Review of Unforgiven (1992) by Cameron J — 15 Jun 2014

Man, looking at the shadowy back of Clint Eastwood, holding a gun, on that poster which also flaunts the title "Unforgiven", you know that this is going to be one seriously brutal western. ...My plan was to sarcastically dismiss that, because this film is actually about a gunman seeking redemption for his deadly sins, but this is one seriously violent anti-violence message. Hey, at least it's unconventional, something that you can't say about the title, because there's been, like, 50 things or something titled "Unforgiven", and most all of them have been anything but anti-violent messages, and yet, this is the definitive "Unforgiven". At the very least, it's the definitive revisionist western, because, wow, you talk about quite the conclusion to Clint Eastwood's career as the ultimate western protagonist, which simultaneously paints a vivid portrait on the lawlessness of the Old West, and deconstructs its violent ways with a meditation on a man's fragile morality. Wow, that sounds like either a powerful drama or, well, dull, and sure enough, as good as this film is, Eastwood, as a western icon, limps his way out of the door, but not without hanging out with Morgan Freeman along the way. I suppose white guys never get old to receive lessons from Freeman in the '80s and '90s, but hey, if nothing else can be said about this film, it's at least edgier than "Driving Miss Daisy". I give this film the business, but make no mistake, it is good, it's just that it's hard to forgive certain aspects outside of a generic title, including certain other clichés.

In the context of a western, many of this film's dramatic tropes are genuinely unique, but as a drama in general, despite some wholly refreshing spots, this film isn't much of anything new, and that makes it a little difficult to deny natural shortcomings, limited though they may be. This story is juicy with its dramatic depths, yet minimalist in scale, lacking a sense of adventure and thrill that the dramatic heart can compensate for, and would further compensate for if it was at least more fleshed out. The characterization is memorable all around, but extensiveness is uneven, with certain major characters' exposition being all but forced in, while the exposition of certain supporting roles is all but abandoned, despite some of the supporting roles in question's receiving too much attention in a lot of ways. Possibly trying to make up for a minimalism to its scale as a character study, the film juggles several characters and plot layers, and not especially comfortably, sometimes jarring focus from its leads to its secondaries, partly because ever segment is focused upon for too long. No matter how undercooked, the film still has a tendency to outstay its welcome with do-little excesses to material, maybe even filler, that retard momentum, but only through writing, while quiet thoughtfulness that, no matter how realized, is often chilled enough to dull things down proves to be a more thorough retardant for momentum. Indeed, people, the film is a little dull at times, and no matter how effective it very much is very often, all of this limp pacing, coupled with other flimsy elements and, of course, natural shortcomings, keep the final product from being to me what others are touting it as: a masterpiece. Nevertheless, there's no denying that this is a rewarding drama that, for all its shortcomings, proves to be thoroughly intriguing, even in concept.

The film's subject matter is minimalist in scale, but near-immense in its dramatic potential, with a tense narrative that is still primarily a vehicle for valuable themes regarding legends and harsh realities, and how they impact a man's moral image. There is plenty more potential than natural shortcomings, which are stressed by writing missteps that are themselves limited compared to the strengths, which include memorable set pieces and solid, often biting dialogue, in addition to solid characterization whose effectiveness is most defining to this drama. The drama thrives on its intimacy with its characters, and while the characters are unevenly developed and unevenly focused upon, everyone is memorable as instrumental forces behind thematic depth, and as intriguing roles by their own right, brought to life by strong performances. Even though there's not a whole lot of tension to the dramas to give the performers the material to really stand out, considering that there is so much depth to this character study, just about everyone has a time to shine, with Richard Harris and, of course, Morgan Freeman proving to be charming, while more dramatic effectiveness is found within Jaimz Woolvett as an arrogant and overambitious young gunman, and Gene Hackman as a corrupt man of the law and violence. Of course, Clint Eastwood's is the most powerful performance, playing the usual "man with no name" role, profoundly humanized by anything from thorough charm to subtly piercing dramatic layers that sell the sensitivity of a reformed man's morality as he return to the world, in all of its brutality, thus making Eastwood about as powerful as a lead actor as he is as a storyteller. Eastwood has limp spells to his direction, which is still one of the legendary filmmaker's more realized in a lot of ways, as Eastwood portrays harsh violence that is controlled enough to not feel contradictory of anti-violent themes, yet is still brutally realistic enough to sell messages, all while complimenting tension, as surely as plays on haunting visuals, and on Lennie Niehaus' beautiful score, if not piercing quietness, resonate. The film is a powerful one, at times, being all too often lacking as potentially strong drama, but never less than compelling as a tightly inspired western drama.

In conclusion, the occasions of familiarity, underdevelopment, unevenness and dragging stress a certain minimalism that holds the film back from a strong point, but not from a rewarding point, sustained by the sharp writing, strong performances and inspired direction that do enough justice to a dramatically and thematically valuable story to make Clint Eastwood's "Unforgiven" an often engrossing, but consistently engaging study on the depths of men of violence.

3/5 - Good.