MM: The Outlaw Josey Wales

Hello and welcome to this first of reviews that focuses on the more masculine and overpoweringly manly additions to the cinematic landscape. In that regard allow me to introduce you to one Clinton Eastwood Jr who many of you may of course better know as Clint Fucking Eastwood. Now for most people when told to imagine something western will probably see Mr. Eastwood on a pale horse emerging from a sunrise, guns drawn and scowl ready (or some may see a swaggering John Wayne). Eastwood pretty much invented the true to life hard man fit for the screen and solidified himself as the go to man of his age for the rougher, manlier roles before the world where given its Samuel L. Jackson’s and Bruce Willis’s who would inherit the throne. On leaving that position in good grace however Eastwood saw fit to establish himself firmly as a director of both amazing versatility and breathtaking talent. We catch him here in my opinion at the three way conjunction of all that is Eastwood, we see not only one of his first home run directing efforts but also the combination of Eastwood the Badass and Eastwood the actor.

The story focuses on the titular Josey Wales a man who lost his family to the ravages of the civil war and in his grief joined the South. When the war ends and his last fighting unit decides the time has come to turn themselves in, Wales chooses to allow no such acquiescence on his part and stays behind. The offered peace at his units surrender is discovered to be a ruse and with a surviving comrade Wales goes on the run from the Yankee’s who with the help of his broken and corrupt commander give chase across the breadth of the states. Now if I may say so, that is one hell of a set up.

Now many see this film as the greatest of the westerns, now Eastwood made many many westerns and this leaves many wondering what made this one so special. The answer is that Eastwood in his directorial efforts has created an almost unparalleled atmosphere to the movie. Tone is key and the tone as it is remains dark and strong throughout, allowing for less of a good versus evil fight and more a study of Wales through his interaction with the strange and yet symbolic characters who litter his path. Each of Eastwood’s small group as it slowly assembles through the film can find a direct link to an aspect of the old west this film see’s the end of. With the war over, this old west dies and it is Josey Wales who embodies this downfall of a kind. Never though does the film attempt to force such connections through exposition or odd cinematography. In a style which would come to define Eastwood’s work we see here a true film for all men. The film operates on several layers, infusing a simple and exciting action western with layers of historical commentary and true character studies and development, without ever compromising the simplistic entertainment value of its foundations.

The film is as said filled with an array of memorable and interesting characters who not only have their own stereotype in which they fall but also a further development which reveals more human characters beneath the cliche veneer. Acting is well above average with Eastwood delivering some truly emotionally inspiring scenes. Chief Dan George is an absolute treat as the ancient Indian side kick and nods to Bill McKinney and John Vernon as the films surprisingly intriguing bad guys. Now the odd note in the piece for many is Sondra Locke who made her name in several Eastwood films, her character however is a unusual but fitting cord to the harmony given a little time and excusing her grating singing voice (you will see what I mean).

This film is a personal favorite and one of my top three westerns of all time. Its beauty lies within its simplistic raw entertainment which on its own would make for a good solid western but is here elevated by the characters discovered depth and attention to tone, atmosphere and location. Many see Sergio Leone as Eastwood’s mentor and it is clear here to see the combination of Leone’s attention to characters and story as mixed with Eastwood’s grimmer perspective and rawer visual style. Not to be missed for lovers of westerns and actions and easily a guilty pleasure for the more high brow viewer out there.

Masculine movies as written in red.