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Unforgiven (1992) More at IMDbPro »

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Unforgiven -- Eastwood and Morgan Freeman play retired outlaws who pick up their guns one last time to collect a bounty.
Unforgiven -- Trailer for Unforgiven
Unforgiven -- HV post


User Rating:
8.3/10   248,011 votes »
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Down 25% in popularity this week. See why on IMDbPro.
Writer (WGA):
David Webb Peoples (written by)
View company contact information for Unforgiven on IMDbPro.
Release Date:
7 August 1992 (USA) See more »
It's a hell of a thing, killing a man
Retired Old West gunslinger William Munny reluctantly takes on one last job, with the help of his old partner and a young man. Full summary » | Full synopsis »
Plot Keywords:
Won 4 Oscars. Another 42 wins & 21 nominations See more »
User Reviews:
'A Man With No Name' Becomes 'A Man With A Real Story'. See more (477 total) »


  (in credits order) (verified as complete)

Clint Eastwood ... Bill Munny

Gene Hackman ... Little Bill Daggett

Morgan Freeman ... Ned Logan

Richard Harris ... English Bob

Jaimz Woolvett ... The 'Schofield Kid'

Saul Rubinek ... W.W. Beauchamp

Frances Fisher ... Strawberry Alice

Anna Levine ... Delilah Fitzgerald (as Anna Thomson)
David Mucci ... Quick Mike

Rob Campbell ... Davey Bunting
Anthony James ... Skinny Dubois
Tara Frederick ... Little Sue (as Tara Dawn Frederick)

Beverley Elliott ... Silky
Liisa Repo-Martell ... Faith
Josie Smith ... Crow Creek Kate

Shane Meier ... Will Munny
Aline Levasseur ... Penny Munny
Cherrilene Cardinal ... Sally Two Trees
Robert Koons ... Crocker
Ron White ... Clyde Ledbetter
Mina E. Mina ... Muddy Chandler
Henry Kope ... German Joe Schultz

Jeremy Ratchford ... Deputy Andy Russell

John Pyper-Ferguson ... Charley Hecker
Jefferson Mappin ... Fatty Rossiter
Walter Marsh ... Barber
Garner Butler ... Eggs Anderson
Larry Reese ... Tom Luckinbill
Blair Haynes ... Paddy McGee
Frank C. Turner ... Fuzzy
Sam Karas ... Thirsty Thurston

Lochlyn Munro ... Texas Slim
Ben Cardinal ... Johnny Foley

Philip Maurice Hayes ... Lippy MacGregor (as Philip Hayes)
Michael Charrois ... Wiggens
William Davidson ... Buck Barthol (as Bill Davidson)

Paul Anthony McLean ... Train Person #1 (as Paul McLean)
James Herman ... Train Person #2
Michael Maurer ... Train Person #3

Larry Joshua ... Bucky
George Orrison ... The Shadow
Greg Goossen ... Fighter (as Gregory Goossen)

Directed by
Clint Eastwood 
Writing credits
David Webb Peoples (written by)

