violence sentiment, but I think that's a conclusion that deals no justice. The violence is not glorified like in other Westerns, spaghetti or otherwise (much as I love them). Every death that follows is weighted with sadness, even with the relatively minor characters. The anti violence sentiment is not the intended message, only the logical conclusion one is faced with.

It's not the scenery or awesome gunfights that Unforgiven cares about. Sometimes it's hard to notice even the latter when there's so much else to be watching. The characters are frightening with their depth, even those playing second string. The dialogue is exceptional, masterfully drawing out the personalities, and there are few other movies where it is more enjoyable. Though it's ideally apt to forward the story, it's at its best with stuff like discovering the limits of vision or defacing the "Duck of Death." This is the thinking man's Western, challenging to its core and horrifying in its depiction.

For a long time it doesn't seem like Eastwood's character deserves top billing, as he remains only the troubled unofficial leader of the group. By the end it is obvious where the title stems from, and good ol' Clint gives one of his best, methodically moving Munny's arc with the kind of subtly that makes his Man With No Name characters look comical in comparison. Morgan Freeman gives everything his part calls for, which isn't much beyond occasional humor and the stolid friend, but he's enjoyable nonetheless. Often overlooked is Jaimz Woolvett, as the kid gunning to make a name for himself by killing. At first and face value it's a trite part, but he handles it with uncanny proficiency. Gene Hackman is likewise at the top of his game as the sheriff with good intentions, who often resorts to violence to keep the peace. It's so easy to like the guy, even after he beats the crap out of someone for questionable reasons. There's also Saul Rubinek as a biographer looking to write the West in all its glory by accompanying a delightfully conceited gunslinger, perfectly played by Richard Harris.

This is not just a revenge flick, but something infinitely more. It's not just one of the best Westerns ever made, but one of the best movies period.



-The Gnome