You Can Pay Me When You See Me Again Josey Wales
A peaceful farmer turns vigilante when soldiers murder his family unit.
Film Details
Besides Known Equally
Josey Wales hors-la-loi, Mannen utanför lagen, Outlaw Josey Wales
MPAA Rating
Genre
Western
Action
Adventure
Drama
Period
Release Date
1976
Technical Specs
Duration
2h 15m
Sound
Stereo
Color
Color (Palatial)
Theatrical Aspect Ratio
2.35 : ane
Synopsis
Josey Wales is a peacful farmer and devoted family man, until renegades murder his family unit, and destroy his farm. Fueld by hatred, he becomes an outlaw dedicated to seeking vengance on the people who took everything he had.
Coiffure
Videos
Film Details
Besides Known As
Josey Wales hors-la-loi, Mannen utanför lagen, Outlaw Josey Wales
MPAA Rating
Genre
Western
Action
Risk
Drama
Flow
Release Date
1976
Technical Specs
Elapsing
2h 15m
Audio
Stereo
Color
Colour (DeLuxe)
Theatrical Aspect Ratio
2.35 : ane
Award Nominations
Manufactures
The Outlaw Josey Wales
Clint Eastwood's fifth directorial effort, The Outlaw Josey Wales (1976), appeared in the bicentennial year of 1976 when a heavy rotation of Westerns made a return to the picture show theaters. Breakheart Laissez passer, The Missouri Breaks, Buffalo Bill and the Indians and The Shootist were a few of the other Westerns that appeared alongside Eastwood's film, his 2nd Western as director, after High Plains Drifter in 1973. What makes The Outlaw Josey Wales different from those other fine films is the stardom of bridging two distinct eras, that of the classic Western - pictures past John Ford, Howard Hawks, Anthony Mann, et al - and those of the New Hollywood that tolerated personal visions shot exterior the construction of the studio organisation. While Eastwood wasn't the offset of the new generation of filmmakers to make quality Westerns, he was among the outset to utilize classically-held motifs of the Western - the alone hero who must stand apart from the civilization that he protects - and turn them on their head, but without entirely subverting them (such every bit Robert Altman does in 1971'southward McCabe and Mrs. Miller). Nor did he inject a new tone or approach that did not feel authentic for a Western milieu, such as the contemporary humor in Butch Cassidy and the Sundance Kid (1969). In his volume Directed past Clint Eastwood: 18 Films Analyzed, author Lawrence Knapp writes of Eastwood's style of Western: "Similar (John) Ford's melancholy and contemplative Westerns, Eastwood'due south films question the codes that constitute American cinema and society without degenerating into impassioned, dogmatic critiques of the organization or human nature."
While Loftier Plains Drifter was bleak and symbolic, The Outlaw Josey Wales--the picture show and the character-is a man at war with himself, 1 who doubts his humanity, mourns his past, and kills the hated. The film opens every bit Wales (Eastwood) peacefully tends to his Missouri subcontract with his young son in the quiet cool of the ending day. Soon, a vicious ring of Wedlock marauders, led by Captain Terrill (Bill McKinney), takes away his whole world. His family is murdered. His domicile destroyed. Wales is left for dead with a saber gash on his face, a perpetual reminder of his loss. After he buries his family, Wales unearths what appears to be the merely affair he ever owned that was untouched by flames and death: a pair of pistols. In a scene that is echoed later in Eastwood's Academy Laurels-winning Unforgiven (1992), Wales prepares himself for his new path with target practice, until his aim is deadly and sure. Wales joins up with a ring of Confederate avengers, led past "Bloody" Beak Anderson (played by John Russell, who'd keep to play the central villain in Eastwood's penultimate Western in 1985, Pale Rider), and lives a life of brutality and revenge for the duration of the war.
