Josey Wales hors-la-loi

Clint Eastwood has directed, played in or starred in a lot of westerns. We all have our favorites and this my favorite Eastwood western, along with the more set-in-modern-day western, "Bronco Billy." (The latter is really a drama more than a western.)

This is simply an extremely entertaining story with two lead characters - played by Eastwood and Chief Dan George - who were fascinating to watch. Also, as in most westerns, I enjoyed the good photography and was surprised, considering the year of release, that the language was pretty tame.

George has always been a favorite Native American actor for many people. He gets choice roles playing likable guys, and "Lone Watie" character here is no exception. Eastwood, as " Josey Wales," reverts successfully back to his "Man with no name" persona: you know, the strong silent and somewhat mean type. He's a lot like the characters John Wayne played late in his career. He best portrays this with scenes like the one in which he spits tobacco on his dog!

In addition, there are some solid actors in minor roles, people like John Vernon, Sondra Locke and Bill McKinney, Will Sampson, Sheb Wooley and Sam Bottoms, among others. I was surprised Locke, Eastwood's girlfriend or wife at the time, didn't have a bigger role. With her youthful looks and great big eyes, she looked prettier than I've ever seen her, although she never was a glamor girl or got many good parts.

At 136 minutes, this is a bit long but it never drags. This is one of the very few movies I ever watched twice within two weeks and enjoyed it immensely both times....and each time since.

The best thing I can say about this film is that it manages to be Epic --truly grand, covering broad territories interior and exterior, a lot of emotional, moral and physical ground-- without posturing or self-conscious bigness. You never get the feeling people are being herded onto a giant mark for a take. --Or that Eastwood the Director is scrambling for filler, biding his time until the timing is right for the next blow-out set piece. In a word, it really has none of the faults even of some of my long-time cherished 'favorite' epics (no names please). It is more focused and more genuinely evocative of mood than Nevada Smith, which its story may faintly call to mind; it seems less overtly "Hollywooden" than that film, too.

Westerns that stand in stature alongside Josey Wales: The Searchers, One Eyed Jacks, The Man Who Shot Liberty Valance, Fort Apache, and The Good, The Bad, and The Ugly. Beyond that, I draw a blank. The Boetticher and Mann '50s westerns with James Stewart and Randolph Scott are probably the real spiritual predecessors of this film, although, stylistically, Eastwood has clearly studied his Ford and paid close attention to Leone. (Those who've seen Jimmy Stewart break down in tears of moral anguish in one of the aforementioned films-- or watched Randolph Scott use up all his ammo in a standoff on some matter of principal so imperative that he cannot move until the thing plays itself out, however that may be-- know exactly what I mean.)

Another thing I like: Whenever you get too comfy within the environment of this film --as you did, say, in the late John Wayne westerns, after he had become such a franchise-- along comes some major shock or disappointment or unbearably poignant bit to remind you that the model of this film is, after all, real life, where these kinds of thing happens all the time.

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May I add a spoiler at this point? I said "A SPOILER??" What happens to Terrill, the chief red leg, at the end of this film is more in line with the fate I envisioned early in the going for Bill the Butcher in Gangs of New York. It is spectacular, painful to watch and more than a touch grisly. But it is not so overblown and RoboCopesque that you can't imagine such a pivotal moment actually happening that way. The ending of The Outlaw Josey Wales is, in a word, what the ending of Gangs would have been if the focus groups and script doctors and the Great Scorcese had gotten the thing right.

Ten stars.See it.

Having grown up with Josie Wales as a household name and being a big fan of westerns, I have to agree with the just about everyones previous comments in describing it as excellent. It represents what a true western is. The story line is captivating and intense. The lead character played by Clint himself could be played by no one else. What some may call "lack of acting" because of lack of dialog only lends itself to the desirability of this film. You find yourself hanging on his next words. Clints one liners are still household expressions nearly thirty years after the movies release. In short this film is one of the best westerns made period. There have been others that Clint has made including the spaghetti westerns and his Oscar winning Unforgiven that add to his credibility as a great actor and film maker. But not many films touch so many levels of emotion. The only letdown to this film is that it had to end and no sequel was followed by Clint. Lastly, it's too bad for the film industry and Eastwood fans like myself that the man has to get old. His take on what entertains an audience is uncompromising. Films like The outlaw Josie Wales and what it represents to the American Culture will be enjoyed for many years to come.

THE OUTLAW JOSEY WALES is a wonderful story about a wounded man, Josey Wales, a Missourian who has lost his home and his family to the Civil War. As the Civil War ends in defeat and despair for the South, Wales alone of his guerrilla unit refuses to surrender. He has nothing left to live for, except to fight, and he cannot give that up.

This is a setup that has appeared many times in the movies, as the hero with nothing left to lose is a perfect excuse to show nonstop gunplay. To some extent, this happens in THE OUTLAW JOSEY WALES too. It is an action western according to the classic formula, but it is more than that. Josey Wales heals his wounds as the story goes on, and begins to replace the friendship, and then the love, that he has lost. And as he heals, he begins to grow out of violence as a way of life. Many westerns have the theme of the older breed of man who tamed the west by violence being abandoned by his fellows; only this one, so far as I know, has the older breed of man abandon himself, that is to say, change his ways with the changing of the times.

Clint Eastwood is a decent actor, not a great one. But at times he has shown the skills of a really first-class director, and given his limitations as an actor it is the more to his credit that he did not hog the stage. He gives plenty of screen time to an excellent supporting cast, of whom the most memorable is Chief Dan George as aged Cherokee warrior Lone Watie, a role he plays with an eerily perfect balance of dignity and humor. Will Sampson makes an unforgettable cameo as Comanche chief Ten Bears, and Paula Trueman is a magnificently feisty Sarah.

John Vernon plays Fletcher, the man who betrays Josey Wales early on. I don't understand why Vernon could not find work in quality movies after this (he has appeared in 38 cinema releases since this movie and I challenge you to name any of them). Vernon has one of THE great basso-profundo voices in American cinema; only James Earl Jones could compare to it. If mountains could speak, they would sound like John Vernon. His role is a neat twist on the trope of the 'reluctant hero'; Fletcher is a reluctant villain.

The ending of THE OUTLAW JOSEY WALES is the most beautiful and poetic of any in western movie history, maybe the most beautiful of any movie ever. According to the rules of the genre, the final confrontation between Wales and Fletcher can have only one outcome; the movie finds another way, because Josey Wales has found another way.

Rating: ***½ out of ****.

Recommendation: Western fans should own this one, but any movie fan should enjoy it.

Strikes all the right notes of humor, adventure, gun fights and most of all, authenticity. Eastwood is impressive in front of and behind the camera. The script stays reasonably close to the book (Gone to Texas).

Chief Dan George is truly a treasure and was perfectly cast. The great Will Samson is imposing and utterly believable as Ten Bears. Bill McKinney (from the "Eastwood acting collective") is great as Terrill. Although, Sandra Locke is typically forgettable in an otherwise well cast film.

This along with Unforgiven will forever be branded classic "Cowboy" movies in my mind. I still recall Orson Welles on the Tonight Show telling Johnny he had just seen "the greatest Western ever made" after viewing The Outlaw Josey Wales. Brilliant film.