The Western genre was huge decades ago. It really all began in the 1950s. Oh, I know that there were Westerns before the 1950s and the genre dates back to the early 1900s with The Great Train Robbery from 1903 being one of the first (there were even some Westerns from around 1895). However, it was in the 1950s and when John Wayne was one of Hollywood’s biggest stars, that the Western genre really began to gain popularity.
By the 1960s, the genre had plateaued and began to fall out of favour as tastes changed… at least in America. In Europe, the Western was still a major draw and so the subgenre of the Spaghetti Western was born. These were a mix of various production companies over Europe working together to make classic Westerns with a more modern and European edge. I really should write a more detailed look at the Spaghetti Western subgenre one day. Anyway, Italian director Sergio Leone was one of the big Spaghetti Western filmmakers working in Europe in the 60s. Meanwhile, in America, a young bit-part actor by the name of Clint Eastwood, was struggling to find roles. At the time, Eastwood was appearing in the TV show Rawhide but could not break into movies. Long story short and Eastwood was suggested to play the lead in a new Spaghetti Western that Sergio Leone was making in Europe. That film was Per un pugno di dollari or, A Fistful of Dollars.
An even longer story short and Clint Eastwood stayed in Europe, did a few more Spaghetti Westerns and when they were eventually released in America a few years later, Eastwood became a major Hollywood star and the Western was reborn. From then, there was no stopping him as Eastwood ruled the box office for decades. Taking on iconic role after iconic role. I mean, Dirty Harry anyone? It was in the 70s when Eastwood also turned his hand to directing for the first time with the 1971 psychological thriller, Play Misty for Me. It turned out that not only was Eastwood a great actor, he was a damn fine director too. He began directing more and more films and his latest film as a director, Cry Macho, was released in 2021 when Eastwood was 91 years old. That’s a directing career of 50 years and more than thirty films. Not bad for a guy who couldn’t land a lead role in America in the 1960s.
Still, if I were to pick just one film that showcases Clint Eastwood’s talent as an actor and director, that film would have to be Unforgiven. Not only Eastwood’s best film but
perhaps one of the greatest Western to ever be made too. Released back in 1992, Unforgiven is now 30 years old and I’m writing this article to celebrate its genius and take a look at just why it is so damn good.
While Unforgiven was released in 1992, it dates back a little further than that. David Webb Peoples was a film editor in the 70s as his main job, but he loved to write. In his spare time between editing jobs, he would sit down and pen screenplays. He got his first big job as a writer when Ridley Scott hired him to write Blade Runner in 1982. Still, back in the 70s when David Webb Peoples was working as an editor and writing in his spare time, he penned a Western film script with a harder edge than was being made at the time and that script had two working titles, The Cut-Whore Killings and The William Munny Killings. The script eventually found its way to Clint Eastwood in the 80s. However, he didn’t read it.
Instead, long-time associate of Eastwood, Sonia Chernus (she worked on Rawhide and The Outlaw Josey Wales with Eastwood) read the script and hated it. The script was overly violent and bloody with not much of a plot. Chernus told Eastwood that:
“We would have been far better off not to have accepted trash like this piece of inferior work. I can’t think of one good thing to say about it. Except maybe, get rid of it fast.”
Clint Eastwood trusted his associate’s judgement and didn’t read the script himself but, he didn’t follow her advice to ‘get rid of it fast’. Instead, he just put it to one side. A while later and when looking for a new project to work on, Eastwood picked up David Webb Peoples’ The Cut-Whore Killings/The William Munny Killings script and liked it. He recognised that it was rough and still need a lot of work, but he liked it. In fact, Clint Eastwood liked it so much that he felt not only should he play the lead but that he should direct it too. It was about 1986 and while Eastwood loved the script, he felt he was a bit too young to take it on. He decided to leave it for a few years and in that time, the script could be reworked and polished. Eventually, it became the shooting script for Unforgiven. From that rough script, Unforgiven went on to win four Oscars. Best Picture, Best Director, Best Supporting Actor (Gene Hackman) and Best Film Editing. Not bad for a flick that was once deemed so bad that it should be thrown away.
Unforgiven really is a wonderful piece of cinema that turned the Western genre on its head. Going back to classic films of the genre, the plots were always pretty basic. You had a good guy and a bad guy storyline and the Sheriff was always the good guy. With Unforgiven, Gene Hackman’s Sheriff ‘Little’ Bill Daggett was the bad guy, a really nasty bad guy too who was responsible for some of the most evil acts in the film. Daggett is even more violent than the cowboys that are responsible for kick-starting the plot of the film. Then, Clint Eastwood’s William Munny wasn’t exactly the hero in the white hat either. He had a history, a pretty bleak history. The film makes it clear that Munny is not or has not been a nice person and can never be redeemed for his past actions. The opening text crawl tells you that he is a known thief and murderer. William Munny will never be Unforgiven and there was this blurring of the line between being a good or bad guy in a Western.
