“I guess they had it coming.”
“We all got it coming, kid.”

It’s certainly not as tight as the more recent clutch of Eastwood’s films (excepting Flags and Letters perhaps) and it was probably for that reason that I still remember the first time I saw this movie, bored out of my mind at the age of 17 or so, wondering just why it was considered in so many circles so brilliant. The last time I saw it was on DVD so I’d guess I was early 20s and it was a different movie entirely – maybe the novelty of DVD made me give it that little bit more time but I’d like to think I plain just “got it” more that time.

This might be only the third time I’ve seen it in my life, and it’s a changed film again. I’ve certainly seen it few enough times to always forget just exactly what the story is – I remember an element of revenge, and I remember the powerful message about violence, but I forget the parts Morgan Freeman, Richard Harris and Gene Hackman have to play in it all; I forget the astonishing depiction of the group of women the story revolves around – I was reminded of that camaraderie to be found among the bank girls of Dog Day Afternoon for some reason, just so real in the way they stick by one another and their fearless “leaders”, (in Dog Day, the way the manager opts to go back into the bank despite having the opportunity to escape; here the woman yelling back at the people throwing rocks through the window in protest at their actions).

I’m still struck by the slightly plodding nature of it in places – yet I’m struck by it only because I can’t fathom, in spite of this slowness that would normally turn me off a movie (see Revolutionary Road most recently), why I find myself glued to the screen, catatonic-like, to Eastwood’s completely arresting chunks of film. Here is a film set over a hundred years ago; made almost 20 years ago; but it feels utterly present even as it glows out of a 28” widescreen in the corner.

Again rooting around for someone else’s words to describe this sense I get from Eastwood’s movies (boy, I can’t wait to work through the fistfuls I haven’t seen yet), I turned to Roger Ebert’s review of this movie and found them:

“Not a boring montage of quick cuts and meaningless violence, but a story told through deliberate strategy, in which events may not be possible, but are somehow plausible.”

(lol … Changeling, Million Dollar Baby anyone?) My italics on the deliberate strategy – I think that’s the key to all of Eastwood’s work … he just always works methodically through a particularly muddy issue and emerges with something every time that, though he does address the tricky grey areas, is nevertheless absolute about where he stands; more’s the point, convinces you to side with him. I really think I might be in agreement with others on this one – the guy has made a ton of great movies, but this one is just something else.