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Unforgiven (1992)

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Hey, everybody. We're back with another commission podcast. This time for nineteen Ninety-two western revisionist western, unforgiven directed by Clint Eastwood produced by Clint Eastwood starring Clint Eastwood as well as Gene Hackman Morgan Freeman here he did some of the music as well. I guess the main melody, I, I guess I, I saw that in a trivia section to David Webb peoples as the writer of the screenplay who also coincidentally, well, maybe quits seen this is the all Sean Ray. Blade runner and twelve monkeys as well as I'm forgiven. So we didn't twelve monkeys. We didn't do twelve monkeys. You weren't supposed to notice that. Oh, I think is one of the shit. Yeah. Yeah. It was a potential community Commission. I don't think ever got traction, but okay. Anyway, Sean has a whole bunch of stuff to say about it. I think I have a bunch of stuff to say about it. Let's just talk about a split because I know. Unforgiven twenty. Fifth anniversary last year. I think there's a lot of people in the audience that probably never got a chance to see. It's since it's a, it's an older by kind of still modern and older. Modern classic. What did you think of unforgiven as as well, just what you think about giving? I thought it was a very strong western, which I'll come right out and say, westerns not my favorite John revolt time. I'm not like super steeped in history of westerns. Like a lot of people are. I think Sean actually is one of those people who really loves westerns and this. I thought this movie was good, and it was engaging the entire time with the performances were great. Something about it didn't quite grit me like some other westerns I've seen like was thinking about it. The proposition was actually really good when we were commissioned a long time ago to do and three ten to Yuma. And I think I like both of those just a little bit more than this, but this was definitely a joy to watch say, yeah, I mean, I like westerns I think more than you do probably I think they're a neat little slice of fiction, like, you know, and it seems like a lot of them have the does this a lot of interesting things about the quote, unquote, wild west, like for example, you could have an anti here. Like nowadays, you got Frank castle, the punisher, an anti hero. He goes around and every time he causes a ruckus. There's going to be cops and he's got to get away from it. Whereas a lot of these towns you could just, you know, in in the fiction anyway, you can just roll in and take it over good, good or bad. You could have corrupt cops. You could. Have cops that are actually you'll gunman and train robbers in another state, and you could have, you know, landowner screwing folks under the official protection of the police. It's it's an interesting kind of lawless or low law type of environment and allows you to tell a lot of interesting stories. I thought this I, I've only seen this movie once before I saw pretty close coming at maybe like ninety seven ninety eight when I was like going through like list of Oscar winners and af I stuff and kind of kind of having that that voyage, and I remember being very impressed by it, but I also forgot lot of the details. And as I got reacquainted of this movie, I was really blown away by the dialogue by the scenarios at setup, by the way, it kinda subvert your expectations until the very moment where like Clint Eastwood, just to be a bad. Ask, not as pl- if you're expecting him to get through western bad ass. But if feels very much like a fall from grace. Sure. Like like a much much worse version of the movie Shane as far as like, you know, a reformed gunslinger having to go back to the to the old gunslinger in ways. And I think that is what what elevates it above lava Michio there's a mount Rushmore of westerns, especially if we're gonna talk about modern westerns or anti westerns revisionist westerns I think unforgiven should be on it, but like you, I. A man it. It seems evident that it's slightly better than three-tenths Huma. It seems like just from a beauty standpoint, three ten is amazing, but like I just felt like this is a little bit more western. And I also like I was thinking because my personal favorite western has always been unforgiven probably because it's one more accessible and fun ones. And I saw that, you know, as a very young man and as really enamored with Val Kilmer take on doc Holliday. And again, I really like the like, you know, bad ass dialogue and scenarios, and that films just chock full of them. But man, I can't. I don't know if it's still my favorite because unforgiven got this kind of like a slow burn. Constant, like build up to the end. It's extremely satisfying when you watch it. There's so much great dialogue regarding about what it means to be a good man, bad man, the fate of we all deserve what it means to kill a person. Different people's reactions to that. Like it's a, it's a Clint Eastwood said it's a very violent anti-violence film. So, yeah, I, I liked it. I couldn't stop taking notes for the dialogue was happening because I felt like every five minutes there was like a real Jim of the scene like Brown off the bat. Like I thought that five minutes scene where one of little bills, deputies rides in and all the men are nervous about all these gunslingers coming to town. And he tells us long winded story about little Bill being out there working on his house and being shitty carpenter, and it just kind of meanders like where the hell is this going, what's the point of the scene, and then it comes to the free the exact words. As I say that little Bill scared. I said he wasn't much of a carpenter and it's, I don't know. Like I like, I like I paused and like I felt like I've seen is like this little Faberge egg of just trying to show the relationship between little Bill and his men, and there's tons of scenes like that and halfway through the film, I was really struggling with. How I felt about little Bill because in the beginning he's he, they framing him as villainous like the worst kind of banal evil where like he's just trying to get some kind of fragile peace rather than true Justice. Yes, I always run up against. Limited knowledge, I guess ignorance my own ignorance win view these movies because I don't know what the movie is trying to say about a man like little Bill. I know by the end of this movie, what they're trying to say about him, he's clearly the bad guy. But in that first scene, I'm like, well, okay. Given the time given the place, the setting here is this man on evil person, and my twenty eighteen is say ho fucking yes, he is. He's the worst kind of evil. In eighteen eighty is I have no idea. I have no idea, and so in never quite sinks into me. I'm always waiting to see what the movie is trying to tell me when I feel like what I should be understanding in that scene immediately is something that I'm just not getting well. I think it's really it struck me watching this film. 'cause like here in in the September twenty eighteen in real life. We are sitting through this hearing about whether a potential judge supreme court rapes ever women, and I was struck by that getting to political because I don't think sexual assault and rape should be political, but I was struck by the initial conversation. Gene Hackman says, like, you know, hey, look, I get it that your your whore got her face cut up, but these these, these aren't hobos and layer rounds and bad guy. These are hard-working guys, a little bit of drink, and you like insulted, you're manhood and. You know, and and the, I forget the strawberries name, but she comes back with like unlike hor. He's essentially these aren't all the time bad guys and she's like, as opposed to whores which you know by a little bills, morality are the lowlifes and it struck me as like one of those sad commentaries by like one hundred forty years later, you know, a lot of the still same attitudes are are on display in the way we treat women the way we see their role in society and the fact that like these women scraping together money to get Justice was seen as something stabilizing to the town, like the town had this piece that must be maintained at all cost. But you know, as as like Martin