In lesser hands, that part of Josey's story would bulldoze the whole film, but Eastwood is interested in much more than the bloodshed. It's about the journey. Eastwood said in an interview with Patrick McGilligan in 1976 that The Outlaw Josey Wales is "a saga. It'south about the character I play, whereas in The Good, the Bad and the Ugly (1966) the merely character you got to know-somewhat - is the Eli Wallach grapheme. In other words, Josey Wales is a hero, and you come across how he gets to where he is - rather than but having a mysterious hero appear on the plains and get involved with other people'due south plights." Hither Eastwood jumps from the narrative ground covered so well by a classic Hollywood director like George Stevens in Shane (1953), or even by himself in High Plains Drifter. Josey Wales isn't a myth, although as the story progresses, he attains most-mythic condition as a true, albeit exaggerated, celebrity/killer. Eastwood develops the character by bringing him full circle, from family man, to vengeful killer of men, and dorsum to (reluctant) family human being.
The story achieves this in a low-primal, humorous mode by giving Josey ample opportunity, despite his ain objections, to collect new members of a crazy-quilt patchwork family. First, there is Solitary Watie, an old Cherokee man touched past his own loss of his tribe and trust in the words and deeds of the white man's regime. Watie is played by Chief Dan George, a wonderful actor who had earned an Oscar® nomination for All-time Supporting Actor in Arthur Penn'due south Little Big Man (1970). Eastwood "knew Chief Dan George was the only person to play that graphic symbol. He'due south got a confront you never get tired of looking at. You put a camera on information technology and you just tin can't do wrong. One minute he looks like a puppy dog and the side by side minute he looks like a very aloof king." In addition to Watie, Wales is soon followed by an abused Indian woman, a dog and the remnants of a family unit of settlers who were attacked by a ring of marauders. It is in the context of this loose family unit of survivors that Eastwood portrays a graphic symbol that is exterior culture, similar a classic Western hero, just who nevertheless finds a family unit of other castaways and outsiders.
The Outlaw Josey Wales was based on the first novel written by a half-Cherokee Indian poet named Forrest Carter entitled The Rebel Outlaw: Josey Wales (the championship was somewhen changed to Gone to Texas). The book was published by a small company in Arkansas, and was likewise given a limited printing of only 75 hardcover editions. Carter sent an unsolicited copy to Eastwood, thinking the story would be ideal for him. Improbably, Eastwood did read the volume, thank you to his producer Robert Daley, who had read Carter's cover letter, thus bringing the book to Eastwood'south attending. Impressed with the novel, Eastwood bought the screen rights and secured the writing and directing services of Philip Kaufman, whose Western The Great Northfield, Minnesota Raid (1972) Eastwood admired. But shortly after the beginning of the 8 ½ busy weeks of shooting in Utah, Arizona and California, Eastwood the producer fired Kaufman. Eastwood said in a 1984 interview with Michael Henry, "(Kaufman's) piece of work equally a writer was excellent, only when it came to shooting it, it turned out that our points of view were completely different. I had invested my own money to purchase the rights to the book, I'd spent a lot of time developing this projection, I'd conceived a precise vision of what the pic had to be. Phil's approach was probably solid, perhaps it was better, but it wasn't mine and I would have been aroused at myself if the upshot hadn't corresponded to what I hoped for."
Many American critics were hostile to The Outlaw Josey Wales, informed, no uncertainty, past the prejudicial view of Eastwood as cipher more than than a former TV star who had some hits in overseas Westerns and provocative policiers such as Dirty Harry (1971) in usa. "Murf." of Diverseness said that "information technology is goose egg more a prairie Death Wish in which the protagonist soon emerges more than psychotic than wronged..." And Rex Reed wrote in the New York Daily News that the picture show "seems to last 2 days. Never before...has and then much time been devoted to such trivia. On the interminable journeying (Eastwood) is accompanied past a stock company of ferocious hams." Time, meanwhile, put it on the year's x all-time list, and European critics received it much more favorably than their American cousins. Half-dozen years after the release of The Outlaw Josey Wales, i critical reaction trumped them all: during an appearance on Merv Griffin'due south talk show, none other than Orson Welles praised the pic and its star/director: "I suppose Clint Eastwood is the most underrated director in the globe today...They don't take him seriously...an actor similar Eastwood is such a pure type of mythic hero-star in the Wayne tradition that no ane is going to have him seriously equally a director. Just someone ought to say it. And when I saw (The Outlaw Josey Wales) for the 4th time, I realized that it belongs with the great Westerns...of Ford and Hawks and people like that. And I take my hat off to him." That'southward mighty fine praise from the man who practically learned moviemaking from watching John Ford's Stagecoach (1939).
