Clint Eastwood - IMDb IMDb Actor | Producer | Director Perhaps the icon of macho movie stars, and a living legend, Clint Eastwood has become a standard in international cinema. Born May 31, 1930 in San Francisco, the elder of two children in a middle-class family, Eastwood stayed in high school until the comparatively late age of nineteen and worked menial jobs over a period of several years before ... See full bio » Born: a list of 32 people created 02 Jun 2011 a list of 23 people created 27 Oct 2011 a list of 42 people created 25 Dec 2011 a list of 40 people created 06 Jan 2012 a list of 22 people created 18 May 2015 Do you have a demo reel? Add it to your IMDbPage How much of Clint Eastwood's work have you seen? User Polls Won 4 Oscars. Another 141 wins & 150 nominations.

See more awards » Known For | Edit Filmography 1959 Alfred Hitchcock Presents (TV Series) Newsman - Human Interest Story (1959) ... Newsman (uncredited) 1959 Maverick (TV Series) 1958 Navy Log (TV Series) Burns 1957 West Point (TV Series) Cadet Bob Salter 1956 Death Valley Days (TV Series) John Lucas 1956 Highway Patrol (TV Series) Joe Keeley 1955 Allen in Movieland (TV Movie) Orderly 1971 The Beguiled (executive producer - uncredited) Hide 2012 Trouble with the Curve (performer: "You Are My Sunshine" - uncredited) 2009 Invictus (music: "Invictus 9,000 Days" (2009)) 2009 Away We Go (performer: "H.A.P.P.Y.") 2009 Qwerty (TV Series) (writer - 1 episode) - Episode #3.26 (2009) ...

(writer: "Gran Torino") 2008 Gran Torino (performer: "Gran Torino" - uncredited) / (writer: "Gran Torino", "Gran Torino" (uncredited)) 2007 The Tonight Show with Jay Leno (TV Series) (performer - 1 episode) - Episode #15.25 (2007) ... (performer: "Don't Fence Me In") 2006 Flags of Our Fathers (writer: "Flags of Our Fathers") 2006 The Wire (TV Series) (performer - 1 episode) - Alliances (2006) ... (performer: "Another One Bites the Dust") 2004 Million Dollar Baby (writer: "Blue Morgan") The Blues (TV Series documentary) (performer - 1 episode, 2003) (writer - 1 episode, 2003) - Piano Blues (2003) ...

(performer: "Doe Eyes") / (writer: "Doe Eyes") 2000 Space Cowboys (writer: "ESPACIO") 1999 True Crime (writer: "Why Should I Care") 1997 Qui (Short) (writer: "Claudia's Theme") 1997 Absolute Power (writer: "Power Waltz", "Kate's Theme") 1995 The Bridges of Madison County (writer: "Doe Eyes (Love Theme from 'The Bridges Of Madison County')") 1993 A Perfect World (writer: "Big Fran's Baby") 1992 Unforgiven (writer: "Claudia's Song") 1986 Heartbreak Ridge (writer: "How Much I Care") 1984 City Heat ("Montage Blues") 1982 Honkytonk Man (performer: "Honkytonk Man", "When I Sing About You", "No Sweeter Cheater Than You") 1980 Bronco Billy (performer: "Barroom Buddies") 1971 The Beguiled (performer: "Dove She is a Pretty

 Bird" - uncredited) 1970 Two Mules for Sister Sara (performer: "Sam Hall" - uncredited) 1969 Paint Your Wagon (performer: "I Still See Elisa", "I Talk To The Trees", "Best Things", "Gold Fever") Movie Review - - Review/Film: Unforgiven; A Western Without Good Guys - NYTimes.com Review/Film: Unforgiven; A Western Without Good Guys By VINCENT CANBY Published: August 7, 1992 TIME has been good to Clint Eastwood.

If possible, he looks even taller, leaner and more mysteriously possessed than he did in Sergio Leone's seminal "Fistful of Dollars" a quarter of a century ago. The years haven't softened him. They have given him the presence of some fierce force of nature, which may be why the landscapes of the mythic, late 19th-century West become him, never more so than in his new "Unforgiven." As written by David Webb Peoples and directed by Mr. Eastwood, "Unforgiven" is a most entertaining western that pays homage to the great tradition of movie westerns while surreptitiously expressing a certain amount of skepticism. Mr. Eastwood has learned a lot from his mentors, including the great Don Siegel ("Two Mules for Sister Sara" and "The Beguiled," among others), a director with no patience for sentimentality. The time is the 1880's. The principal setting is Big Whiskey, a forlorn hamlet in that vast American no-man's land of high plains edged by mountains, somewhere between St. Louis and San Francisco but not on any map.

