Are you a fan of "dirty Harry" or more than a person without any personality? Regardless of your advantage, there is little doubt and both are iconic characters in Clint Eastwood's film. I personally rely on the second one, though his laconic stranger in Sergio Leone's "dollar trilogy" is more than an alarm than a three -dimensional character. He is barely two-dimensional-thinking, what do we know about him that the cool monitor no longer tells us? He wants to cradle poncho and prefers long, thin essentials of cigarettes or pipes. He saves his right shooting arm (in "for a few dollars more", at least), and briefly mentions that he is from Illinois in "Good, bad and ugly." It's about as much backstew as we get. We do not even get much indications that happens behind that famous guilty. As Sergio Leone said about Eastwood's acting style, he had two expressions: with a hat and without a hat.

The man without a name is an enigma, blank, and what makes him so unforgettable is simply the pure Starwar power of the presence of the Eastwood screen, because his strength of sharpness of revenge blows through those three films. Even the term "man without name" is vague, cooked in the fact of United artists as a marketing trick for the release of film states. For Leone and Eastwood, he was differently known for three nicknames: Jo, Manko and Blondi, respectively. And it's all right - The role made Eastwood one of the best actors in the western film everAnd we don't need a detailed bio for him. (I would hate it if someone made a "dollar" prematurely and discovered that "Manko" is actually the name of his beloved pet as a child or something stupid like that.)

Although the landmark of Eastwood Spaghetti West with Leone is now considered classics, the "dollar trilogy" has been poorly admitted by some critics who have faced violence. Pauline Kael was not a big fan; She wanted to look at Eastwood's films because she was too macho, stupid and violent. She was at least semi-right about violence: there is little denial that Clint Eastwood built her career by playing violent men. However as a director, he would eventually be considered with his relentless western heritage in "unforgivable". In many ways, that film that won an Oscar was a spiritual sequel to his films about making starves in the "Dollar" films.

"Unsuccessful" brings us back to the big whiskey, Wyoming, in 1880, where drunken cowboy sex worker Delila Fitzgerald (Anna Thomson) with a person's face. The sheriff of the city, the little Dagget (Ein Hackman) allows the attacker and his friend to be excluded from a fine. Delila's friends are furious at the lack of justice and join their earnings to offer $ 1,000 sale to anyone who downloads the cowboys.

We also meet William Muni (Clint Eastwood), a ever -notorious gun who now scratches a living as a widow farmer with two young children. His wife helped him shoot his alcohol and deny his evil old ways, but the sale proves too enticing when he approaches him to come together by Jefofield Kid (Amizajz Wulvet), a young man who claims to be a ruthless killer. Now seriously out of practice, Muni has decided to take his old partner Ned Logan (Morgan Freeman) for backup.

Meanwhile, back to Big Whiskey, self-axing British weapons known as English Bob (Richard Harris) arrives with his biographer WW Beauchamp (Saul Rubink) to look for the award. Bob ignores a gun policy in the city and imposes the wrath of the little Bill, who brutally beat him to avoid all other potential assassins. Muni receives similar treatment when his little poses are driving inside. Not to be deterred, they follow their goals until Logan loses their nerve, leaving Muni and the child to get the job done. But Logan was captured and whipped to death from Mali, setting the last clash between the former killer and the sadist sheriff.

Eastwood considered "non -ingenious" as a chance to use a more real approach to the classic western format and also deliver a strong message. He said to Afi:

"I wanted to make a statement that the West was based on the myth and created by characters who overdone the myth of it all. But I also wanted to make a statement that was relevant to today's society for (...) Romanticism of shooting and violence."

Clint Eastwood is one of Hollywood's least glossy filmmakers, and his style without nonsense is perfect for the unusual tone of "unforgivable". The Academy was thinking that way. Finally, as a result of the director and actor, Eastwood won his first Oscar (best picture) and two more nodes for the best director and best actor.

There are several theories on the Internet that William Muni is a man without a name in later years. The timeline fits, but that is perhaps the goal of Eastwood in "non -ingenious" too literally. Muni is clearly a man exiled from his past as a cold -blooded killer, a former villain with hard drinking, who can shoot someone in an ordinary sense and causing the death of women and children. This does not exactly fit the description of the laconic gun we see in the "dollar trilogy", which is awkward and peaceful when it sends its opponents and clearly has a soft point for children.

"Unforgiven" is more than a spiritual sequel to those films, rumors of a neat and apparently murder without the consequences of the character made by Eastwood. He shot 41 bad bad over three films (according to All outta bubblegum), and you rarely feel that they were someone to miss. You also have a feeling that a man without a name will not lose any dream over them.

With "Unforgiven", Eastwood responded to all critics who had previously denied violence in his films in his usual righteous way. Here he shows how the violence with weapons is uncomfortable and messy and the murder always has deep repercussions, including for the person who makes the murder. This point is underlined by Muni's tormented memories of his past works and perhaps the key quote of the film: "It's hell of something, killing a man. Subtract everything and everything that has."

On another level, "Unforgiven" itself shows a myth of the Wild West in action. Muni's terrible reputation has crossed the state borders, and the child is lying about his own counting of murder, while the exploitation of the English bob is very exaggerated by his biographer. Even the scope of Delila's injuries is strongly overrated as the news of the sale is spreading. Once the English bob is sent for packaging (even his accent is a lie), the little Bill keeps Beuhamp to write a report on his own works. De-laminizing the violence inherent in Western films and de-mythologizing the US border, Eastwood signed from the genre of powerful eugo that echoes "The man who shot Liberty Valance", the West Final of Johnon Ford and Johnon Wayne together 30 years earlier. Three more decades later, "Aungi" remains a masterpiece of Eastwood.