Luther King junior before and this movie makes the point lake piece is not the absence of conflict. You know, like you can't have peace without Justice. For everyone because otherwise there's always someone, segment of society is getting shit shit. On this case, it's it's, it's, it's, it's the the prostitutes of the town, and it's a wretched lot like, you know, there's just like the big section of this movie where Morgan Freeman and the kid, the Scofield kid, or getting freebies from the women and just taking advantage of it like no one's keeping a count on this, and I dislike. I think the movie makes a lot of statements just by dislike. I don't know letting all this stuff unfold. I do think there is a danger of people missing those points though, like like, you know, getting the fact that Clint Eastwood. Had a measure peace and happiness that he traded for money to, I guess, be a better father to get a better life for his children, but he's risking his life and his sanity and his own piece to get it like, there's a lot of commentary, but you're kinda rooting for them to do that because he walk Leninist with the be a bad ass. Now, I think in some ways this this movie is surprisingly progressive because like you know, I do think by the eighteen eighty standards. Nothing is out of the ordinary here with what little Bill is doing right? He's the women are being treated like property. They're being essentially their their dignity and their wellbeing as being traded for horses. That kinda shit. And it's interesting to me and I don't know whether this was like intentional when the casted Morgan Freeman, but it's never mentioned anything about him being black, right? Which in that time and place would certainly have been an issue. So I think the movie is trying to push boundaries there as well. And I guess I, I kind of applauded for that, but again, I'm at war like do I want this movie to be more realistic or do I want this movie to be more in line with our values nowadays? Yeah, that's an interesting point because I noticed the same thing I kept on waiting for like at some point, it'd be made like, you know, Morgan Freeman is. I mean, obviously this is post civil war. This is in the late eighteen eighty s I believe, but like acknowledging the difference of his exists. I mean, there's a little bit disguise living in the edges of society with an Indian woman. They're both kind of outcasts in this society. But I mean, that's it's interesting to see like the, you know, the path representation takes in Hollywood. You start off with like white guys in black face, and he started minstrel shows and then they're thieves and drug dealers. And and then you start to get like, this is like in the area where it's like, oh, we'll just have a black guy as a cowboy, and we won't really mention. We want big deal, right? Morgan Freeman could have been Wilford brim Louis, but but Clint Eastwood is kind of like wag in the nineties woke for an old crusty dude. So sixty plus year old man at that point. But it's like nowadays and you get a lot of that in the ninety s where it's like, you know, you'll just have a black friend like on friends or something, but there won't be any. They're not going to have an episode dealing with what it's like to be a black person in this group of white people in the mid nineties. It's just they're just going to be there. It's Ritz its representation, but it's not. There's nothing that would like. Speak to a person that says like, oh yes, this gives me hints in my own experience in life. And I feel like that's kind of the Morgan Freeman character is he's that neutral, like thoughtful representation like this. Why can't he be a black alloy news, blackout boys. So fuck it. He's a blackout. Boy. We're not gonna talk about how he got there who who is father was, you know, when the. Django unchained. Right, right, right. This is a very different kind of movie, right? Whereas the humanity, they may Django unchained where it's just him and the German doctor running around and there's no mention of slavery or anything. He would be you'd be like fucking song of the south people like what the hell is this bullshit. This is historical revisionism, but yeah, on the other hand, fuck Morgan Freeman, Clint Eastwood and Gene Hackman in their prime or really fucking good actors. I want to say that Gene Hackman actually steals the show kind of barely barely, but he steals it from Clint Eastwood who is fucking bringing it in this movie and like I have to, I have to say Clint Eastwood. Is it when you asked me about westerns, Clint Eastwood is the number one result in my brain bright. So yeah, like I urge western hero bad ass. It's Clint Eastwood. His glare from beneath a hat. Brim is literally Ike. Connick. Yeah. Yeah. There's one of those moments where he puts on that hat in the bars he's about to walk in or out or something. And I'm just like, oh yeah, there's the iconic shot, right? They don't linger on it very long. But yeah, I've been Clint Eastwood is awesome. In this movie Morgan Freeman, I didn't think was given all that much to do that one scene where he had to really figure out if you wanted to go through with the plan. And I won't spoil what happens. Pretty soon, but I know what you mean. Yeah, yeah. And I thought he was really great in that scene, but he didn't have as much to do as Eastwood and pacman, and Hackman in my opinion was just one scary motherfucker in this movie. See, that's the thing like I remember growing up in knowing Gene Hackman as the silly lex Luther. Maybe he was he was the fiery, but ultimately kindly progressive basketball coach or whatever. And I remember when I first saw Mississippi burning. And he is like a scary dude on the side of the angels and that in the. But like this guy, he's there's nothing really like unlike Clint Eastwood. You see clinics would lag drinking at a bar, and I feel like most people see that there's a dangerous energy about this guy. Yeah, Gene Hackman is like he is like the friendly kind of kindly father and then like he'll throw a switch and get like just super deadly like son, you shouldn't have said that kind of thing, and he's terrifying. Yeah. And like Jesus his his, the this stuff with him at old Bob, I think we need to. I think here's the point where we're fifteen minutes to review and we're twenty-five years into the movie twenty-five years into movie. We should. We should let Shawn Ray have a little bit of his his, and then we should just get into get into the movie. Okay. All right. So Sean says you want to give a little background in his experience with the movie which stuff that we do. And I appreciate this. This, this side of him, he says, during eightieth Academy Awards, they play this montage, the clip from every best picture winning and after watching it, I made it a point to own every best picture winner. So over next plus years, I searched every Hastings best buy target or WalMart near me, Amazon, even for that matter to find all eighty movies. Unforgiven won four Oscars, including best picture, and it should have won five with Clint Eastwood winning best actor, but they gave it the Iran's favor. Al Pacino performance who really? Yeah, yeah. Isn't that malaria civil woman was year. They gave the, they gave an award to the performance that essentially put Al Pacino into the great actor singer, yeah, into post Alpa chino, post Al Pacino, and they robbed the Clint Eastwood preps his spine is performance and performance that really only worked with him, and I think he knew it because he auctioned this movie years before he finally made it and said, the reason he did is because it's my back pocket. 