Late one night a couple of cowboys are on the second floor of the saloon with the girls. Suddenly one of the cowboys whips out his knife and slashes the face of Delilah, the prostitute he's with. It seems that she made a rude comment about his anatomy. Instead of arresting the cowboys, Little Bill Daggett, the sheriff, allows them to get off with the understanding that they hand over six horses to the saloon keeper. Strawberry Alice, the victim's best friend, is outraged. "We may be whores," she says, "but we aren't horses." Alice, Delilah and the other girls pool their savings and offer a bounty of $1,000 to anybody who will murder the cowboys. Thus "Unforgiven" becomes an epic about the revenge of whores. It's not sending up the women. Rather it's equating Old Western codes of honor with the handful of men who set out to collect the bounty, motivated in varying degrees by economic necessity, greed and half-baked notions of glory. Chief among the bounty hunters is the aging Bill Munny (Mr. Eastwood), a widower trying to support his two young children on an unsuccessful hog farm.

Munny has been keeping to himself in recent years. He's still trying to live down his notorious career as a gun-crazy outlaw, a man who used to shoot women, children -- anybody -- just for the hell of it. There is something creepy about him now, especially about the way he keeps harping on how his wife "saved" him, his distaste for violence and his need to be true to his pledge never to pick up a gun again. He has something of the manner of the mild-mannered clerk who comes into the office on Monday morning and shoots everyone in sight. When a young fellow who styles himself the Schofield Kid (Jaimz Woolvett) asks Munny to join him to win the bounty, Munny at first refuses. Then he changes his mind, apparently because he is desperately hard up, but with Munny you can't be sure. Along the way to Big Whiskey, they are joined by Ned Logan (Morgan Freeman), who rode with Munny in the outlaw days and appears to trust him. Also en route to Big Whiskey for the same purpose is English Bob (Richard Harris).

He's a dandyish former outlaw who, when first seen, is aboard a train, reading about the assassination of President James A. Garfield and explaining to anyone who will listen why America would be better off with a king. His admiring companion is W. W. Beauchamp (Saul Rubinek), whom English Bob introduces as "my biographer," the author of a penny dreadful about the outlaw titled "The Duke of Death." Little Bill Daggett (Gene Hackman) is ready for the bounty hunters as they arrive in Big Whiskey. He immediately spots English Bob as he gets off the stagecoach, gives him a sadistic beating and throws him in jail. Mr. Harris, who has a tendency to overpower his roles, has never been finer, funnier or more restrained than he is as English Bob, whom Daggett insists on calling "the Duck of Death." Things turn far darker with the arrival of Munny, Ned and the Schofield Kid. Daggett suspects their purpose but is unable to prove anything. Just to let them know who runs Big Whiskey, Daggett beats up Munny as savagely as he has English Bob, but Munny appears to ask for it.

Bleeding and only partly conscious, he crawls out of the saloon and into a muddy gutter. It is a measure of how the film works that Munny's almost Christ-like acceptance of his beating is one of the film's scariest moments. There is a madness inside him waiting to emerge, but where and when? "Unforgiven," which has no relation to "The Unforgiven," the 1960 John Huston western, never quite fulfills the expectations it so carefully sets up. It doesn't exactly deny them, but the bloody confrontations that end the film appear to be purposely muted, more effective theoretically than dramatically. This, I suspect, is a calculated risk. Mr. Eastwood doesn't play it safe as a director, but there are times in "Unforgiven," as in his jazz epic, "Bird," that the sheer scope of the narrative seems to overwhelm him. It's not easy cramming so much information into a comparatively limited amount of time. Toward the end of "Bird," he didn't seem to be telling the story of Charlie Parker as much as letting it unravel.

That doesn't happen in "Unforgiven," but the tone, so self-assured to begin with, becomes loaded with qualifications. The film looks great, full of broad chilly landscapes and skies that are sometimes as heavy with portents as those in something by El Greco. It's corny but it works. Photographed by Jack N. Green, who was the camera operator for Bruce Surtees, Mr. Eastwood's cinematographer for "Pale Rider," "Unforgiven" favors the kind of backlighting that can add a sense of desolation and menace to even the most conventional moments. Seen against a bright background, faces turned to the camera are so hidden in shadow that they aren't immediately recognizable. It is a storyteller's gesture for the audience's benefit, since the other characters within the scene would not be so disadvantaged. The cast is splendid, though some of the actors have more to do than others, including Mr. Freeman, whose role is not especially demanding. Mr. Hackman delights as Sheriff Daggett: no more Mr. Good Guy. Also worthy of particular note are Mr. Woolvett, who makes his feature film debut as the unreliable Schofield Kid; Mr.

