Unforgiven 1992 123movies

Watch: Unforgiven 1992 123movies, Full Movie Online – After escaping death by the skin of her teeth, the horribly disfigured prostitute, Delilah Fitzgerald, and her appalled and equally furious co-workers summon up the courage to seek retribution in 1880s Wyoming’s dangerous town of Big Whiskey. With a hefty bounty on the perpetrators’ heads, triggered by the tough Sheriff “Little Bill” Daggett’s insufficient sense of justice, the infamous former outlaw and now destitute Kansas hog farmer, William Munny, embarks on a murderous last mission to find the men behind the hideous crime. Along with his old partner-in-crime, Ned Logan, and the brash but inexperienced young gunman, the “Schofield Kid”, Munny enters a perilous world he has renounced many years ago, knowing that he walks right into a deadly trap; however, he still needs to find a way to raise his motherless children. Now, blood demands blood. Who is the hero, and who is the villain?.
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.
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Ratings:

	8.2/10 Votes: 412,107
	96% | RottenTomatoes
	85/100 | MetaCritic
	N/A Votes: 3619 Popularity: 38.332 | TMDB

Reviews:

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

_**“It’s a hell of a thing, killing a man”**_

In 1880-81, Big Whiskey, Wyoming, a prostitute’s face is cut up by an offended patron. When the big, tough sheriff (Gene Hackman) goes soft on the two cowboys responsible, the vengeful women collect their assets for a “whore’s gold” reward to attract a hit man. Clint Eastwood and Morgan Freeman play old pardners who are interested in teaming up with a young kid (Jaimz Woolvett) to earn the money. Saul Rubinek plays a maker of Western legends while Richard Harris is on hand as the deadly English Bob.

Directed by Eastwood, “Unforgiven” (1992) is a downbeat Western with a bit o’low-key humor. It’s marred by a pall of ugliness and darkness, but it has grim realism in its favor. It’s all about what it takes to kill/abuse people and the ramifications thereof. Munny (Eastwood) is haunted by it, the hardened Sheriff leads by it, Ned (Morgan) discovers he just can’t do it anymore, English Bob relishes it for celebrity status while the ‘Schofield Kid’ is just testing his mettle.

Frances Fisher and Anna Thomson lead the female cast with the latter playing the scarred prostitute. Liisa Repo-Martell stands out as the young blonde. There are a few more.

There are several iconic scenes, but two moving ones come to mind: When the ‘Schofield Kid’ experiences an unexpected breakdown. And when the scarred girl shows honor for Munny’s faithfulness to his beloved wife (even though she finds out later the wife had passed away; nevertheless Munny was still faithful to her). It’s almost as if she marvels at the nobility of a man who refuses to be a faithless adulterer. Munny was really rehabilitated by his beloved and it was only a certain person’s death that brings back the cold killer, albeit this time an agent of fearsome vengeance.

The film runs 2 hours, 7 minutes, and was shot in Longview, Alberta, Canada (the town of Big Whiskey) and other areas of Alberta, as well as Red Hills Ranch, Sonora, California, for the train sequence.

GRADE: B+

This aint just a great western. Its an incredible movie with an awesome star cast n superb performances.
Saw this in the late nineties on a vhs n revisted umpteenth number of times. Own a dvd of it. Jus revisited few days back on a blu ray. Back in those days, my grandpop was excited to see both his fav film stars, Eastwood n Hackman in the same film. The cast is awesomely strong. Eastwood, Hackman n Freeman. This aint just a great Western. Its a great movie with awesome characters. Eastwood playing a tough guy who has killed women and children in the past but trying to lead a decent honest life with his kids on a farm. He has become more weaker with age. His farm is going thru a loss n he is pulled into his darker side once again. On the other side v have Hackman as a sheriff whos against people carrying guns in his town. He is a bit autocratic n sadist when meting out punishment. We have Freeman as Eastwood’s old pal who during a shootout acknowledges that he aint no ruthless anymore. All the performances r top notch. Eastwood’s direction is truly mesmerizing from opening shot n the editing top notch. The one liners are also memorable. Cinematography by Jack N Green is wonderful. The film begins and ends with a beautiful wide shot, Eastwood standing at the grave near a tree, with a sunset in the background. As a fan of Eastwood n western genre, i owed it myself to write a review of this film.

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Contains Spoilers

Who would have thought it? During the eighties, when the cinematic Western was at its lowest ebb, I doubt if anyone could have predicted not only that two of the best films of the early nineties would be Westerns but also that both would go on to win ‘Best Picture’ at the Academy Awards, something that only one film from this genre had done previously. Yet that is exactly what happened. First came Kevin Costner’s ‘Dances With Wolves’, then Clint Eastwood’s ‘Unforgiven’. In both cases the star also acted as director. In Eastwood’s case he was returning to the genre in which he first made his name; this was his first Western since ‘Pale Rider’ eight years earlier, which in turn was his first since ‘The Outlaw Josey Wales’ eight years before that.

