It is never easy to learn that another titanium on the screen has left us. The rate at which we lost the legends is the density, which makes me deeply saddened when I found out about Great Gen Hackman died with wife Betsy Arakawa In their home in New Mexico.

When it comes to the diverse body of the actor's work, there is almost too much to talk. But so Hackman secured his legacy as one of the most diverse performers in the industry for decades. Any contemporary actor would kill alive to have a sequel that Hackman had. He worked with greats such as Arthur Pen ("Bonnie and Clide"), Francis Ford Coppola ("The Conversation"), Richard Donner ("Superman: The film"), Sam Raimi ("Fast and the Dead"), Tony Scott ("Crimson Tide" and "Crimson" and "Crimson".

Hackman won his first prize academy in 1972 to come as it should Jimi "Popeye" Doyle in William Friedkin's "French relationship". But that was his partnership with Clint Eastwood of the auditionist in 1992 Western "disadvantaged" that led to his only other victory (the best support actor) for his order as "little Bill" Dagget, Big Whiskey's relentless sheriff, Wyoming.

"Unfurgiven" remains an incredible piece of film work on how violence, no matter how justified, leaves rot in your soul that just sits there and holidays while learning to live with it. It is a film that aims to scatter the usual myths of romanticized guns in the Wild West, with Hackman summing the film's thesis in an incredible scene.

After beating the English Bob (Richard Harris) on the streets because he did not give up his guns upon arrival in the city, the "little Bill" relaxed in the defeat. He ridicules Gunslinger's "Duke of Death" fonyer, citing him as a "duck". He confuses his biographer WW Beauchamp (Saul Rubinek) Why "Little Bill" would dispute these stories - that is, until he finds out that the sheriff was present for what really happened. He built the heroic status of the English Bob for himself (along with The dark chapter of British history brought Harris to his performance) is fabricated over the belief. He is a good shot, surely, but nowhere near the hero is made.

As a bloody English bob sits in a prison cell, "The Little Bill" is essentially looking at the right writer on his side of the table. The two share laughs and mock while "Duck" Owsida in humiliation. That is when the "little one was" suddenly gets an unpleasant idea that talks about his first blood, offering the failed historian a chance to make his own history. He throws a gun on the table and proposes a series that is not fastened to him and the English bob if he manages to shoot first. The former playful atmosphere occupies a fast, dark twist because all three parties understand the weight of what can happen. In the end, Behamp Chickens, but in its unscrupulous iOsubocity, sets the idea to allow the English bob to burst into it.

You can reduce the tension in this tranquial calculation with a knife. It is the ultimate rebuilding of his legendary status, the one who "little was" is more than ready to silence with a last bullet. The English Bob eventually refuses the gun, believing that there is no way as it is loaded - the idea that "little was" is more than happy to prove it is wrong. "You have the right not to take it, Bob. I would kill you, "says" The Little Bill. "

And so it ends the high story of "duck of death".

No matter how sadistic as "little was", he is nothing if not honest. The community with his image throughout the "unforgivable" is that he cannot withstand the idea of ​​romanticized laws. That is why he is so old to destroy the reputation of the English Bob, besides anyone who claims the sale that drives the film's plot. The disappearance of Beuhamp's excitement when the "little was" debated his story, says everything. The hero who chronicized him is nothing more than a violent drunk, who can get a good shot, but eventually play dirty. The legendary two -gun coron was nothing more than a well -tax passenger whose only crime was unable to avoid a bullet from an interested heavy drink.

The scene not only gives great insight into the sadistic pleasure of "The Little Bill", it is also a reflection of how the film itself deconstructs its protagonists, including William Muni (Clint Eastwood) and Ned Logan (Morgan Freeman). The former illegal have committed a number of horrible acts during their lifespan. However, during the story, they are presented with a reasonable excuse to appear in the world they left behind-sale calling on to kill the men who attacked the sex worker Delilach Fitzgerald (Anna Thompson), to permanently pamper his face,

"Unforgiven" barely represents the mission as exciting or just. In the end, people, even bad people, need to die. It is a kind of mission you would expect to see in the western era of bravo and righteousness, but there are no winners. No one feels good about what they are doing. And a person who could rotate yarn for what happened in a big whiskey, fleeing first -hand consequences of romanticization of these violent stories.

While the "little one was" producing the kind of stories made by the English Bob, he possesses the same authoritarian alertness for life. Leading a city in which firearms are forbidden sounds progressively in practice, but its actions prove differently. His access to all the weapons in the city only makes him feel more powerful. Even after the "little one" and his Deputy POP disarmed all newcomers with a gun, he proves that, in a sense, he is not better than the English Bob when it comes to his violent tendencies. It seems that building a small house for itself does not compensate for cruelty.

In the prison scene, there is a clear moment when the tone changes from laughter to the brink of violence. "A man who will keep his head and wake up under the fire, as he does not, he will kill you," says "The Little Bill." At that moment, he knows that he has the whole advantage of coming to the top. There is no chance the writer who has never held a gun in his life, nor a beaten gun, will best.

When Mooney arrives as a spectrum of death in the culmination of the film, his furious presence throws the "little Bill" from his game. Earlier, the sheriff admitted that he was not the best shot, but his hierarchy provides him with enough nerve to keep a cool head. Munni's first blow is junk, but the "little was" quickly pulled out the same after not only losing his cool, but also admitting that he was no longer the tallest man in the room.

I actually had to see a rare 35mm print on "Unforgiven" in one of the great Massachusetts movie houses, The The the Sommerville Theaterand revealed that the confrontation in the prison covered the type of versatile talent Hackman not only of "impermeable", but also for his entire Over.

Hackman has played all kinds of characters throughout his career. He could be attractive, pathetic, cruel, funny and frightening through every genre. In "Unforgiven", there are views of Hackman as a game "Little Bill" as it could be your friend. How can you not laugh every time he collects the English bob at Harris, a shame with a "duck of death"? All it takes is a slope of the face, however, to turn the devil. The way he is above Beauchamp of Rubinec is so frightening moment and really puts him in perspective how dangerous this character is

Hackman has almost gone through the role of his children's perception of violent filmsAnd that's a blessing he didn't do. The "disadvantaged" provided Hackman's flexibility he needed to play such a cunning, wicked figure as he investigated the mechanics of how his violence flourished through a seemingly accessible mask on how to support the law.

By the end of the screening I attended, I thought about how much we lost without new films starring Hackman. As we complain about his absence from this world, however, there is beauty to know that his body at work speaks for himself and will continue to do so.