Rubinek as a city journalist out of his element out West, and Frances Fisher as Strawberry Alice, a woman who doesn't know when to shut up. Yet the center of attention, from the moment he rises up out of a hog pen until the darkest fade-out in western movie history, is Mr. Eastwood. This is his richest, most satisfying performance since the underrated, politically lunatic "Heartbreak Ridge." There's no one like him. "Unforgiven" is rated R (Under 17 requires accompanying parent or adult guardian). It has a lot of violence, vulgar language and some sexual situations. Unforgiven Directed and produced by Clint Eastwood; written by David Webb Peoples; director of photography, Jack N. Green; edited by Joel Cox; music by Lennie Niehaus; production designer, Henry Bumstead; released by Warner Brothers. Running time: 130 minutes. This film is rated R. Bill Munny . . . Clint Eastwood Little Bill Daggett . . . Gene Hackman Ned Logan . . . Morgan Freeman English Bob . . . Richard Harris Schofield Kid . . . Jaimz Woolvett W. W. Beauchamp . . .

Saul Rubinek Strawberry Alice . . . Frances Fisher Delilah Fitzgerald . . . Anna Thomson Quick Mike . . . David Mucci Davey Bunting . . . Rob Campbell Skinny Dubois . . . Anthony James Little Sue . . . Tara Dawn Frederick Silky . . . Beverley Elliott Faith . . . Liisa Repo-Martell Crow Creek Kate . . . Josie Smith Will Munny . . . Shane Meier Penny Munny . . . Aline Levasseur Unforgiven (1992) Unforgiven (1992) Pages: ( 1 ) ( 2 ) ( 3 ) Background Unforgiven (1992) is producer/director/star Clint Eastwood's own tribute to his legendary legacy in Sergio Leone's low-budget 'spaghetti' westerns, and a return to his most successful film genre - after seven years (following his Pale Rider (1985)).

In this modern-day classic western shot on location (in Alberta, Canada and Sonora, California), Eastwood reprised his film origins - as a gritty and weathered Western character (e.g., The Man With No Name) and as his urbanized 'Dirty Harry' vigilante in Don Siegel's films - he even dedicated the film in the final credits to 'Sergio and Don,' his mentor directors. Eastwood plays a weakened, once-violent but reformed gunfighter - and an aging pig farmer - in this serious, dark, film-noirish, violent tale of retribution that concludes with a climactic and bloody showdown. The themes of justice, law enforcement, the untamed West, corruption, revenge, honor, feminism and masculinity, mythic heroes vs. reality, the tainted gunfighter, and the central, brooding and complex message of the non-glamorous, painful nature of gunplay and violence are well-delineated. The script was originally titled The William Munny Killings. The nominated original screenplay by David Webb Peoples is taut, revisionist and believable, radically redefining, and realistically debunking and demythologizing the grandeur and romanticism of the Western genre.

The R-rated film was commercially successful at the time of its release and its acting was universally praised. It also was Eastwood's first film to pass the $100 million mark. Overall, the film was nominated for nine Academy Awards and won four major ones: Best Picture (Clint Eastwood as producer), Best Supporting Actor (Gene Hackman - his second Oscar after winning for The French Connection (1971) ), Best Director, and Best Film Editing (Joel Cox). The non-winning nominations were for Best Actor (Clint Eastwood lost to Al Pacino in Scent of a Woman), Best Original Screenplay (David Webb Peoples lost to The Crying Game), Best Art Direction/Set Decoration (lost to Howards End), Best Cinematography (lost to A River Runs Through It), and Best Sound (lost to The Last of the Mohicans). Eastwood's film helped to revive the reputation of Westerns, becoming only the third Western ever to win the Best Picture Academy Award. Two years earlier, another Western film Dances With Wolves (1990) took the top honor. The first Western to win the Best Picture Oscar was Cimarron (1930/1931).

The Story A frontier home, lone tree, golden sunset, and a man digging a grave site are silhouetted on the horizon in the opening, long-shot image. Narrative background scrolls up the screen after a few opening titles. William Munny, a reputed outlaw, buries his young, 29 year old wife after she died of smallpox: She was a comely young woman and not without prospects. Therefore it was heartbreaking to her mother that she would enter into marriage with William Munny, a known thief and murderer, a man of notoriously vicious and intemperate disposition. When she died, it was not at his hands as her mother might have expected, but of smallpox. That was 1878. Then, two years later in "Big Whiskey Wyoming, 1880," as storm clouds gather and thunder roars over the snow-covered mountains, night falls and rain beats down over the town.