'cause I wanna age into this role. Like I, it's like I Clint Eastwood going to usher in this new era of modern westerns. I'm going to do it this movie and this performance, and it's a damn shame. It's one of those things where like, you know, Forrest Gump winning best. Picture? Yeah, you can defend it in the moment, but twenty years later, it's like really this. This was better than casino or goodfellas or whatever it robbed something, but I feel like this movie is a masterpiece. Sean continues all go as far to say it's a greatest western ever made. This is one of the only west or this is not the only western I've seen. I grew up in Texas. I've seen plenty, but it's the only one that takes its off completely seriously. All right. He's got a bunch of other continued like lines and thoughts and themes he wants to explore later on. But as our want, I thought maybe we could. We could run with it a little bit. I talked about this movie. This movie works on a large part because Clint Eastwood has all of his Clint Eastwood history baked into it. Okay. Like you see this, you see Clint Eastwood who should have a gun on his hip, trying to wrestle pigs in a mud and you instantly get everything about this character. Yeah, and the character itself is essentially Clint Eastwood. Right? Like I've played all of these parts. I'm for the last x years past my prime. I might not. You might not know that I have all the moves. You know, you might. You can challenge me and that I've got my eyes gotten dim or my reflexes has gotten a slow, but you know, that's. And then the thing is is like I feel like it works because his. I meeting of little Bob. Is is filmed just like every film I've seen where you know the. John Wayne is the slightly pudgy passes prime guy and a dude step zoom, and you beats them silly, but instead Clint Eastwood gets his ass handed to you and exactly and it. And it also felt like shocking because the English Bob, right? That says, name you. He rolls into town and you think that there's going to be some minutes or cool thing, and he, he is essentially the Warf in this plot that exist has this mythical figure that's built up. Just Gene. Hackman can beat the living shit out of him and prove that he is a bad ass worthy of Clint Eastwood taken seriously, but then their first meeting Clint Eastwood is so sick from being out in the rain. So befuddled he just gets just gets his at like just a brutal savage beating into him sidelined throughout half of the third act. And it's like, I, I don't know who else could play that part with with so little that's done to his character to where, like, you know, when his kid asks like, did Paul kill folk like e kind of? No, he did, but you don't really know how bad he was like, was he ally urp? Was he a Billy, the kid, you really don't know. His kids don't know. You don't know till the end of the movie, what type of guy he was when he starts confessing to the murder of women and children. And I thought like again, just Clint Eastwood. His casting alone carries so much of this movie. Yeah, they do a lot of good work with building a sort of legend around this guy. Around money. You know, they talk about him a lot. They talked about how he used to be. He talks about how he used to be. But I do agree that casting Clint Eastwood which they cast himself, I guess. So. Keep reducing direct, it's on. Who else would the casting agent she had to agree, I suppose, degree, whatever one condition filming this thing I got to be in it. I don't know, Clint see it. I don't see casting him. Does add something additional, right? Because we know we know that he does have the moves. We know that this person probably is a scary guy given the opportunity just by just by looking at him because of all the baggage all the built-in stuff, right. The the thing that works well is because like, you know. Guy, finding a woman and settling down and then using the memory of the woman to remain pure and be a good guy is a well-worn western trope. And in this movie, they utterly turn it on its head because he Eastwood throughout the movie, keeps you know, like saying, I'm not that guy anymore than anyone that will listen. I'm just like, I'm kinda worried. I'm not that guy. I'm killing a person for money, but it's going to be easy and it's going to set up my kids like he's in full on denial that he can be that mean on RIC anymore. But then at the end of the movie where he starts drinking and he shows up and kills every motherfucker in the room. Like that. It's so weird because that's that's a post to be. I think you're supposed to understand that that's that's a fall from grace for him and you're supposed to be worried about. I kind of wish that they didn't have the epigraph where like they book in the movies at the dig in his wife grave, and then Lee visit his wife's grade before him and his kids leave, which isn't effective, kind of like a new like an old vengeful ghost leaving the frontier kind of thing. But like the idea that he possibly settled in San Francisco, sold dry goods and provide for his family. Like is weird because to me bring in old Clint Eastwood back is a man who's going to turn to hard drink and probably ban in his children to the widow of Ned and never be seen again. And I felt like maybe maybe that's where Clint Eastwood couldn't fully commit to the ideals of the movie, like the idea that you can put away that life and. And try to live an honest one and then go back one last time in this orgy violence and then come back and. You come back again, like have that big of a relapse. I, that's the one kind of like false note the me in the movie. Yeah. I mean, I look at the title unforgiven and the whole movie. I'm looking at it going. Okay. What does it mean? What what is unforgiving have to do with this film? And I think at the end he is very, literally, UN forgiven. I think at some point this man had outlived let's say his previous deeds. At the very least outlived them if not made up for them. And it is kind of a tragic ending in my opinion because he goes back to those ways. He becomes he may have been forgiven at one point, but he's gonna see little Bill in hell. Yeah, like this is the man who released and was unforgiven for his his d he achieved a state of grace and then was right. Yeah, that's an interesting take on it. I actually, I think that's my new favorite take on the title of unforgiven because I was thinking the same thing like the fact that like he was all a sham or no one can be forgiven or the fact that like forgiveness and redemption are art official construct. So we just put on the world and you know, doesn't doesn't really matter one way or another. But yeah, I, but there's also this weird. It's not weird. It's it's some kind of element in there of this woman has identified. I don't remember the name, something feathers the girl who marries him. The tournament died. Claudia, his wife. I don't remember either. There's something in there about her. Having identified something in him, that is not what everybody thinks he is right. Like she finds the side of the doesn't drink and murder people, and he's a good man. But presumably why he was still drinking a murdering, right, right. She, she identified it despite all that. And then she kind of fixed him for a while and then she died, unfortunately. And he goes back to his ways. But in the end they do this post pros post crawl where they say, like, you know, her mother came and eventually made a trip out there to see you. You know why she would marry this man who who everyone said was so bad. I think what that crawl is trying to tell us is that she had identified something good him. And so I don't know where that leaves him in the end of the movie. I think there is a little bit of a compromise at the end where honestly, I would have just left it at him, killing people and going back to his old ways as opposed to trying to say that he's killing all these people. And yet there's something good in him and he has a decent life after that. Yeah. Like how did the the problem of having Claudia his wife like civilize him once he finds his way back to drink and wickedness, then what I guess he's a mean, maybe he's killed memory of her. The brings him back, but that's the other thing because like, you know, speaking of like sign of the times like the idea like how old you think is oldest boy was ten? Yeah, seeing like eight ten somewhere there, and he just leaves them at the house and take care of your. I'll be back in a few weeks, like if you get into trouble ride for Sovan. So's. Yeah, Killa chicken. Go see DoubleTree, whatever. Yeah, like it wasn't like planned or anything. It's just like, this is what's going to happen and let in the like I figured because it'd been a long time since I couldn't remember because I remember thinking that they play a lot with like, who's the good guy who's the bad. And I remember Gene Hackman as being the bad guy. But also like again in the middle of this