#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – The town of Big Whisky is full of normal people trying to lead quiet lives. Cowboys try to make a living. Sheriff ‘Little Bill’ tries to build a house and keep a heavy-handed order. The town whores just try to get by.Then a couple of cowboys cut up a whore. Dissatisfied with Bill’s justice, the prostitutes put a bounty on the cowboys. The bounty attracts a young gun billing himself as ‘The Schofield Kid’, and aging killer William Munny. Munny reformed for his young wife, and has been raising crops and two children in peace. But his wife is gone. Farm life is hard. And Munny is no good at it. So he calls his old partner Ned, saddles his ornery nag, and rides off to kill one more time, blurring the lines between heroism and villainy, man and myth.
Plot: 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.
Smart Tags: #revisionist_western #one_last_job #sadist #revenge #gun_control #leaving_flowers_on_a_grave #visiting_wife’s_grave #reputation #englishman #torture #whiskey #sole_black_character_dies_cliche #writer #train #sex #regret #police_brutality #widower #evil_man #evil_sheriff #villain
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That’s right. I’m just a fella now. I ain’t no different than anyone else no more.
William Munny (Clint Eastwood taking the lead and directing the piece) is an old and retired gunman whose past misdemeanours would make the devil himself seem tame. Widowed and struggling to raise his two children on a paltry farm, he’s tempted out of retirement for one last pay dirt job, the consequence of which provides violence – both physically and of the soul.
Clint Eastwood signed off from the Western genre with this magnificent 1992 picture, the appropriation and irony of which is in itself a majestic point of reference. After the script had been knocking around for nigh on twenty years (written by Blade Runner scribe David Webb Peoples), Eastwood seized the opportunity to play William Munney and lay bare the mythologies of the Wild West.
It’s striking that the makers here have lured us in to being firmly on Munney’s side, we are, incredibly, influenced by Eastwood’s part in the history of the Western. In spite of Munney’s obvious murky past (despicable crimes they be), we wait (and hope) for Munney to make a quip and way lay the bad guys – in fact salivating at the prospect is probably closer to the truth. So it’s with enormous credit that Eastwood, and his magnificent cast and crew, manage to fuddle all our respective perceptions of the West and the characters we ourselves have aged with.
It’s not for nothing that W.W. Beauchamp (Saul Rubinek) is one of the critical characters on show, this even though we didn’t expect that to be the case. Beauchamp is a writer of penny pulpy novels that tell of derring-do heroics, gunslingers with a glint in their eye who deal death as some sort of heroic encore. This gives Unforgiven an excellent sleight of hand, for this West is grim and a destroyer of all illusions and it’s not controversial to say that this is indeed a good thing.
Eastwood is greatly served by the actors around him, Morgan Freeman, Gene Hackman (winning the Best Supporting Actor Oscar for a script he turned down many years before!), Rubinek, Frances Fisher, Anna Thomson, Jaimz Woolvett and an incredible cameo from Richard Harris. Along with Hackman’s win for his brutally tough portrayal of Sheriff “Little Bill” Daggett, Unforgiven also won Oscars for Eastwood for his clinically tight direction, Best Picture, Best Editing and it was nominated in another five categories. One of those nominations was for Jack Green’s cinematography, which now, in this age of High Definition enhanced cinema, can be seen in all its wonderful glory. The Alberta location is magically transformed into the Western frontier, with the orange and brown hues a real treat for the eyes.
Ultimately though, Unforgiven is a lesson in adroit film making, where across the board it works so well. Why? Well because the man at the helm knows this genre inside out, he was after all the sole flag bearer for practically 25 years. He learnt from his peers, and thus Eastwood has crafted a thematically complex piece that for all its violence, debunking and melancholy pulse beats, is a film that is as beautiful as it is most assuredly stark. An incredible and true highlight of modern day cinema, regardless of being a genre fan or not. 10/10
This movie directed by Clint Eastward is one of my big three. Three westerns I am willing to watch multiple times when the opportunity arises. (The other two are Once Upon a a Time in the West and The Good the Bad and the Ugly.) All three of those movies are gritty, but not necessarily realistic. The Wild West didn’t see many Gun fights where a gunman outshoots four or five guys facing him. And yet, if we saw a movie gunfight where they are shooting pistols at each other and missing all over the place, that might seem unrealistic to us. Movie magic.
So Eastwood plays a former ruthless bad guy who we root for now, and Gene Hackman plays a good guy lawman who is cruel and easy to root against. The dialogue is excellent, such as what Bill Munny says after her shoots a bar owner. There is some humor, as usual for his movies, especially concerning the bragging Schofield. I could go on and on, but you may be one of those lucky ones who hasn’t seen it and still has it to look forward to.