Upstairs in the local Greely's Beer Gardens and Billiard Parlor (an euphemistic misnomer), prostitutes Strawberry Alice (Frances Fisher) and Delilah Fitzgerald (Anna Levine) are letting two drunken cowpokes from the Bar T (Davey Bunting (Rob Campbell) and Quick Mike (David Mucci)) service (or ride) them in adjoining, darkly-lit rooms when a scuffle breaks out. Glass smashes and Mike threatens Delilah, his whore of the evening: "I'll brand you like a damn steer, bitch." He yells at Davey to help him "hold her or I'll cut her tits off." With loud slashing and slicing sounds, he scars Delilah's face with a knife, mocking her: "Do you think it's funny?" The mutilation is broken up by the brothel's owner Skinny Dubois (Anthony James), who threateningly cocks his gun at the back of Mike's head. The town's sheriff "Little Bill" Daggett (Gene Hackman) is summoned from his sleep to the scene by Clyde Ledbetter (Ron White): "He says he's gonna shoot 'em.

I says, 'Skinny, you can't do that,' and he says, 'Well, let's get Little Bill in here and settle this thing.'" The feisty, red-headed Alice, the prostitutes' spokesperson/madam, explains why Mike became so enraged with Delilah - she unintentionally mocked him about his male inadequacy: She didn't steal nothin'. She didn't even touch his poke. All she done, when she seen he had a teensy little pecker is give a giggle. That's all. She didn't know no better. You gonna hang 'em, Little Bill? In the middle of the downstairs floor, the two cowboys are tied back to back, and Little Bill asks for his bull-whip to punish them for the assault: "A whippin' ain't no little thing, Alice." An unforgiving Alice is astounded that the proposed punishment isn't justice enough, and doesn't fit the harsh crime. Skinny argues that financial reimbursement for his "damaged property" (the loss of the whore's potential earnings) is more appropriate: Skinny: This here is a lawful contract between me and Delilah Fitzgerald, the cut whore. I brought here clear from Boston.

I paid her expenses and all, and I've got a contract that represents an investment of capital. Little Bill: Property. Skinny: Damaged property, like if I was to hamstring one of their cow ponies. Little Bill: Are you figurin' nobody will want to f--k her now, right? Skinny: Hell no, least ways, they won't pay to do it. Maybe she can clean up the place or somethin', but nobody's gonna pay good money for a cut-up whore. Deciding that a trial is unnecessary ("no fuss") after hearing from Skinny that his disfigured Delilah is now like damaged goods, the misogynistic Little Bill decrees a fine.

He orders that the cowpoke Mike must bring in five ponies in the fall and deliver them to Skinny, and that Davey must deliver two ponies, with the following ultimatum: "Let me tell ya, come this spring, if Skinny don't have those ponies, I'm gonna come looking for you." The brothel's madam, Alice, is infuriated by the unjust travesty - the unworthy whore isn't compensated nor are the cowboys punished: Alice: You ain't even gonna whip 'em?...For what they done? Skinny gets some ponies and that's it? That ain't fair, Little Bill! Little Bill: Haven't you seen enough blood for one night, hmm? Hell, Alice, it ain't like they was tramps, or loafers or bad men. You know, they were just hard-working boys that was foolish. If they was given over to wickedness in a regular way, then I could understand... As the whores tend to Delilah's deep facial wounds, an outraged Alice takes justice into her own hands as an activist.

She collects funds from the oppressed women to raise bounty money to spread the word (or to hire gunmen) to shoot the offending perpetrators of the crime: "Just because we let them smelly fools ride us like horses don't mean we gotta let 'em brand us like horses. Maybe we ain't nothin' but whores but we, by God, we ain't horses." The scene returns to the silhouetted farm house in the spring - but now the image is flipped horizontally. An inept, marginally-prosperous, Kansas pig farmer William Munny (Clint Eastwood), a widower, is corraling hogs with his two children Penny (Aline Levasseur) and Will (Shane Meier) - clumsily separating the fevered ones from the healthy ones. A young, macho, would-be gunslinger, self-proclaimed as the "Schofield Kid" (Jaimz Woolvett), Pete Sothow's nephew, has just arrived at Munny's pig farm.

He mocks Munny's efforts: You don't look like no rootin'-tootin', son-of-a-bitchin', cold-blooded assassin...The same one who shot Charlie Pepper up in Lake County...You're the one who killed William Harvey and robbed that train over in Missouri.