In ‘Unforgiven’, Eastwood plays a former gunfighter and robber named William Munny. (Pronounced ‘Money’; there seems to be a tradition in Westerns of giving characters surnames which suggest they are for hire. There is Charlton Heston’s Will Penny, and in ‘Hannie Caulder’ Robert Culp plays a hired gunman named Price). In his younger days, Munny was a hardened criminal, but he abandoned his life of crime when he married and settled down to life as a farmer. At the beginning of the film he is a widower, trying to raise two young children on his own. He is tempted to return to his former life, however, when he hears of a bounty of a thousand dollars which a group of prostitutes have placed on the heads of two drunken cowboys who badly injured one of their number by cutting her face with a knife. Abandoning his children to fend for themselves, Munny sets off to try and claim the money. He recruits a former associate, Ned Logan, and they are joined in their quest by a young man who calls himself the Schofield Kid and who is eager to make a name for himself as a gunfighter. They are not, however, the only men in search of the reward; an eccentric Englishman named English Bob, who has won himself an undeserved reputation as a Western hero, is also trying to track the cowboys down.

The film reminded me of another Western, Michael Winner’s ‘Lawman’ from the early seventies. That film has at its centre a sheriff whose inflexible determination to uphold the letter of the law at all costs leads to tragic consequences. ‘Unforgiven’ approaches the question of law enforcement from a slightly different angle. A key role is played by Gene Hackman’s sheriff, Bill Daggett. Unlike that of Burt Lancaster’s character in ‘Lawman’, Daggett’s approach to the law is arbitrary and inconsistent. He can at times uphold the law with savage zeal. He is determined to protect the two cowboys from vigilantism, but in doing so, he transgresses the law himself, dealing out a brutal kicking to English Bob and an even more brutal flogging to Ned which results in the latter’s death. Moreover, Daggett has himself created the need for vigilante justice by denying the full protection of the law to the injured prostitute. (The only punishment imposed upon the cowboys is an order to pay compensation to the woman’s pimp for the loss of her economic value to him).

There is, in fact, no character in the film who is entirely sympathetic. Munny starts the film as a reformed character, but slips back into his old ways when he is tempted by the prospect of money. He becomes, to borrow the title of another Eastwood Western, a man prepared to kill for a fistful of dollars. The lack of an easily identifiable hero is a common feature of modern ‘revisionist’ Westerns. Unlike some such Westerns, however, (Sam Peckinpah’s ‘The Wild Bunch’ is a good example), ‘Unforgiven’ does not lack a moral centre. The Schofield Kid and English Bob have both been seduced by the dubious mythology of the West. The Kid, as his nickname suggests, is an inexperienced young man, but would like others to see him as a hardened and ruthless killer because he regards killing as something glamorous. Bob takes the credit for acts of violence which are wrongly attributed to him but which in reality he would be too cowardly to commit. Munny, for all his faults, can see Western mythology for what it is. Even when he is setting out to kill for money, he remains uncomfortably aware that “to kill a man, to take all he has and all he’s ever gonna have” is a desperately serious business. In Ovid’s phrase quoted in the title, he sees the better path, and approves, but follows the worse.

The first half of the film can be slow-moving, but the second half is gripping, as the death of his friend Ned leads Munny to seek a bloody revenge. As with many Westerns, there are some attractive shots of the local scenery (the film is ostensibly set in Wyoming, but was actually shot in Canada), but the overall tone is a dark, claustrophobic one in keeping with the film’s theme. Many scenes are set in gloomy interiors, whether bars, brothels or ranch-houses. One of the villains is actually shot dead in an outside lavatory.

Of the two great Westerns of the early nineties, I would, marginally, prefer ‘Dances with Wolves’, which to my mind has a greater epic sweep, but by any other standard ‘Unforgiven’ is a very fine movie indeed, wonderfully acted, especially by Hackman, Morgan Freeman and Eastwood himself. (Freeman’s role is a rare example of a black actor taking a leading role in a Western). It also asks some searching questions about the nature of law and justice, revenge and the roots of violence. It is interesting that Eastwood has not made any films in the Western genre since this one; perhaps he feels that it has set a standard that cannot be surpassed. 9/10

Other Information:

Original Language en
Runtime 2 hr 10 min (130 min)
Budget 14400000
Revenue 159157447
Status Released
Rated R
Genre Drama, Western
Director Clint Eastwood
Writer David Webb Peoples
Actors Clint Eastwood, Gene Hackman, Morgan Freeman
Country United States
Awards Won 4 Oscars. 50 wins & 47 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby (Westrex Recording System)
Aspect Ratio 2.39 : 1
Camera Panavision Cameras and Lenses
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 3,487 m (Italy), 3,583 m (Sweden)
Negative Format 35 mm
Cinematographic Process Digital Intermediate (4K) (2017 remaster), Panavision (anamorphic)
Printed Film Format 35 mm