For me, it is the greatest Revisionist Western ever made. As per Westerns in general, this is my second most favorite Western of all times, the first one being (obviously) “The Good, The Bad and The Ugly” (1966). Besides this, this movie is one of the most worthy “Best Picture” recipient as well as one of the most worthy “Best Director” recipient in the history of Academy Awards.
Good : As per Clint Eastwood’s direction goes, it could’ve never been better. In fact, this is the best of Eastwood as a director and one of his bests as an actor, in particular, a Western role. Easily my most favorite Eastwood film. Clint is yet to make a bad Western. He knows how to make Westerns incredible. And in his (supposedly) final Western, both as a director and as an actor, he proves it. This movie has whatever a great Revisionist Western needs. You got some beautiful cinematography of the country side. Perhaps, the most beautiful views of the country side I have ever seen in a Western. All the main characters, William Munny, Ned Logan, Schofield Kid and Little Bill were very good. Little Bill was a very good villain and Will Munny was an incredible lead. Throughout the film, you can see people talking about Will’s past time and again. They really helps you to get behind him. You can see the radical changes in him, after all that happened with him in the past 11 years. You can see his compassion and you’ll definitely love the way he accepts that he’s being evened for all the sins he’s committed. And in the entire film, you get to see him feeling guilty for everything and his great transformation. Ned and Schofield Kid provide a very good support to the story, with unique characterizations of their own. Ned is in the same condition as Will is, but doesn’t feel too guilty. The kid is just a moron who acts as if he is cool. I am not gonna say anything more about them, but these stuffs are played out very well in the film. Also, Little Bill isn’t just your typical bad guy. What he does is pure evil, but he has got his own point of view. He isn’t doing the stuff he does because a guy told him to! He did it because he hates assassins and murderers and all the “low lives”. Also, he’s a badass, and a whole plotline is there to show that. You hate him, but he’s not all wrong either. Even we know about Skinny a lot from the first scene he is introduced. He is just a supporting character with a secondary role. Even he doesn’t get overshadowed. Alice and Delilah also stand out, too. It wasn’t too necessary to the story to point out how humble Delilah was, and the movie would’ve been completely good, as it didn’t really contribute to the story. But that little touch in the character, gave the movie a slightly different and a better vibe. There are some clichéd plot points, but they can be easily given a pass because of the flow and pacing of the story. You get attached to every character in the scene, feel their emotions, feel sad if someone gets killed, horrified when someone is being tortured, and some tension building when Ned and Kid mess with each other. You feel what the characters are feeling, especially William Munny. There are some scenes that are mere plot devices and might have felt quite forced. But Eastwood directed it so cleverly that it doesn’t even feel like happening. In the end, the transition to a particular plot device was really smooth and totally unforced. It feels more like a compulsion to the character. Also, notorious and sadistic, or not, the way that moment ends, does feel right. We get the badass Clint Eastwood we have loved from previous Westerns, and an epic line before he kills. Performances – incredible! Clint Eastwood embraces the character of William Munny and gives a powerful performance. Gene Hackman does a complete justice to the character of Little Bill. Jaimz Woolvett and Morgan Freeman give some of the most underrated and overlooked performances of all times. Hell, I can’t even stop talking about this movie without praising the jobs of Frances Fisher, Anthony James and Anna Levine in the limited screen time they were given. You’d definitely know it’s a great film, when you note that it was one of the inspirations for “Logan” (2017) – a superhero film. Not just a superhero film, but a completely different kind of a film in the X-Men franchise. And Logan itself was an incredible film for most of the part. This movie is one of the great “hero with a guilt” story. You get invested in every scene and every major characterization of the movie. Even the musical score is great and underappreciated. It is one of those rare films which deserves every Oscar it won.
Conclusion : It may not hold up with Sergio Leone’s classic Westerns, but is an incredible film in its own right. We get Eastwood being humble and a badass in his final Western role in perhaps the greatest Revisionist Western of all times.
Score : absolute 10/10
Grade : A+
‘A Man With No Name’ Becomes ‘A Man With A Real Story’.
Clint Eastwood’s storytelling gives the western genre one of its most sublime story’s. Gone is the trademark mysterious hero and in its place is an ex gunman who made his peace when he met his wife. Eastwood has transcended traditional entertainment to storytelling craftsmanship. He delivers rich characters with deep rooted problems inextricably linked to the villains of the story. Refusing to wither and die away, style has been perfectly adapted with age thus ensuring his maturation into a true Hollywood legend.