Long-retired from gunfighting after marriage, Munny's legendary, violent past and reputation has relentlessly trailed after him: "I thought maybe you was someone come to kill me for something I'd done in the old days." From his Uncle Pete, the Kid had heard of Munny's reputation - that he "was the meanest, god-damned son of a bitch alive...if I ever wanted a partner for a killing, you were the worst one - meaning the best on account of you're as cold as the snow and you don't have no weak nerve, nor fear." The Kid is a self-promoting, boastful killer: "I'm a damn killer myself, except I ain't killed as many as you because of my youth." He calls himself the "Schofield Kid" on account of his "Schofield model Smith and Wesson pistol." The young, neophyte, hot-shot outlaw, wishing to pluck Munny from his retirement on the farm (and slightly disappointed by the appearance of the muddy farmer), offers Munny partnership after hearing exaggerated rumors about a bounty hunt. The Kid offers to split the reward fifty-fifty: I'm heading up north in through Nobrera to Wyoming.

I'm gonna kill a couple of no-good cowboys...for cuttin' up a lady. They cut up her face, cut her eyes out, cut her ears off, hell, they even cut her teats...A thousand dollars reward, Will. Five hundred apiece. Munny is unresponsive to the tempting offer. In his past, his whiskey drinking encouraged his gunplay, but through the guiding, controlling, taming influence of his late wife, who "passed on...near three years now," she made his give up his wicked, lawless ways eleven years earlier. Thoughout the film, Munny repeats the refrain: "I ain't like that anymore." Munny: I ain't like that anymore, Kid. It was whiskey done it as much as anythin' else. I ain't had a drop in over ten years. My wife, she cured me of that, cured me of drink and wickedness. Kid: Well, you don't look so prosperous. Hell, you could buy her a new dress with your half. We could kill them two, you could buy your wife one fancy...

As the Kid rides away alone - but wishes Munny would catch up to him if he changes his mind ("I'll be riding due west for the western trail headin' north into Wyoming"), the circumstances of Munny's homestead life come down hard on him. His wallowing, muddy hogs are feverish and dying, and he's poor with two children to care for - in a place where "we don't see no one out here." He leans on the pig corral and looks toward the departing figure on the horizon, contemplating the easy bounty money for the betterment of his kids. Back in Big Whiskey, Wyoming, Davey and Mike finally bring in a string of ponies - it's springtime - to abide by the Sheriff's judgment. As a gesture of kindness, Davey has brought a third "beauty" - ("She's the best of the lot, better than the ones I gave him. She can sell her or do what she wants") for "the one my partner cut," but the prostitutes pelt them with stones and angrily deny his "charity" to his face: "A pony? She ain't got no face left.

You're gonna give her a god-damn mangy pony?" The lure of the bounty hunt and the old West stirs in Munny's blood - he digs through a box of momentos and finds an old picture of his wife, but searches further until he finds his real desire - his gun. Outside, in a classic scene of out-of-practice target shooting, he misses his mark each time - even while sober - as he empties his gun at a can placed on a stump. Penny asks quizzically: "Did Pa used to kill folks?" With overkill, he blasts the can away with a shotgun. Before leaving, he visits his wife's gravesite with a marker: "CLAUDIA FEATHERS MUNNY, Born Mar 11, 1849, Died Aug 6 1878, Aged 29 Years." He places wild flowers there to remember her by, and then leaves his two children unattended.

Munny tells them he'll be gone for a couple of weeks, only reassuring them that they could seek help with neighbor Ned Logan's Indian companion if necessary: "If you have any problems, go see Sally Two Trees at Ned Logan's." Mounting his unaccustomed saddle horse is extremely difficult, and he struggles to control the frisky animal - a symbol of the lawless, animalistic part of himself: (reflectively) Ain't hardly been in the saddle myself in a while. This old horse is getting even with me for the sins of my youth. In my youth, before I met your dear departed Ma, I used to be weak and given to mistreatin' animals...This horse and those hogs over there are gettin' even with me for the cruelty that I inflicted. I used to be able to cuss and whip a horse like this, but your Ma, rest her soul, showed me the error of my ways. Now I'll be back in a couple weeks. You remember how the spirit of your dear departed Ma watches over ya. Unforgiven (1992) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property.

Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Retired Old West gunslinger William Munny reluctantly takes on one last job, with the help of his old partner and a young man. Director: From $2.99 (SD) on Amazon Video ON DISC Famous Directors: From Sundance to Prominence From Christopher Nolan to Quentin Tarantino and every Coen brother in between, many of today's most popular directors got their start at the Sundance Film Festival . Here's a list of some of the biggest names to go from Sundance to Hollywood prominence. a list of 22 titles created 01 Mar 2011 a list of 28 titles created 21 Mar 2011 a list of 45 titles created 10 Jun 2013 a list of 49 titles created 19 Oct 2013 a list of 25 titles created 5 months ago Search for " Unforgiven " on Amazon.com Connect with IMDb Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin.