A peculiar footnote regarding the author of the source novel, Forrest Carter: when he tried to involvement Eastwood and his company in securing the rights to another of his books, information technology was revealed that Carter was, in fact, Asa Carter, a segregationist who had organized an even more virulent sub-group of the Ku Klux Klan. He had as well been an anti-Semitic and carmine-baiting radio broadcaster also and had a hand in writing speeches for George Wallace. Eastwood'due south biographer, Richard Schickel, believes that Carter wrote Wallace'southward infamous "Segregation now, segregation tomorrow, segregation forever" phrase.
Producer: Robert Daley
Managing director: Clint Eastwood
Screenplay: Philip Kaufman, Sonia Chernus (based on the novel Gone to Texas by Forrest Carter)
Cinematography: Bruce Surtees
Music: Jerry Fielding
Movie Editing: Ferris Webster
Production Design: Tambi Larsen
Cast: Clint Eastwood (Josey Wales), Primary Dan George (Lone Watie), Sondra Locke (Laura Lee), Bill McKinney (Terrill), John Vernon (Fletcher), Sam Bottoms (Jamie), Paula Trueman (Grandma Sarah), Sheb Wooley (Travis Cobb), Royal Dano (Ten Spot), Matt Clark (Kelly), Will Sampson (Ten Bears).
C-135m. Letterboxed.
by Scott McGee
The Outlaw Josey Wales
Clint Eastwood's fifth directorial effort, The Outlaw Josey Wales (1976), appeared in the bicentennial year of 1976 when a heavy rotation of Westerns fabricated a render to the picture theaters. Breakheart Pass, The Missouri Breaks, Buffalo Pecker and the Indians and The Shootist were a few of the other Westerns that appeared alongside Eastwood's film, his second Western equally director, after High Plains Out-of-stater in 1973. What makes The Outlaw Josey Wales dissimilar from those other fine films is the distinction of bridging two distinct eras, that of the classic Western - pictures by John Ford, Howard Hawks, Anthony Mann, et al - and those of the New Hollywood that tolerated personal visions shot outside the construction of the studio organization. While Eastwood wasn't the first of the new generation of filmmakers to make quality Westerns, he was among the commencement to apply classically-held motifs of the Western - the lone hero who must stand apart from the civilization that he protects - and turn them on their head, but without entirely subverting them (such as Robert Altman does in 1971's McCabe and Mrs. Miller). Nor did he inject a new tone or approach that did not experience authentic for a Western milieu, such as the contemporary sense of humour in Butch Cassidy and the Sundance Kid (1969). In his book Directed by Clint Eastwood: Eighteen Films Analyzed, author Lawrence Knapp writes of Eastwood's style of Western: "Like (John) Ford'due south melancholy and contemplative Westerns, Eastwood's films question the codes that constitute American cinema and society without degenerating into impassioned, dogmatic critiques of the arrangement or man nature." While Loftier Plains Drifter was dour and symbolic, The Outlaw Josey Wales--the motion-picture show and the character-is a human being at state of war with himself, one who doubts his humanity, mourns his past, and kills the hated. The picture show opens equally Wales (Eastwood) peacefully tends to his Missouri subcontract with his young son in the tranquillity cool of the ending day. Presently, a savage ring of Marriage marauders, led by Captain Terrill (Bill McKinney), takes abroad his whole earth. His family unit is murdered. His domicile destroyed. Wales is left for dead with a saber gash on his face up, a perpetual reminder of his loss. Afterwards he buries his family, Wales unearths what appears to exist the merely thing he ever owned that was untouched past flames and death: a pair of pistols. In a scene that is echoed afterwards in Eastwood's Academy Award-winning Unforgiven (1992), Wales prepares himself for his new path with target practice, until his aim is mortiferous and sure. Wales joins up with a band of Confederate avengers, led by "Bloody" Beak Anderson (played by John Russell, who'd become on to play the central villain in Eastwood's penultimate Western in 