Besides his now distinctive storytelling, there are numerous factors that make this a landmark Western. The ensemble cast could not have been stronger and there were no weak performances. The soundtrack accentuates the intended atmosphere of the director. A single detracting factor I could find only just qualifies as such. Munny’s whimsical lines seemed a little contrived at times. They droned on like pale attempts to capture the Western era. But this is a consequence of the fact that they were more to do with the character of William Munny. He is after all a reformed killer with a now passive approach to people. Given this fact and also that it may have been distracting since it was so out of sync with what we are used to seeing from Eastwood, I still have to list it as a demerit on the account it slightly jerked me out of the story.
Hollywood producers have to satisfy audience preferences if investments are going to accrue profits. It is the nature of the beast. The action and more specifically the Western genre will stick to tried and tested formulas in order to guarantee audience acceptance. But every so often you get people who as a natural consequence of their unique character appeal are able to deliver a story that is outside these understandably restrictive boundaries. Eastwood is a cool individualist who normally plays characters who are not team players and do it their own way. His own way this time is to give the western genre a real story oozing characterization. A sort of ballad for the bad guy.
The ballads tune provides the story with a sad, introspective mood, within the opening and closing scenes. The opening scene depicts Munny in his new found life. He is cured of his wicked ways, helped by his dear, departed wife. But men are not willing to forgive or forget his monstrous deeds and in the final scenes he is who he has to be. Such is the sorrowful life of William Munny.
Westerns are typified by clearly defined goodies and baddies, but this is definitely not the case here. Eastwood and Freeman play reformed killers who find circumstances drawing them once again to their evil ways. But the older and wiser men now realize the value of life and come face to face with their troubled consciences. This is unlike their naïve, young partner who is attracted to the bravado image of the killer and relishes taking a man’s life. This moral issue is virtually taboo for the classic western which glamorizes the lawlessness and the hero attraction of the gunslinger. This is also why in my view no-one besides Eastwood should have handled this movie.
Then we have the juiciest character of the movie superbly played by Gene Hackman worthy of the weight of every micro granule of his Oscar. He is the epitome of every hard-line lawman that ever was. The misguidance of the so called righteously empowered, swinging the hammer against evil for good. Hackman must have salivated when he read the script since there was obvious relish in his performance. All the better for the movie, and of course for Eastwood at the Oscars. By far the best performance and the others were good further underlining the talent of the man.
The antagonist of the movie is almost always the most complex and thus most interesting to analyze. His vain attempts at carpentry are his way of trying to appear to be a good man. There is purity in building ones own home and it is this wholesomeness that he wishes to capture. In that way his fellow citizens will see him as a simple man only wanting to lead a righteous life. But his inability as a carpenter is indicative of his depravity. He cannot be a good man. The source of his drive is anger and hatred. It is through this failing that we realize he cannot escape who he is.
Indeed it was not only the power of the script that gave the audience a spellbinding climax, but the talents of the actors. The actors’ characterizations deliver the audience a spellbinding climax. It is only through Hackman’s performance that we not only acknowledge his ending as inevitable, but also as deserving. We saw him as a man who virtually thought that he was righteously empowered to rid the earth of Munny and his kind What he thought was an honorable task was one rather of abuse and suppression. He became the baddie in the eyes of the audience and it is he who the audience wants to see justice served upon.
Munny was so weak throughout the movie that the eruption of his evil ways captured the interest of the audience. He transformed into the Eastwood of old the anti hero with a far more malevolent presence. Never could we have sensed this hatred and evil that we now see in William Munny. It is now that the frivolity of his mannerisms that I touched on in the beginning adds to the story as it helps to accentuate the turn in character. He is now only a killer, in it neither for money or fame as the writer nearly finds out to his tragic detriment.
Those who have only seen his Westerns of old or the ‘Dirty Harry’ movies may enter the cinema with expectations of such like will either be disappointed or pleasantly surprised. It is the atypical western and an unfamiliar portrayal by Eastwood. But I believe that most people will have the latter reaction. The differences are their strengths helped by the fact that it was a superbly crafted movie with a meaningful story and thought provoking lessons for our heroes and villains. Eastwood was directly suited to the roles that we identify him with, but it is exactly because of this suitability that he eases into the role of Munny. No mellowing with age, no identification with the mainstream, he has always done it his way, and he is so good that any way could be his way.
Original Language en
Runtime 2 hr 10 min (130 min)
Genre Drama, Western
Director Clint Eastwood
Writer David Webb Peoples
Actors Clint Eastwood, Gene Hackman, Morgan Freeman, Richard Harris
Awards Won 4 Oscars. Another 46 wins & 47 nominations.
Production Company Warner Brothers, Malpaso Company
Sound Mix Dolby Digital
Aspect Ratio 2.39 : 1
Camera Panavision Cameras and Lenses
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,583 m (Sweden)
Negative Format 35 mm
Cinematographic Process Digital Intermediate (4K) (2017 remaster), Panavision (anamorphic)
Printed Film Format 35 mm