Won 4 Oscars. Another 36 wins & 29 nominations. See more awards » Videos Disgruntled Korean War veteran Walt Kowalski sets out to reform his neighbor, a Hmong teenager who tried to steal Kowalski's prized possession: a 1972 Gran Torino. Director: Clint Eastwood A young recruit in Vietnam faces a moral crisis when confronted with the horrors of war and the duality of man. Director: Oliver Stone Two bounty hunters with the same intentions team up to track down a Western outlaw. Director: Sergio Leone A determined woman works with a hardened boxing trainer to become a professional. Director: Clint Eastwood An in-depth examination of the ways in which the U.S. Vietnam War impacts and disrupts the lives of people in a small industrial town in Pennsylvania. Director: Michael Cimino A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery. Director: Sergio Leone A group of professional bank robbers start to feel the heat from police when they unknowingly leave a clue at their latest heist.

Director: Michael Mann As corruption grows in 1950s LA, three policemen - one strait-laced, one brutal, and one sleazy - investigate a series of murders with their own brand of justice. Director: Curtis Hanson Violence and mayhem ensue after a hunter stumbles upon a drug deal gone wrong and more than two million dollars in cash near the Rio Grande. Directors: Ethan Coen, Joel Coen Stars: Tommy Lee Jones, Javier Bardem, Josh Brolin In Miami in 1980, a determined Cuban immigrant takes over a drug cartel and succumbs to greed. Director: Brian De Palma Greed, deception, money, power, and murder occur between two best friends, a mafia underboss and a casino owner, for a trophy wife over a gambling empire. Director: Martin Scorsese Rocky Balboa, a small-time boxer, gets a supremely rare chance to fight heavy-weight champion Apollo Creed in a bout in which he strives to go the distance for his self-respect. Director: John G. Avildsen Edit Storyline 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. Written by Charlie Ness It's a hell of a thing, killing a man Genres: Rated R for language, and violence, and for a scene of sexuality | See all certifications » Parents Guide: 7 August 1992 (USA) See more » Also Known As: The Cut Whore Killings See more » Filming Locations: Did You Know?

Trivia Clint Eastwood 's mother Ruth Wood toiled through an uncomfortable day (wearing a heavy dress) as an extra, filming a scene where she boards a train; but the scene was eventually cut, with her son apologizing that the film was "too long and something had to go." All was forgiven when he brought her to the Academy Awards and thanked her prominently in his acceptance speech. See more » Goofs In the scene where they are going to look for Munny, a cowboy states that they bought all for the 30-30 shells. The 30-30 cartridge did not come out until the mid 1890s. See more » Quotes See more » Crazy Credits Instead of the usual Warner Bros. closing logo, it shows the Warner Bros. shield in black and white without a banner. See more » Connections An old man reconnects with his wicked past 10 December 2004 | by whstrock (Southeast Georgia) – See all my reviews I enjoy the transformation of Clint Eastwood's character throughout the movie.

In the beginning he reluctantly becomes a gunfighter but as the movie progresses you see how he slides down the slippery slope of wickedness to become the cold-blooded killer needed for the task. Morgan Freeman's reaction to the transformation is well played also. Richard Harris' character is colorful as is his sidekick. Gene Hackman's sheriff is pleasantly atypical of the role. All these actors and their characters effectively leave the viewer with a myriad of directions from which the movie expertly entertains. If you are expecting anything like Clint's "spaghetti westerns" you will be disappointed. If you are looking for an excellent story with characters that all have varying degrees of wickedness, you will be satisfied when its all said and done. 119 of 162 people found this review helpful. Was this review helpful to you? Yes Unforgiven (9/10) Movie CLIP - I'm Here to Kill You (1992) HD - YouTube Unforgiven (9/10) Movie CLIP - I'm Here to Kill You (1992) HD Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 2, 2015 Unforgiven movie clips: Don't miss the HOTTEST NEW TRAILERS: CLIP DESCRIPTION: William Munny (Clint Eastwood) takes his revenge on Little Bill (Gene Hackman) and the town of Big Whiskey. FILM DESCRIPTION: Dedicated to his mentors Sergio Leone and Don Siegel, Clint Eastwood's 1992 Oscar-winner examines the mythic violence of the Western, taking on the ghosts of his own star past. Disgusted by Sheriff "Little Bill" Daggett's decree that several ponies make up for a cowhand's slashing a whore's face, Big Whiskey prostitutes, led by fierce Strawberry Alice (Frances Fisher), take justice into their own hands and put a $1000 bounty on the lives of the perpetrators. Notorious outlaw-turned-hog farmer William Munny (Eastwood) is sought out by neophyte gunslinger the Schofield Kid (Jaimz Woolvett) to go with him to Big Whiskey and collect the bounty.

