The Unforgiven

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Original Title: Unforgiven

Genge: Action,Crime,Drama,History,Thriller

JustClint Eastwood's star-making spaghetti Western A Fistful of Dollars was inspired by Akira Kurosawa's Yojimbo, Japanese-Korean filmmaker Sang-il Lee (Villain) has decided to reinterpret Eastwood's Oscar®-winning Unforgivena Japanese period film. Set in the late 1800s, after the fall of Shogunate Japan, onetime assassin Jubee Kamata (Oscar® nominee Ken Watanabe -- Inception, The Last Samurai) lives in seclusion on a small farm. But when the new government begins harassing the local populace, Jubee is forced to break the promise he made to his dead wife and take up the sword once more.
When a movie isbrilliantEastwood's Unforgiven, it's very hard if not impossible to watch its remake with a fresh eye. I tried, but could not succeed. I kept wishing I was watching the original. Not to say it was a bad film, not at all, but there are some major flaws in this movie. First of all, the characters and actors were nowherecharismaticin the original. Not that they were bad, but imho they lack the emotional depth and nuance that their predecessors had. While Gene Hackman's role seemed beautifully fleshed out, his Japanese counterpart is merely a psychopath.

The film imitates parts from the original at places were they could have strayed off a bit, and vice versa. Sometimes it felt I was watching a western, just with Japanese actors, while I expected it to be a samourai movie. There are scenes from Unforgiven 1 and 2 with matching color palettes, which I think is a shame. Why not go for a totally different approach? Accentuate the differences, not the similarities. But there are scenes in the original that had a lot of punch (eg the final shootout scene), which have been given a different approach and therefore fail.

Where it succeeds is the beautiful cinematography, and the conclusion of Japanese Will Munny's character. I also like the symbolic use of the elements like rain and snow.

Butsaid, I'm extremely prejudiced (Eastwood's Unforgiven is one of my favourite movies) and perhaps the viewer who is not familiar with the original will love this one justwell.
Sang-il Lee's Unforgiven is at leastgoodClint Eastwood's 1992 classic. With the same general characters and plot, the remake adds some stunning visuals. The archetypal white horse dead in the snow ispowerful an image of nihilismwe'll ever see. That's rhymed later by the white bottle of horse-manure hooch that the reformed and now relapsed killer Jubei drains and tosses to the snow and his old war-mate (the Morgan Freeman sub) tortured, killed then left in the frost.

The Japanese setting — 1880s Hakkaido — makes for some crucial differences. The violence is ratcheted up significantly both because of the gore endemic to Samurai swordplay and from the cataclysmic destruction that the nation's atomic bombings have stamped on the cultural psyche.

The film also adds the bitter tribal tension between the privileged Wa and the persecuted Ainu. Jubei has a scene with his Ainu father-in-law who regrets that his grandchildren aren't learning the language. The remake also makes the swaggering young pretend-killer an Ainu. His itch, cockiness and teary admission of humble origins recall the Mifune character in The Seven Samurai.

Where Eastwood closed on the possibility that his Will Munny took his children to a merchant's life in San Francisco, here we get no hint of Jubei's future. Instead he sends the Ainu kid and the scarred whore to his farm, with the reward money. The suggestion is that with his reversion to his old killer self he no longer deserves to serve his wife's memory and to father his children. With the reward and the children he gives the young killer and the woman their chance for redemption. She removes herself from the prostitute's shame and hunger for vengeance, he from the wrong-headed attraction to macho killing.This is a harder moral position than the original.

Eastwood's film brilliantly questioned his own persona's career of film violence. The Japanese context provides a parallel twist. As it dramatizes the inescapable cycle of violence the film could be readan argument against Japan's re-militarizing. For more see www.yacowar.blogspot.com.

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