movie where he's lecturing the journalist on what it's like to be a law man versus of outlaw. And I'm like, maybe like this is another thing I saw something is eighteen and I'm going to see it later and I'll completely have a different opinion. But it didn't change this time. I was. I was watching them like, I wonder if he's abandoning his children. So like when he turns into a complete monster at the end of the film, you won't worry about of overmuch. It's like, I thought that was I kept on thinking about what. When the show fueled kid rides up on and he's like, I was worried that you might have been somebody want to settle old score. It's like man to be an old good Slinger. So I you kill all your rivals. You find a won't be, you know, you find a woman. She civilized you go out and you try to raise hogs like, but you never. Even if you kill all your rivals, like your your ten fifteen years away from their kids coming up and be like, you shot my Paul and I'm calling you Al. Like what point would he ever be done with that life? I also low key that that's the thing I always think is funny is these guys taken wanted posters, which are sheetrock charcoal drawings is. Yeah. And then like from five hundred yards like, yeah, that's the guy, no, no, Benach Yalies our scope just like, yeah, that's the. That's the son of a bitch, the meats this description, like always, I always think that's so hilarious. Yeah. With how many misdiagnosis we get with modern leg cameras and DNA and fingerprints and all that shit. These guys are hunting down and killing in based on police sketches and really just sad ones at that. Like I laughed out loud when those when they showed those pieces of paper because of how ridiculous all idea is. Yeah. Yeah. I mean, I saw like I guess there was like usually like identifying marks like tattoos or this guy's missing this teeth that like, but still, but still. But yeah, no, I was like a man to be guy like Clint Eastwood the be done about life and then have some seventeen year old full of piss and vinegar come pump. You full lead, especially this is everything that tracks true with all my understanding of the gun. The gun fighters of old were the really blurred the line between outlaw lawman. A lot of times, like I said, like, I think someone like. Shit who the guy from tombstone. Wider famous law man was considering outlaw and a lot of territories to he just decided to settle down. Start running his racket. I think that's the, you know, like it's not like a lot of times they call each other at you'd have this thing, high noon. It's a lot of like shooting someone in the back or get into confused gunfire, and you kind of like survive by sheer luck like like, I thought it was interesting how Clint Eastwood said, yeah, I've always been lucky and gunfights like he might not even be good. But like the story they're telling here is that Clint Eastwood just by in a movie, doesn't give a fuck. Like he's not scared because he's superhuman. He just rip roaring drunk and why everybody else is like, as you can see, they kept in that final climactic gunfight that kept cutting back with tween Clint Eastwood, who takes a knee and just calmly lines up. Just the same way that gene happened said it would go down and take out every one of these guys who are fumbling with their belly because they're trying to be outdraw him and they're shooting wild and they're missing him and he's kill every one of them because he just he doesn't care in that moment. He doesn't care whether he lives or dies, and every one of these men. Hold their life. They very dear. Yeah, he, he stayed cool. I, that's probably my favorite scene in the movie is this story about Corky and English, Bob's showdown and all the stuff that comes out of that because that's where Gene Hackman has the line about. It's less important to be quick and and good with a gun than it is to be cool headed. And in that scene, you realize, I mean, he's talking about money. Money is is cool. What is the? What does he say? At the beginning of the kid Scofield kid says like coal, the snow or something like that. Yeah, coldest winter. You realize he's talking about him and you're like, okay, I I like what they did there in that story is just so entertaining to like to Gorky. What they call him to gun because he's got a giant dick. He shoots himself in the Toey blows off his and a little Bob is able to kill him or in that ledger, English. Sorry. And they kind of play a lot of stuff in the margins. Like I noticed that like know they, we see the prostitute gator face cut up, but the next time we hear it like she got her ears cut off or nose cut off or her eyes gouged out neck rhyme. We hear it. They cut her teats off. Next time we hear it. They cut her fingers and toes like it just goes to show how like legends good or bad grow in the telling an English Bob accidentally drunk one a gunfight because of pure dumb luck. And the he is essentially traded on that image of being this guy survived this miraculous gun. He win against three garment and survived or whatever. And you know, maybe he is. He maybe he's a bad man. Maybe it's pretty good at the gun, but he doesn't want to draw down on. Gene Hackman at the end now which I thought I would again Jesus Christ these scenes where he's sitting there with the the, you know, I completely forgot about English Bob and English Bob road in the town on my, oh, this looks like fun because he's with the guy who stole data and Star Trek. Next ration- this motherfucker. I hate this guy's face goblet at him. Look at him. He's going to he's going to. He's going to go steal an Android from the wild west right from under Mark Twain's knows and I thought he was going to be. They're going to be like like English. Bob is the deadly hired gun, and this is his leg sharpshooter assistant or something because he's carried himself with a little bit of a swagger. Like you know, an English Bob refused to give guns up like this guy's got this smirk on his face. I all these yokels don't even look Bobby so fucking cool. He's like, yeah, because of the story that Bob is writing. You know, right? Bob is spinning a story of his legend. This writer. And he's just eating it up, right? But then like the this, why it's such a great anti western because Gene Hackman is essentially reading like Wikipedia articles of the real old west to this journalists and tell them out really is. But there's also something funny about. Like Jean hack like, so like Clint Eastwood is trying to become a hog farmer and he's terrible at it. Gene happens trying to become a carpenter and he's terrible at it. Okay. Both men are kind of like India nihil of their like their true purpose ourselves or maybe what gene Hackman's problem is is he should have just gone all in on building is in porch and hung up the Spurs let someone with better more. I knew I as I don't know, but I think he should focus more on the roof on the porch. It is weird because, like I said, I keep coming back to like Gene Hackman is trying to move the west and through the modern era. He's trying to be like, okay, look, we need to settle this with fines and civic penalties. We need to get out of just shoot outs in the street and vigilantism, and but I mean that just exposes I guess the problem of like if you're in the whatever the insert is, if you're if you're not in Indian, you're NADA, you're not a black man. You're not a. Woman, you know, you're going to be pretty. It's fine. Everybody give up your guns and we got Justice now. But you know, if you if you cut up a woman to pay the woman to find you pay the guy who's or didn't right owner. That sounds like, I mean, that's what it is. He's got a fucking contract where he purchased these women. Right, right, right. And they, I guess, can eventually work themselves free because I'm not sure how that just not outright slavery, but it is. It is fucked up but like Gene Hackman by supporting this system of Justice, which is ultimately wears aside and need to move. He's just came down on the like, I don't know, like their idea of Justice in that town was kind of fucked up and perverted. Yes, certainly little little bills. Idea of Justice perverted. I mean, from the very first scene, I'm against him. I, I am one hundred percent with the women who say that this is injustice. If