While Munny insists, "I ain't like that no more," he needs the bounty money for his children, and the two men convince Munny's clean-living comrade Ned Logan (Morgan Freeman) to join them in righting a wrong done to a woman. Little Bill (Oscar-winner Gene Hackman), however, has no intention of letting any bounty hunters impinge on his iron-clad authority. When pompous gunman English Bob (Richard Harris) arrives in Big Whiskey with pulp biographer W.W. Beauchamp (Saul Rubinek) in tow, Little Bill beats Bob senseless and promises to tell Beauchamp the real story about violent frontier life and justice. But when Munny, the true unwritten legend, comes to town, everyone soon learns a harsh lesson about the price of vindictive bloodshed and the malleability of ideas like "justice." "I don't deserve this," pleads Little Bill. "Deserve's got nothin' to do with it," growls Munny, simultaneously summing up the insanity of western violence and the legacy of Eastwood's Man With No Name.

CREDITS: Cast: Clint Eastwood, Gene Hackman, Saul Rubinek, Frances Fisher, Jeremy Ratchford, Jefferson Mappin Director: Clint Eastwood Producers: Clint Eastwood, Julian Ludwig, David Valdes Screenwriter: David Webb Peoples WHO ARE WE? The MOVIECLIPS channel is the largest collection of licensed movie clips on the web. Here you will find unforgettable moments, scenes and lines from all your favorite films. Made by movie fans, for movie fans. SUBSCRIBE TO OUR MOVIE CHANNELS: Review/Film - Unforgiven - A Western Without Good Guys - NYTimes.com Review/Film: Unforgiven; A Western Without Good Guys By VINCENT CANBY Published: August 7, 1992 TIME has been good to Clint Eastwood. If possible, he looks even taller, leaner and more mysteriously possessed than he did in Sergio Leone's seminal "Fistful of Dollars" a quarter of a century ago. The years haven't softened him.

They have given him the presence of some fierce force of nature, which may be why the landscapes of the mythic, late 19th-century West become him, never more so than in his new "Unforgiven." As written by David Webb Peoples and directed by Mr. Eastwood, "Unforgiven" is a most entertaining western that pays homage to the great tradition of movie westerns while surreptitiously expressing a certain amount of skepticism. Mr. Eastwood has learned a lot from his mentors, including the great Don Siegel ("Two Mules for Sister Sara" and "The Beguiled," among others), a director with no patience for sentimentality. The time is the 1880's. The principal setting is Big Whiskey, a forlorn hamlet in that vast American no-man's land of high plains edged by mountains, somewhere between St. Louis and San Francisco but not on any map. Late one night a couple of cowboys are on the second floor of the saloon with the girls. Suddenly one of the cowboys whips out his knife and slashes the face of Delilah, the prostitute he's with. It seems that she made a rude comment about his anatomy.

Instead of arresting the cowboys, Little Bill Daggett, the sheriff, allows them to get off with the understanding that they hand over six horses to the saloon keeper. Strawberry Alice, the victim's best friend, is outraged. "We may be whores," she says, "but we aren't horses." Alice, Delilah and the other girls pool their savings and offer a bounty of $1,000 to anybody who will murder the cowboys. Thus "Unforgiven" becomes an epic about the revenge of whores. It's not sending up the women. Rather it's equating Old Western codes of honor with the handful of men who set out to collect the bounty, motivated in varying degrees by economic necessity, greed and half-baked notions of glory. Chief among the bounty hunters is the aging Bill Munny (Mr. Eastwood), a widower trying to support his two young children on an unsuccessful hog farm. Munny has been keeping to himself in recent years. He's still trying to live down his notorious career as a gun-crazy outlaw, a man who used to shoot women, children -- anybody -- just for the hell of it.

There is something creepy about him now, especially about the way he keeps harping on how his wife "saved" him, his distaste for violence and his need to be true to his pledge never to pick up a gun again. He has something of the manner of the mild-mannered clerk who comes into the office on Monday morning and shoots everyone in sight. When a young fellow who styles himself the Schofield Kid (Jaimz Woolvett) asks Munny to join him to win the bounty, Munny at first refuses. Then he changes his mind, apparently because he is desperately hard up, but with Munny you can't be sure. Along the way to Big Whiskey, they are joined by Ned Logan (Morgan Freeman), who rode with Munny in the outlaw days and appears to trust him. Also en route to Big Whiskey for the same purpose is English Bob (Richard Harris). He's a dandyish former outlaw who, when first seen, is aboard a train, reading about the assassination of President James A. Garfield and explaining to anyone who will listen why America would be better off with a king. His admiring companion is W. W.