Outside of the main two characters, Unforgiven is crammed with some amazing characters and performances. Richard Harris as English Bob, the legendary and ageing gunslinger is only in a few scenes, but those scenes stick with you. With Bob being followed around by Saul Rubinek’s W.W. Beauchamp, a very nervous writer wanting to capture the story of English Bob on the page. The whores that kick-start the story and their lust for revenge is so well crafted for such a simple plot. The Schofield Kid, played by Jaimz Woolvett is a wonderfully realised character that has all the bluster and front of a hardened killer, only for the exact opposite to be true. Of course, you can’t talk about the cast and characters of Unforgiven without mentioning Morgan Freeman as Ned Logan. One of William Munny’s oldest and best friends and an ex-outlaw with his own questionable past.
One of the great things about Unforgiven is how it handles the violence. There is no doubt that this is a violent flick, but it doesn’t necessarily take glory in that fact. If anything, it questions violence. Just going back to The Schofield Kid character and when he finally admits to having never killed anyone before and the whole ‘It’s a hell of a thing, killin’ a man. Take away all he’s got and all he’s ever gonna have’ speech. It’s a very powerful scene and I don’t think a film had ever brought up killing in such a way before, especially in the Western genre. Even before that iconic scene and before the ‘heroes’ are about to kill one of the cowboys who cut up Delilah Fitzgerald at the start of the film. You have the Ned Logan character tell William Munny that he can’t kill anyone. There’s a morality here and several times through the film, violence is questioned as characters try to make sense of what they are doing. The film almost feels anti-violence even when it is at its most violent.
All through that violence, we are rooting for a bad guy. Clint Eastwood’s William Munny was a horrible character with many flaws. As mentioned, the opening text crawl tells you that he was a murderer. Then, at the end of the film, we learn so much more as Munny even admits as much himself.
“I’ve killed women and children. I’ve killed everything that walks or crawls at one time or another.”
He’s a child killer and we, the viewer, are on his side. He’s not a nice person, or at least he wasn’t. A retired outlaw turned pig farmer, trying to look after his two children since his wife died. Yet, he can’t escape his old life. We, the viewer, are caught in a trap with William Munny. We want him to go back to his farm and take care of his children. But, we also want to see him get bloody revenge. We know that he’s been responsible for some despicable acts in the past and yet, we can’t help but support him. It takes some impressive writing to get the viewer on side with a self-confessed child killer. But it works because (as I said before) the supposed good guy, Sheriff Bill Daggett is evil. Really, there are no ‘good guys’ in Unforgiven, just different levels of bad guys and it gives us one of the most honest depictions of the Wild West on film.
Then there is the pacing. Unforgiven comes in at over 2 hours and there are scenes that are slow, plodding. Very talky to help build characters. There are even times when the main plot just stops, as we learn more about William Munny. See the scene when he is talking to the cut-up whore, Delilah Fitzgerald and turning down her offer of a ‘free one’. For a good while, the main plot ceases to exist as Munny’s life and history become the focus. There are several scenes like this, where everything is slowed down and yet, the film never feels boring. It is constantly moving forwards, there is always something going on and the 2-hour runtime flies by, even when the film applies the breaks. You can really tell why this film won the Best Film Editing Oscar. Unforgiven has many a slow scene, but the film itself never feels slow and every single scene in the film deserves to be in the film. There’s not one wasted frame here.
You can’t talk about Unforgiven and not mention the cinematography. A lot of Westerns look good, purely based on the fact of their setting. With Unforgiven, you get that times a thousand. I mean, just look at the opening shot above. The scenery used and how it is shot is stunning all through the film. We get shots of beautiful scenery, sunsets and vistas that seem to go on forever. Scenes of people riding horses and talking, while awe-inspiring visuals engulf your eyes. But, there’s a wonderful juxtaposition going on as those beautiful shots are intercut with scenes from the film’s town setting of Big Whiskey. You can go from a prepossessing mountain range to the horseshit-filled streets of Big Whiskey. No more does this become apparent than in the film’s finale, shot at night and in the pouring rain. The use of light and shadow to show the good and bad sides of William Munny. The cinematography is astonishing.
And about that finale. Everything has been building to this for the last hour and 50 minutes. It’s been a slow but engrossing journey and we get to see William Munny as he was before he became a pig farmer. Cold, calculated and an unashamed killer. The last 10 minutes or so of Unforgiven are some of the greatest that you will find in any film. It’s dark, it’s moody and yet, there is still room for some light humour… before the slaughter of Sheriff Bill Daggett and his men. Brutal and brilliantly shot. then we get the closing shot, a mirror of the opening shot and Munny is back home on his farm and looking after his children.
This ladies and gentlemen, this is why Unforgiven is the greatest Western film ever made. Even now, 30 years later, it is still a powerful and emotive picture.
One thought on “It’s A Hell Of A Thing, Killin’ A Man: Unforgiven At 30.”
It’s a classic. Take that, John Wayne.