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Clint Eastwood’s Eulogy for the Man with No Name in His Anti- Western Masterpiece • Cinephilia & Beyond. Two years after Kevin Costner’s Dances With Wolves became only the second Western ever to win the Best Picture Academy Award, the first being Cimarron in 1. Western called Unforgiven stepped onto the stage. Nine Oscar nominations, four Oscar triumphs: Best Picture, Best Director, Best Actor in a Supporting Role, Best Editing.

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Even though he believed he would never win an Academy Award, Clint Eastwood finally received the Academy’s attention, even if, as he had stated, he really didn’t give a damn about the whole ceremony. And even if we suppose it was true that the Academy didn’t appreciate Eastwood’s work both in the directing and acting spheres, it’s perfectly understandable his latest effort could not be simply ignored. The legend of the Western genre made an anti- Western that can be interpreted as a beautiful, moving eulogy to the Man with No Name character that made him immortal. Funnily enough, Unforgiven proved the Western genre was very much still alive, but it proved it by telling a story shaped as a goodbye letter to the genre it was successfully reviving at the same time.

Eastwood’s film was as much of a closing chapter to Westerns as was John Ford’s The Man Who Shot Liberty Valance back in 1. After seeing Ford’s Jimmy Stewart—John Wayne masterpiece, we thought, if no other Western had ever been made after this, the genre would have gotten the most fitting, respectable and touching epilog possible. Had that really been the case, of course, we would have missed out on seeing Unforgiven. The film was a big success, becoming Eastwood’s first to pass the 1. Eastwood was allegedly stupefied by such an enthusiastic reception. I was shocked, because I never try and romance the audience.

You’ve got to forget that there’s somebody out there eating popcorn and Milk Duds. I figured that if people want to see it, they’ll see it. If they don’t, screw it,” he said, as cited by Peter Biskind in his great 1. Premiere. They obviously wanted. The idea of Unforgiven being Eastwood’s tribute to his own filmmaking path and, as it turns out, a final farewell to the genre that turned him into an international superstar, is further enforced by his kind nod in the final credits. By dedicating the film to “Sergio and Don,” Eastwood gracefully paid his respects to the two filmmakers who mentored him and helped him become the artist he was: Sergio Leone and Don Siegel.

But sentimentality has little to do with why Unforgiven has become a modern classic. While it’s obvious this film wasn’t just another entry in Eastwood’s prolific filmography he could approach cold- bloodedly and objectively, Unforgiven is celebrated first and foremost because it’s a masterfully crafted movie in every aspect of its creation. The screenplay was written by legendary screenwriter David Webb Peoples, the co- writer of Blade Runner and the writer of an Oscar- nominated film called The Day After Trinity. In 2. 01. 3, the Writers Guild of America selected it as the 3. Originally called The Cut- Whore Killings, and later renamed The William Munny Killings, the script was written back in 1.

Francis Ford Coppola optioned it and kept it somewhere on his desk until the early eighties. Eastwood received a copy of the script as an example of Peoples’ writing, but it took him several years to read it, as his script reader Sonia Chernius had warned him it was complete garbage, calling it “trash” and “inferior work,” and advising to get rid of it fast. But Eastwood read it, loved it and chose to get the rights from Coppola, only to keep the project dormant for quite some time, explaining he was occupied with other stories he wanted to pursue first.

Francis would have done it brilliantly as he does everything else, but it’s hard to imagine anyone making it as straightforwardly and uncompromisingly as Clint,” said Peoples on one occasion. No studio would have made it that way—dark, moody. With a lot of voices, things generally end up becoming blander and more accessible. Unforgiven was Clint Eastwood saying ‘This is what I’m going to do… get out of my way.’”I couldn’t tell you exactly why I wanted to make a Western again, because I didn’t have any reason to make one or not to make one; it wasn’t a decision that came out of a particular trend, there wasn’t any prior reason in fact, and that’s what made the project all the more exciting to me: I prefer to do things without giving myself a starting direction. So why a Western? That seemed to be the only possible genre the story was calling for, because in fact everything grew out of the story.

In any case, I’ve never thought of doing anything because it’s in fashion, on the contrary I’ve always felt a need to go against it. And anyway, I probably feel a little guilty of always having tried to go against success like that, against the fashion. Clint Eastwood Shot in only 3. Eastwood’s reputation of a one- to- three- takes filmmaker, Unforgiven still had a rough production period. The western town of Big Whiskey was built in the remote ranch country of Alberta, Canada, a place where the weather didn’t exactly make life comfortable. Watch The Scarlet Pimpernel Online The Scarlet Pimpernel Full Movie Online. It’s so cold, the water from the rain machines is freezing, making for a treacherous purchase on the muddy ground.

The horses are slipping and sliding all over the ice, and the people aren’t doing too well either. It’s so cold, Eastwood’s teeth are chattering,” testified Peter Biskind. The Big Whiskey set was created by production designer Henry Bumstead, who enriched the landscape with a couple of surrounding farms. The town is bare, muddy, simple, scarcely populated, and serves as a perfect stage for Eastwood’s exploration of the conflict between civilization and the violent ways of the dying West. Big Whiskey was built from scratch in the two- month period before the shooting started, and this time was used to teach the actors how to ride horses. Eastwood certainly didn’t like to waste time. One of the main strengths of Unforgiven is its impeccable cast.

The central character of William Munny, a former hardcore killer with regional notoriety who had been tamed by marriage and transformed into an old pig farmer, was, of course, played by Eastwood himself and it’s really difficult to imagine anyone else in Munny’s boots. Without Eastwood starring, Unforgiven would still be an excellent film, but only he would be able to elevate the story to its mythic, meta- film proportions.