Beauchamp (Saul Rubinek), whom English Bob introduces as "my biographer," the author of a penny dreadful about the outlaw titled "The Duke of Death." Little Bill Daggett (Gene Hackman) is ready for the bounty hunters as they arrive in Big Whiskey. He immediately spots English Bob as he gets off the stagecoach, gives him a sadistic beating and throws him in jail. Mr. Harris, who has a tendency to overpower his roles, has never been finer, funnier or more restrained than he is as English Bob, whom Daggett insists on calling "the Duck of Death." Things turn far darker with the arrival of Munny, Ned and the Schofield Kid. Daggett suspects their purpose but is unable to prove anything. Just to let them know who runs Big Whiskey, Daggett beats up Munny as savagely as he has English Bob, but Munny appears to ask for it. Bleeding and only partly conscious, he crawls out of the saloon and into a muddy gutter. It is a measure of how the film works that Munny's almost Christ-like acceptance of his beating is one of the film's scariest moments.

There is a madness inside him waiting to emerge, but where and when? "Unforgiven," which has no relation to "The Unforgiven," the 1960 John Huston western, never quite fulfills the expectations it so carefully sets up. It doesn't exactly deny them, but the bloody confrontations that end the film appear to be purposely muted, more effective theoretically than dramatically. This, I suspect, is a calculated risk. Mr. Eastwood doesn't play it safe as a director, but there are times in "Unforgiven," as in his jazz epic, "Bird," that the sheer scope of the narrative seems to overwhelm him. It's not easy cramming so much information into a comparatively limited amount of time. Toward the end of "Bird," he didn't seem to be telling the story of Charlie Parker as much as letting it unravel. That doesn't happen in "Unforgiven," but the tone, so self-assured to begin with, becomes loaded with qualifications. The film looks great, full of broad chilly landscapes and skies that are sometimes as heavy with portents as those in something by El Greco. It's corny but it works. Photographed by Jack N.

Green, who was the camera operator for Bruce Surtees, Mr. Eastwood's cinematographer for "Pale Rider," "Unforgiven" favors the kind of backlighting that can add a sense of desolation and menace to even the most conventional moments. Seen against a bright background, faces turned to the camera are so hidden in shadow that they aren't immediately recognizable. It is a storyteller's gesture for the audience's benefit, since the other characters within the scene would not be so disadvantaged. The cast is splendid, though some of the actors have more to do than others, including Mr. Freeman, whose role is not especially demanding. Mr. Hackman delights as Sheriff Daggett: no more Mr. Good Guy. Also worthy of particular note are Mr. Woolvett, who makes his feature film debut as the unreliable Schofield Kid; Mr. Rubinek as a city journalist out of his element out West, and Frances Fisher as Strawberry Alice, a woman who doesn't know when to shut up. Yet the center of attention, from the moment he rises up out of a hog pen until the darkest fade-out in western movie history, is Mr. Eastwood.

This is his richest, most satisfying performance since the underrated, politically lunatic "Heartbreak Ridge." There's no one like him. "Unforgiven" is rated R (Under 17 requires accompanying parent or adult guardian). It has a lot of violence, vulgar language and some sexual situations. Unforgiven Directed and produced by Clint Eastwood; written by David Webb Peoples; director of photography, Jack N. Green; edited by Joel Cox; music by Lennie Niehaus; production designer, Henry Bumstead; released by Warner Brothers. Running time: 130 minutes. This film is rated R. Bill Munny . . . Clint Eastwood Little Bill Daggett . . . Gene Hackman Ned Logan . . . Morgan Freeman English Bob . . . Richard Harris Schofield Kid . . . Jaimz Woolvett W. W. Beauchamp . . . Saul Rubinek Strawberry Alice . . . Frances Fisher Delilah Fitzgerald . . . Anna Thomson Quick Mike . . . David Mucci Davey Bunting . . . Rob Campbell Skinny Dubois . . . Anthony James Little Sue . . . Tara Dawn Frederick Silky . . . Beverley Elliott Faith . . .

Liisa Repo-Martell Crow Creek Kate . . . Josie Smith Will Munny . . . Shane Meier Penny Munny . . . Aline Levasseur Photos: Bounty hunter: Clint Eastwood as Bill Munny, a hog farmer with a violent past. (pg. C1); Richard Harris in "Unforgiven." (pg. C8) (Warner Brothers) Impitoyable ( Unforgiven ) William Munny - YouTube Impitoyable ( Unforgiven ) William Munny Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Mar 16, 2009 Une partie de la scène finale mythique du film Impitoyable ( Unforgiven ) réalisé par Clint Eastwood. Category

Question: In which film did Clint Eastwood play Will Munny?
Answer: Unforgiven