you have a monetary because everything is trying to figure out, I wanna watch this movie again because I, I really, really liked it. I kinda wanna do double header of this in tombstone for me to be like which one because I know the tombstone like the back of my my hand, I've seen that movie a dozen times like there's big sections ragging just quote, you know, and there's like so many bad ass and areas and it's so but it's it. I mean, there's a little bit of like like that this anti western revisionist western ISM, but not nearly to the extent that that unforgiven goes. So I kind of feel like it. It's going to end up being more fun. But yeah, I like to watch this again and see because I feel like that maybe the his tragic flaw is he allowed his like this. He owned the Bharti ranch or is he has an interest in that because I couldn't understand why he was standing up for this workers and why he was like going to the mattress rather than just, you know, like like, why wouldn't you whip those guys? Why wouldn't he do something to recognize the injustice through the women except for he just I don't think you saw them as human. No, he was going to until the bar owner. Saloon owner stood up and said, hey, I own these women. They were my property, right? So I'm actually the wrong party ear because he was going to whip them right? He got the bull whip out right? And he just didn't use it because he made them pay a fine instead. Right? I don't know like this, like all throughout the movie like it to me like the movies played out like he was the owner of the Bharti ranch. And that's why he was interested in overlooking. In these guys, it's because it's not like he just had a skewed sense of Justice. He actually had his thumb. He actually had a fairly conventional sense of Justice. The heat is put his thumb on the side of the scale because these were his guys, but I don't. I don't actually know if the movie was telling that story. It could just be that their town of story of, you know, Gene Hackman being a law and order guy, but he's just the wrong kind of law and order. But yeah, I don't know. There's a lot of things like I kept on like there's a lot of talk about Morgan Freeman and having that rifle and still be able to knock out a bird too. But like I thought it was interesting how like Clint Eastwood is seen if you still got it with the gun and he's missing this coffee, can he find gets out of shotgun and it's like it's going to be that kind of movie. Like, you know, he's got a break is like it's like you just showing these guys have lost a step. And I thought for sure that when Morgan Freeman came time to shoot the bird avenue, I or an eye out of the bird, he wouldn't be able to do it. But I think it's because he'd lost his nerve. Yeah. Yeah. That was a little surprising to me and it was a pro and that's, that's why I feel I, yeah, Morgan Freeman deserved recognition for his acting because it wasn't a flashy, but like where he, he portrayed that when he's like is don't guy as like it was a surprise and shock of himself, like. I don't know why this isn't working like what? What? What's happening? What's I thought we were going to be the problem like I and that's kind of tough. That's kind of a tough thing to tell just with your eyes in your face and your your mumbles. You know. That scene is really, really good. Actually, I really liked the scene where they're talking about. Like like like that night, they're sitting around the fire and there's a Firelight plan on all these men's face and like Clinton's was kind of turned away from the fires was faces all shrouded in darkness. And and you know, he's talking about how dangerous he used to be. And he's kind of like arguing a like, hey, just because I'm going on this killing doesn't mean I'm going back to be in an evil guy and Morgan Freeman's leg, will you? Yeah, you're, I like that anymore. And you're just a fella and that the yeah, the the light and dark plane over Clint Eastwood's face. That's why I'm saying like. This, this movie works on that archetypal level. And that's why I think it's it definitely deserves his place on the mount mount Rushmore. I also really love Richard Harris doing the political argument on the train talking about like the president being shot versus, you know, you can never shoot a king or Queen because even if you went to do it, you just be blinded by their majesty. Right? And he's kind of like making that argument about himself. I adds the his legs, I guess, refined English guy dangerous, and I'm cool and seeing. It turns out to be a lot of bullshit, but he's framing himself as gunslinger royalty. Yeah, she shot chinamen for the railroad. Yeah, this guy seems like a real asshole. What the why would the railroad company pay you to shoot more workers? Yeah. Like is that a thing like at the end of a project or like, all right, you guys survived the stand in line. We're going to pay and they went bang, bang, bang, and buried them out there. Like, I don't know. I heard that the Chinese labourers really had had a bad bad lot out there so, but that's in west rule type shit. You know, there's a lot of things like also like Clint Eastwood talk about shooting Adrover. I don't know what the hell Adrover is. But I don't know. I also liked like a little moment like the when the one guy comes back to talk about, you know, little Bill building buildings porch and him not being scared. He starts off by like loading his own gun and saying like, no offence. I don't trust anybody load load my own gun in a fight. That was like, it's just little shit like that that didn't need to be in the movie, but it instantly sold you that this guy is a little bit more serious than everybody else in the room that just like little dogs run around the big dog saying like, oh, it was it really like, this is a really liked that is Bill scared as I thought. I thought it was great. I thought I didn't like. I didn't like the journals wedding himself. No, I thought that was over the top. That was the one part is visually where, like I think a little bit of its dignity was robbed because I mean that's some some robbing of dignity when Clint Eastwood falls face first in a pig shit too. That served a store understand. That's intentional. Like I couldn't believe how many times he fell off his fucking or it's like at the at one point, it's three times he falls. But yeah, the pissing seen I thought was you know, in a scene where a man is falling into pig shit, someone is talking about two gun Corky. You know pack in pack and one gun and a pecker. This even fell a little bit too much. Everything is like, it's to me. I don't know. I could be speaking on my ass year, but to me, the person pissing themselves and fear is a lot like like the Japanese conceit of having a nose bleed when you're overcome by romantic like it's it's a poetic thing that doesn't actually happen. Like if you get shot, you might piss shit yourself, but like from fear and like I feel like as much as it scene in the movie, that's like the western version of a nose bleed. Like you're just trying to sell a guy that he's completely scared and he's, he's, he's he's rolling over and literally pissing himself like a whipped dog. Does that actually happen like in my really know that it happens at at gun point like like, I get it having gun pointed jet, you very fucking scary, but it it in my mind. It doesn't invoke that kind of terror. Right. True. True. Terror like things. That you can't quite understand like almost a blue type terror might get you there, but I don't know. Look, I'm no expert on on what makes you piss yourself? I always feel like I've late. It's been used more for comedic effect. Like when Thornton Eggers threatening bull Bill Paxton in. You know, shit. Why can't I think of any movie ever the one, Jamie Lee? Curtis, my God, racer the though God damn it. You know that you just fucking with me. What is it? You don't know it either. It's a racer helicopter? No, it's not. It's last action hero, it's the spy, it's, it's. It's a spy who loved me. No. Shag me, it can only be a funny thing. You can't be a serious thing and it was conspicuous because like I must supposed to laugh in the scene. Yeah, I don't know need just like he didn't just little piss himself eat just pissed himself all over the place. Yeah, I