1985, Stake Rider), and lives a life of brutality and revenge for the duration of the state of war. In lesser hands, that part of Josey's story would bulldoze the whole motion-picture show, but Eastwood is interested in much more than the bloodshed. It'southward about the journey. Eastwood said in an interview with Patrick McGilligan in 1976 that The Outlaw Josey Wales is "a saga. It's most the character I play, whereas in The Skilful, the Bad and the Ugly (1966) the only grapheme you got to know-somewhat - is the Eli Wallach graphic symbol. In other words, Josey Wales is a hero, and you see how he gets to where he is - rather than just having a mysterious hero appear on the plains and become involved with other people's plights." Here Eastwood jumps from the narrative ground covered so well by a classic Hollywood director like George Stevens in Shane (1953), or even past himself in Loftier Plains Drifter. Josey Wales isn't a myth, although as the story progresses, he attains virtually-mythic status as a true, albeit exaggerated, celebrity/killer. Eastwood develops the character by bringing him full circle, from family unit homo, to vengeful killer of men, and back to (reluctant) family unit homo. The story achieves this in a depression-key, humorous manner by giving Josey aplenty opportunity, despite his ain objections, to collect new members of a crazy-quilt patchwork family. First, there is Lone Watie, an former Cherokee man touched by his own loss of his tribe and trust in the words and deeds of the white human being'south government. Watie is played by Principal Dan George, a wonderful actor who had earned an Oscar® nomination for All-time Supporting Actor in Arthur Penn's Little Big Man (1970). Eastwood "knew Principal Dan George was the but person to play that character. He's got a face yous never get tired of looking at. Y'all put a camera on it and you just can't do incorrect. One minute he looks similar a puppy domestic dog and the side by side infinitesimal he looks like a very aristocratic male monarch." In addition to Watie, Wales is soon followed past an abused Indian woman, a dog and the remnants of a family of settlers who were attacked by a band of marauders. It is in the context of this loose family of survivors that Eastwood portrays a character that is exterior civilization, similar a classic Western hero, but who nevertheless finds a family unit of other castaways and outsiders. The Outlaw Josey Wales was based on the first novel written past a half-Cherokee Indian poet named Forrest Carter entitled The Insubordinate Outlaw: Josey Wales (the title was somewhen changed to Gone to Texas). The volume was published past a small company in Arkansas, and was likewise given a express press of only 75 hardcover editions. Carter sent an unsolicited copy to Eastwood, thinking the story would exist ideal for him. Improbably, Eastwood did read the book, thanks to his producer Robert Daley, who had read Carter'south cover letter, thus bringing the book to Eastwood'south attention. Impressed with the novel, Eastwood bought the screen rights and secured the writing and directing services of Philip Kaufman, whose Western The Keen Northfield, Minnesota Raid (1972) Eastwood admired. Only presently after the beginning of the 8 ½ decorated weeks of shooting in Utah, Arizona and California, Eastwood the producer fired Kaufman. Eastwood said in a 1984 interview with Michael Henry, "(Kaufman'due south) piece of work as a writer was splendid, merely when it came to shooting it, it turned out that our points of view were completely different. I had invested my own money to purchase the rights to the book, I'd spent a lot of time developing this projection, I'd conceived a precise vision of what the film had to be. Phil'due south approach was probably solid, maybe information technology was improve, but it wasn't mine and I would have been angry at myself if the effect hadn't corresponded to what I hoped for." Many American critics were hostile to The Outlaw Josey Wales, informed, no uncertainty, past the prejudicial view of Eastwood as nothing more than a former TV star who had some hits