liked the reveal of the kid like I really identified the kid being blind because I've always thought that like I wouldn't be shit in the middle ages or because like I didn't till they invent glasses. I'm, I'm going to be like, once you get out within twelve feet of me, you're, you're gone. You're gone. You're gone. You might as well be to fuck fucking predator especially at night. So like I thought that was. Really cool. The fact that you, here's this tough guy and the way that like Morgan Freeman exposed them with the classic, you know, hey, I can shoot the eye out of a bird eagle show me the, he's up there. Oh, he's not in. I thought that was really cool. On a nice while to tell that the phrase you're always hell in Jesus with a pistol. I love that fucking that line. I've never heard of that hell in Jesus, the pistol the alpha and omega. I've seen this movie. I still haven't heard of it. I'd little trouble understanding stuff at times. I liked the whole play about the duck versus the Duke. Yes, that was that was in that that court, he seen the duck is the GM call is as a duck, and he shot him right through to. Yeah. And eventually the, the writer starts calling in the duck as well. Yeah, I really liked the. I really liked to the escape though the whole sequence of the escape from the, like let's quote the billiards all where they have to get out the back. And then like cr- Clooney's was literally crawling in the street and they have to rescue them. I thought that was, I thought that was pretty good. I also like when they kill the ball when they kill the boy and he's dying there and he's cream for water and like Clint Eastwood's. Like we give them a drink water for Christ's sake. We're not gonna shoot him like that was a really cool moment. Yeah, they're always as weird moments in in westerns where civility sorta takes over, like you're in the middle of a life or death gunfight in there's some element of civility still preserved enlightening, just humanity, right? It's it always strikes me as weird and sort of out of place, but I kind of really enjoy those moments. Yeah, and there's. There's a lot of very great lines about, like, I can't believe you shot this shot on our mangoes way should arm himself. He's going to decorate his shit hole saloon with my my friend, like there's a lot of thousand grade lines saying like, it's just it's just dint descriptors dense with just amazing, amazing lines and scenes, a dialogue and also like believable and really cool action. I guess I don't have a lot else to say, do you want to get more? Do you have some more stuff you want to? Oh, the other thing is I really enjoyed because like this is such a great deconstruction of the western, like Clint Eastwood did the total opposite of riding into the sunset at the end of the movie, he literally wrote off into middle of a ferocious storm at night, like it's that's great. It's the little stuff like that. Then that's makes me even more regretful that they ended the movie with that little epigraph with him standing silhouetted by the sun. Like I felt like him writing off into the store and like he's elemental force would have been a better way to close it. Yeah. I mean, this is one of the reasons why I look at three tend to human saying it's more entertaining movie, and I enjoyed it more because the ending of this movie while being very, very bad ass is not as entertaining as I expected it to be. I guess not as exciting as tale of redemption to end your the long running gun. Battle between a, what's his faces bail and Russell Crowe. And then been months named Plum. Yeah, no. Then something. Yeah, that that shootout is just awesome. And it's exciting and entertaining, and this does not have that, and I'm not saying it's bad for that. I'm just saying it's very different. The different, like for example, a of the pleasure is Clint Eastwood's character intimidating men just through sheer force. A will like when he goes out and it's like, all right, you might take a shot at me. I'm killing them. And then you see a guy lining up and he's just like, you know, we can't dark and I don't know if I can hit him and hands the gun to the other guys like no, no, no, no, no, right, right. I'm not gonna take that shot like that. This is the, it's the living. A bottom of the best defense is a strong offense. Like this guy is killed. Five dudes from point. Blank range didn't get a scratch on him like, that's that's fucking crazy. Yeah. And they ended this movie, I guess I should have seen coming. It shouldn't be that exciting, you know or or that over the top because this is a man who just doesn't lose his cool. And that's the whole reason. He's a good gunfighter. So to show to have that be the climax of the movie makes a lot of sense, but it's also I keep coming back to like, I don't really nailed the thesis is it's not. Gene Hackman's, right? It's the guy doesn't lose his cool, doesn't lose his head, but I don't think the point in the film is that Clint Eastwood is exceptional specimen. I just think that you're supposed to understand he's a drunk that's borderline suicidal and superpower like he doesn't get nervous divisions about the die because he really doesn't care. He's he's ready to go. He's like, you know, I, I don't give a shit about hell. I don't give a shit about heaven. I don't care about my life. I've forgotten about my kids like, I'm I'm just an instrument of death and if I die, that's cool to like. That's the terrifying thing about him. And like him. He having to lose the things that made him a good man. The the fact that he was a father and the fact that he was trying to be respectable again. I mean, that's the thing that robs the moment of it's like true, bad ass crowning glory. Because at that point it's not even about retribution for the prostitutes. It's not about providing a life for his kids. It's only about, you know, getting vengeance for Ned, but he freely admitted that they all deserve death. So there's something very kind of truly outlaw about it, like it's not about respect for law or anything. It's just about these. These men this been connected and in his is you guys doing dirty by by Ned. You got any other thoughts because like I said, we got Sean still has a bunch of stuff he wants to discuss. I also like the idea of being very drunk, not giving shit and keeping your cool all of those things combine to make your own luck. You know, like he, he is very lucky in this final scene, it's not because luck is a thing that exists. It's just this combination of elements that he has that see him through the fights. He gets in whether that's drunkenness, whether that's keeping your cool, whether that's the other guy, pissing himself and shooting into the air. All of those things combined to create luck. No weird way. Yeah. So there's some final thoughts from Sean says, where does this guy this film rank for you guys on a list of greatest westerns? We kind of talked about this. Yeah, I struggle with it. Would you consider last Mohicans a western? It's more of a revolution. Never seen them maybe. Oh, really? Yeah. So I, yeah, I don't know because here's the thing I remember like going back to the watch the searchers last year might have been the year before that is right after we watched. Shit, rot like wasn't the man who shot liberty male available, and I was working my way through these old classic Ford films and saw the searchers. And I remember thinking like, I didn't like it because John Wayne is such a racist asshole piece of shit. Like he's ex confederate soldier still got to say buckle, and he hates like he thinks all Indians or sad needs to point where he's ready to kill a white woman because she's been with Indians too long and she's like, she'll be acclimated to them, and it's the worst thing that can happen. And it's like he's just a terrible person, but I don't know why I had that visceral dislike even though like there's a lot of compelling stuff at some of the finest work. John Wayne's done like. I, I mean, shit cleanest. We could have been confederate soldier. He could have been some racist piece of shit like there's no hint of that, but I don't know. I don't know why the searchers, one of the first of like kind of anti westerns made, why do I not like that? But I do like this movie because that's one