in overseas Westerns and provocative policiers such every bit Dirty Harry (1971) in u.s.a.. "Murf." of Multifariousness said that "it is naught more than a prairie Expiry Wish in which the protagonist soon emerges more psychotic than wronged..." And King Reed wrote in the New York Daily News that the film "seems to terminal ii days. Never earlier...has so much fourth dimension been devoted to such trivia. On the interminable journey (Eastwood) is accompanied past a stock company of ferocious hams." Time, meanwhile, put information technology on the year'due south ten best list, and European critics received it much more favorably than their American cousins. Vi years later the release of The Outlaw Josey Wales, one critical reaction trumped them all: during an appearance on Merv Griffin's talk bear witness, none other than Orson Welles praised the motion-picture show and its star/director: "I suppose Clint Eastwood is the most underrated director in the world today...They don't take him seriously...an actor like Eastwood is such a pure type of mythic hero-star in the Wayne tradition that no 1 is going to take him seriously as a director. Merely someone ought to say it. And when I saw (The Outlaw Josey Wales) for the quaternary fourth dimension, I realized that it belongs with the groovy Westerns...of Ford and Hawks and people like that. And I accept my hat off to him." That's mighty fine praise from the man who practically learned moviemaking from watching John Ford's Stagecoach (1939). A peculiar footnote regarding the author of the source novel, Forrest Carter: when he tried to interest Eastwood and his company in securing the rights to another of his books, it was revealed that Carter was, in fact, Asa Carter, a segregationist who had organized an fifty-fifty more virulent sub-group of the Ku Klux Klan. He had also been an anti-Semitic and red-baiting radio broadcaster too and had a hand in writing speeches for George Wallace. Eastwood's biographer, Richard Schickel, believes that Carter wrote Wallace'southward infamous "Segregation now, segregation tomorrow, segregation forever" phrase. Producer: Robert Daley Director: Clint Eastwood Screenplay: Philip Kaufman, Sonia Chernus (based on the novel Gone to Texas by Forrest Carter) Cinematography: Bruce Surtees Music: Jerry Fielding Film Editing: Ferris Webster Product Design: Tambi Larsen Cast: Clint Eastwood (Josey Wales), Chief Dan George (Lone Watie), Sondra Locke (Laura Lee), Pecker McKinney (Terrill), John Vernon (Fletcher), Sam Bottoms (Jamie), Paula Trueman (Grandma Sarah), Sheb Wooley (Travis Cobb), Imperial Dano (X Spot), Matt Clark (Kelly), Will Sampson (Ten Bears). C-135m. Letterboxed. by Scott McGee
Quotes
Get set up, footling lady. Hell is coming to breakfast.- Lone Watie
Now remember, things look bad and it looks similar yous're not gonna make information technology, and so you gotta get mean. I mean plumb, mad-dog mean. 'Crusade if you lot lose your head and you give upward and then you neither live nor win. That's just the way it is.- Josey Wales
All I have is a piece of hard processed. But information technology's not for eating. It's for lookin through.- Lone Watie
When I get to likin' someone, they ain't around long.- Josey Wales
I notice when you become to DISlikin' someone they own't around for long neither.- Lone Watie
Are you gonna pull those pistols or whistle Dixie?- Josey Wales
Trivia
Lone Watie appears to be loosely based upon General Stand Watie, a Cherokee from Indian Territory, who was the last Amalgamated general to surrender at the end of the U.S. Civil War.
Philip Kaufman started to direct the film but was replaced by Clint Eastwood, a controversial move which prompted the DGA to establish a ban on any current cast or crew member replacing the manager on a movie - a rule which has ever since been titled the "Eastwood rule."
Miscellaneous Notes
Released in United States Summer June 30, 1976
Released in U.s. Summer June 30, 1976
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Source: http://www.tcm.com/tcmdb/title/16945/the-outlaw-josey-wales/
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