of the ones that usually people put on their mount Rushmore. Right. I mean, is it just simply that it's not explicit here? I don't know. It's not spelled out like sure you could use your imagination CEO. I bet Clint Eastwood is a real piece of shit money's probably an asshole. Right? Probably hates all types of people, but like generic bad somehow reads better than specific bad. He's an education to fill in the blanks. Like he'll get drunk in a murder you because you crossed him, but like that's not as bad as like, I just think all Indian should die. That's like, there's there's bad men and there's evil, you know. And I feel like. You know, Wayne, John Wayne kinda played with almost being an evil archetype in the searchers. But yeah, it's like, I think this movie is definitely on a mount Rushmore, I think, like, you know, especially if we're talking about a modern Rushmore like this, this that's three ten to Yuma. It's tombstone. But like, yeah, going back because like the old westerns are just a completely different beast. You know, it was a lot more black and white and good and evil, and. The, you can't get away with that in a modern western. Like we're one hundred years away before you can just make happy western again. And even then they'll probably be people be like, this is a whitewashing of history and right. He says, I thought it was cool. The little Bill Gene Hackman describes his own fate. The bag refer. Amanda will keep his head and not get rattled and their fire. He's the one will kill you, which is, of course the kind of man the money is which is exactly what happens in the final saloon scene, but it's also the kind of man. The Bill little Bill was like, it's just, I thought it was a blending of the two things. He said, because part of it was Clint Eastwood just came up and snuck up on them why there were planning his capture just like I'm here and shot him without warning. Yeah. And that's kind of what I mean like you with creating your luck here. Because the entire time the writers like, oh, how did you decide who to shoot first? And he's just like a shot the I just shot the first guy shot. Yeah, you know, he doesn't say like, oh, I knew the little Bill was kind of man who keeps his cool and right would gun me down in an instant if I let him and I believe that I shot. He's just like, no, I just shot. I shot the first person who moved to me. I was blind drunk and the first guy like I decided shot the guy that I shot. Now I do wonder how much you're supposed to believe that because it also was absolute the right strategic thing to do it is and he's got a history with the guy, right? I mean, they know each other and not just from that bar scene earlier in the movie, but certainly he's got to walk in there and I don't know how drunk he is, but presumably not so drunk that he can't recognize faces wrote. So he's gotta remember, hey, this guy that beat the shit out of me when I was six earlier and I guess he did. He he, the first guy shot was a saloon owner. That's true. Yeah. Who's the owner this shit hole, boom, saying one shot. The scattergun left. He put it in Hackman and then yeah, then variety. So pissing themselves, he just drops the knee and calmly methodically kills them. All right. Sean says, I felt was tragic that will Ned and the kid killed the boy. I seeing as he isn't the one to cut the girl, but it goes along with money's line of deserves. Got nothing to do with it too. Comes later in the film. I mean, that is a, that's definitely something the film because like what did that boy, the way I saw the first scene is that he was trying to stop the guy, pull them out, like how he got lumped into the cutting. I was a little confused by kinda. Yeah, it it was weird because I think at the beginning he was holding her. And then when he realized what was happening, he said, no, no, no, not for me, and then he got thrown across the room. But yeah, I do. I do think he was a better person than the other guy gets killed second. What's also because he comes back with the horses. Right? And he's like, I want to give the best I want to try to make up for what we've done. Yeah, in whatever way I can. And I think it's hilarious. The the woman who was cut doesn't. Get a choice in it, and the other women drive drive this guy off without giving her the horse. That was interesting scene because like my take was that the scarred woman was kind of a little not mollified, but like not even touched. But like, hey, that's a beautiful horse. Yeah, I'd like to have that horse and or I could sell it for forty bucks, right? There's a lot of money and then they just be like there's a little commentary there between like, you know. How, but I don't know what the commentary is like victims sometimes get put into bad situations because people decide what they need, you know. Like like, like, like, you know, being used as like some kind of champion for some. 'cause you don't agree with just because you're there's, oh. Oh, there's a lot of interesting stuff that I would like to explore in a further rewatch that I don't quite understand that one of an might just be just to underpin the movie's theme of like how senseless everything is like this guy is the better one, but he gets killed. I and there's no mercy for him anyway. And throughout the film Sean continues, we hear whispers as opposed how bad ass money is. And it never comes across that final scene. He keeps saying throughout the whole movie, ain't like that. No more. I'm just a regular fella now and then little Bill beats the holy hell out of him in a bar. I remember thinking the first time watching Eastwood must be all talk. If he's leading little Bill, beat the shit out of in this bed. But by the end you realize how dangerous is. Yeah. I remember watching the film and do and remember that point where like, oh, this is like an anti anti western, where this is like a Braveheart where the good quote, unquote good guys is going to get beat and we're going to leave and and Hackman still going to be the king of this town. Whores are going to get Justice and think about that on the ride home. Movie goers like every once in a while, Hollywood will do that. Like cleans what seems like the guy that might he's more sentimental than I think given credit for he is. I mean, look at a movie like grant arena, right? I was about to say the same thing. Yeah. And you got to see the guy has a hard oriented like million dollar baby, like all of that stuff? Yes. Yeah, filled with heart. Yeah. There's a lot of like, you know, despite his rough exterior in there is a lot of pathos and empathy in his work. I also think it's unlike many westerns because of how complex all the main characters are. This isn't some western about a wealthy landowner making everyone town miserable or one sheriff, hell bent on Justice and cleaning up the streets. The main characters in this film are people have made decisions in their life that they're feeling the effects of and paying for passan's they made without any hesitation in the moment, a little bills always trying to bring stability too big wisp whiskey and make it more than just another town in the west for Eastwood and Freemen's characters living with fear and regretted the consequences for the actions. To their loved ones that line for money's daughter to her brother Depal used to kill folks. I thought when watching it while sure he's killed outlaws or villains maybe. But then they reveal. He's killed women and children to this isn't another outlaw Josey Wales or pale writer where Eastwood always has a moral compass. He's not the hero here. Earliest hasn't always been one. Yeah. Let me ask you. Do you believe that or is this part of the image that money is putting forward about himself, believe like like English. Bob has very much has an image that he's portraying right in this film. Do you think the money is doing the same to essentially scare the shit out of little Bill at the end of this movie like, yeah, those things you've heard about me. They're all true. Even if they aren't true. He's saying it, I think, okay, I tend to think that Clinton. There's one moment in the movie where the kids trying to like zero in, I think, might even been after the kid made us I kill and you can tell that. This lifing in this kid? Yeah. And like you like he's trying to get like, you know what's it like? What's it like in Eastwood's? To be honest. I don't remember. I was drunk the entire time, like I was like near blackout drunk for my entire gunfighting career, and I think that's true. So maybe he did like I think the part of the unforgiving is that like what it must be like to be a person like that and live such a terrible life to wear, like no matter what someone told you about yourself, you'd have to be like, yeah, that could swear. It couldn't swear. It. You know, there's like all these like like any skeleton. You could drag my closet like, yeah, I might have killed that guy or that woman or that little boy. Yeah, I do almost think that they're, they're setting up all these characters as having. You know, images that portraying right, like Scofield kid says Akhil five guys, and we turns out he's never killed anybody. English. Bob is talking about this amazing gunfight that he got into and how he wanted over to gun. Corky turns out it was a freak accident that gave him victory that battle. And I think the Clint Eastwood money is supposed to stand as the counterpoint to all those is supposed to be. The guy who actually has killed a ton of people. The guy who has done a whole lot of horrible things and is the really amazing gunfighter fighter weather. It's luck whether it's drunkenness, whatever, he's lived through all of those events. Exactly. As people understand them. I think he's supposed to be the exact opposite of what everyone else is set or he's supposed to be the thing that everyone else is saying they are when they're in fact not right, right. But there's also like I keep coming back to him being drunk the whole time, like he's the best there is a, he's the best. There is a what. He does, but he has no memory of it. He has no glory. He's got no satisfaction. It's just all vague regrets like he's a, he's a, he's a, he's a pitiable character. I don't know. There is something very interesting about that that like in that does feel very true to like these real-life western legends where they're not all they're not all good or evil. The fact is they were there people living in a bland that was largely lawless and you made of it what you know, you. You tried to make the best out of it and like Adele. So the setting of this kind of like the tail end of their of the wild west, where there's like no room for these men and they're not really wanted, and. There's also a probably a lot of interesting conversation to be had about the politics of gun control because like this and tombstone makes a big deal about the fact that like one, the first things these civilized cities did was like banning possession of guns within the city limits, right? Like like even in the wild west, where it was the root nece tutina six shootin est like people like there's way too many people here on top of each other and too much alcohol to have guns in the mix yet. Like that's also a lot of people point to that frontier experiences of where America, like I fell in love with the rugged individualism and the, you know, the security guaranteed by the second amendment. It's like, but even they didn't believe that bullshit. Do whatever you want in the Iran. Sure. But when you come to town lead the guns a homeboys. Yeah, there's no reason to have them in the town right. Have you are under the protection of the law, the law, right? And they have the guns and you understand that they are there to serve you. But I also think you could make like a second amendment. The second amendment us God last night I was driving home. The pick up my son from school, and I got behind the Jeep that had this like the tire cover had this big skull with cross shotguns and second amendment homeland defense in seventeen eighty eight or whatever. And I'm like, Christ that guy watches this film, and it's like, well, this is a cautionary tale of what happens when you surrender guns to tyrant because now you don't got any like those. If those whores had six shooters and Gatling guns and shotguns a bet they would have gotten their Justice. So I don't know, I guess, depends on how how you look at things. I think they got their Justice anyway. Yeah. Well, and that's the other thing is like when like will is at the end and he's hollering out that like you better bury my friend, right and proffered. And then he keeps on talk. Shit online. I better not hear about any cutting any whores come back and kill you, like I don't. At that point of the movie, he's not doing it for any of those women. He's doing it just for himself at like he's drunkenly remembering. Oh yeah. I'm also here for this. Go to change the town named little whiskey's. Right ski. Dick. I wanna see that on the side or a comeback Gill. Never wanna use onto dry better. Have a bronze statue of me shot down a little Bill. Let's see. So he wants to talk about. So you had your taken unforgiven which is Eastwood was forgiven because of the love of of of Claudia. She'd redeemed them. Seems like the humour. I'd say that just seemed like such a horse shit trope. Right? You know, at some point he becomes unforgiving when he goes and kills them. Unforgiven his dips back into the whiskey. His take is he says, I. Because the title unforgiving to not receiving forgiveness characters ask for a film, give several examples of these. And then he says, declawed is love for will change him in a way that his old life of being a killer. It was forgiven. But now that she's gone and he took his bounty and reverted to his own ways, is will money Now, Dan than could be considered, unforgiven, which pretty much is your take? I think so, yeah. He said line about, you know, they'll see in hell, and he just says, yeah, that's, that's what he says. Is money. Finally accepting his fate in that scene. Like I think so. But that's other thing is what does it mean to accept the fate? If he just like, I think you're supposed to understand this guy's not touched a drop alcohol and ten years drank a whole fifth of whiskey and then rode into town full of it, like what is to accept one's fate in that, like to me, that's almost like. Giving up like in a like a relapse like this and like, you know what's going to happen. And if you're in your right mind, that wouldn't happen. So he's drinking just so he can work himself up into this. Is that accepting the fate like anything that he does and this final scene, because that's why I think the final imagery of this film is parabola Matic for me because it seems to desperately undo a lot of the thesis at the film has just so would can get a little bit of like a piece for his character at the end. I mean, there's still like seals feels like a shrouded in legend. Like some people say he did this and maybe he's like, but you know, I think that's the film's voice telling you, yeah, you went to San Francisco. Kids are okay. Like what the fuck that didn't feel like projector, this character, but then maybe maybe the the cut face whore gave him some absolution. That was like there's some surprisingly bridges amass in county. The material there between him and the the woman that got cut up. Like I was like, I didn't remember them getting back together, but I guess this makes sense and like nineties, Clint Eastwood western kind of way. But yeah, I guess I wonder how he found himself back to sanity and sobriety and house able to take care of them kids because that felt like a moment of just fantasy film engaged in. All right. That's all I got thoughts, Jim sure. Don't Shawn Ray. We got one more and it's a big one. I think we got one more JFK. Thank you for making me give me an excuse to watch this movie again. I thought it was delight. Also. I think you're going to go down involvement of history as the most prolific Commissioner. If you're not there already. Have to do a final count at some point. Like when the when his lasted this, these commissions we do should do like a final count and do like tally or maybe we should have a Commissioner, Rushmore. Right where we take the form images and chiseled on a piece of rock. Anyway. Thank you for having us watched this film. It got one more for you. Thank you for your support, a ball move, and we'll be back with the next one until then I may run and I'm Jim later.

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