Produced by
Clint Eastwood .... producer
Julian Ludwig .... associate producer
David Valdes .... executive producer
Original Music by
Lennie Niehaus 
Cinematography by
Jack N. Green (director of photography)
Film Editing by
Joel Cox 
Casting by
Phyllis Huffman 
Production Design by
Henry Bumstead 
Art Direction by
Adrian Gorton 
Rick Roberts 
Set Decoration by
Janice Blackie-Goodine 
Makeup Department
Stan Edmonds .... assistant makeup artist
Iloe Flewelling .... head hair stylist
Michael Hancock .... head makeup artist (as Mike Hancock)
Carol Pershing .... hair stylist: Sonora
Production Management
Lynne Bespflug .... unit manager
Bob Gray .... production manager
David Valdes .... production manager: Sonora
Second Unit Director or Assistant Director
Bill Bannerman .... second assistant director
Grant Lucibello .... third assistant director
Scott Maitland .... first assistant director
Tom Rooker .... third assistant director
Jeffrey Wetzel .... second assistant director: Sonora
Art Department
Edward Aiona .... property master
Dean Goodine .... assistant property master
George Griffiths .... stand-by painter
Jan Kobylka .... construction coordinator
Chuck McSorley .... assistant property master: Sonora
James J. Murakami .... set designer
Gary Clayton Ripley .... head painter (as Gary Ripley)
Bruce Robinson .... construction foreman
Michael Sexton .... assistant property master
Ron Trost .... construction coordinator: Sonora
Doug Wilson .... head painter
Tim C Campbell .... scenic painter (uncredited)
Bill Merrett .... carpenter (uncredited)
Ken Wills .... assistant set decorator (uncredited)
Sound Department
Rick Alexander .... re-recording mixer (as Dick Alexander)
Neil Burrow .... sound editor
Gordon Davidson .... sound editor
Michael Evje .... sound mixer: Sonora
Les Fresholtz .... re-recording mixer
Devon Heffley Curry .... adr supervisor (as Devon Curry)
James J. Isaacs .... dialogue editor (as James Issacs)
Cindy Marty .... sound editor
Michael Mirkovich .... assistant sound editor
Alan Robert Murray .... supervising sound editor
Walter Newman .... supervising sound editor
Kim Nolan .... assistant sound editor (as Kimberly Nolan)
Vern Poore .... re-recording mixer
Michael Ruiz .... assistant sound editor
Karen Spangenberg .... supervising dialogue editor
Karen G. Wilson .... dialogue editor
Marshall Winn .... sound editor
Butch Wolf .... sound editor
Rob Young .... sound mixer
Kelly Zombor .... boom operator
Mary Jo Lang .... foley mixer (uncredited)
John Roesch .... foley artist (uncredited)
Special Effects by
John Frazier .... special effects coordinator
Maurice Routly .... special effects foreman (as Maurice Routley)
Harold Selig .... special effects best boy: Sonora (as Hal Selig)
Paul Healy .... special effects assistant (uncredited)
Bill Merrett .... special effects assistant (uncredited)
Alex Green .... stunts (uncredited)
George Orrison .... stunt double: Clint Eastwood (uncredited)
Camera and Electrical Department
Bob Akester .... still photographer
Mark Anderson .... second assistant camera: Sonora
Marco Ciccone .... second assistant "a" camera
Douglas Craik .... first assistant "b" camera (as Doug Craik)
Peter N. Green .... loader: Sonora (as Peter Green)
Jim Gregor .... assistant chief lighting technician
Dan Heather .... second assistant "b" camera
Hal Nelson .... best boy grip: Sonora
Víctor Pérez .... assistant chief lighting technician: Sonora (as Victor Perez)
Tony Rivetti .... first assistant "a" camera (as Anthony J. Rivetti)
Charles Saldana .... key grip
T. Daniel Scaringi .... dolly grip: Sonora (as T.D. Scaringi)
Stephen St. John .... "a" camera operator
Tom Stern .... chief lighting technician
Randy Swanson .... best boy grip
Carey Toner .... dolly grip
Roger Vernon .... "b" camera operator
Casting Department
Stuart Aikins .... casting: Canadian
William Haines .... casting assistant (as Bill Haines)
Nadene Katz .... casting assistant
Lorelei Kuchera .... extras casting (uncredited)
Costume and Wardrobe Department
Joanne Hansen .... wardrobe supervisor: women's
Carla Hetland .... wardrobe supervisor: men's
Valerie T. O'Brien .... set costumer: Sonora (as Valerie O'Brien)
Glenn Wright .... wardrobe department head
Editorial Department
Donah Bassett .... negative cutter
Michael Cipriano .... assistant film editor
Phil Downey .... color timer
Music Department
Robert Fernandez .... scoring mixer (as Bobby Fernandez)
Donald Harris .... music editor
Laurindo Almeida .... musician: guitar solo (uncredited)
Tom Boyd .... oboe (uncredited)
Tommy Johnson .... musician: tuba soloist (uncredited)
Lennie Niehaus .... conductor (uncredited)
Lennie Niehaus .... orchestrator (uncredited)
Randy J. Shams .... film trailer music (uncredited)
Patti Zimmitti .... orchestra contractor (uncredited)
Transportation Department
Ray Breckenridge .... transportation captain
Keith Dillin .... transportation coordinator
Randy Luna .... transportation co-captain
Other crew
Diane Anderson .... first aid: Sonora
Sheila Aquiline .... assistant production accountant
Marco Barla .... unit publicist
Tom Bews .... wrangler boss
Tom Eirikson .... wrangler boss
Lynn Elston .... production accountant
Penny Gibbs .... production coordinator
Tom Glass .... wrangler boss
Robert J. Groff .... craft service: Sonora
Rose Johnson .... craft service
Rose Johnson .... first aid
Jeff Kloss .... production accountant (as Jeffrey Kloss)
Anisa Lalani .... assistant production coordinator
John Lind .... production associate
Michael Maurer .... production auditor
J.P. Moss .... designer: knives
Lloyd Nelson .... script supervisor
Rino Pace .... location manager
Matt Palmer .... production associate
Melissa Rooker .... assistant: to Clint Eastwood
John Scott .... head wrangler
Carol Trost .... production coordinator: Sonora
Loranne Turgeon .... production secretary
Buddy Van Horn .... technical consultant
Cathy Yost .... assistant production coordinator
Neale Joudrie .... assistant location manager (uncredited)
Tony Kerum .... caterer (uncredited)
Sergio Leone .... dedicated to (as Sergio)
Bill Marsden .... the producers acknowledge the invaluable help and cooperation of: film commissioner of Alberta
Murray Ord .... the producers acknowledge the invaluable help and cooperation of: IATSE
Don Siegel .... dedicated to (as Don)
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for language, and violence, and for a scene of sexuality
131 min
Color (Technicolor)
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Dolby (as Dolby Stereo)
Filming Locations:

Did You Know?

None of the participants, least of all Clint Eastwood and writer David Webb Peoples, actively set out to make an anti-violence film. It was a natural byproduct of the script.See more »
Anachronisms: Set in 1881. When the townspeople are forming a posse, they are discussing who will pay for expenses, and one of them says that the store won't sell them any more 30-30 shells unless they pay cash. The 30-30 was not introduced as a cartridge until late 1893.See more »
[first lines]
Quick Mike:Dammit! Come a-running, lad!
Delilah Fitzgerald:Stop it!
See more »
Movie Connections:
Remade as Unforgiven (2013)See more »
Claudia's SongSee more »


How does the movie end?
Who dies and who kills whom?
Is "Unforgiven" based on a book?
See more »
148 out of 215 people found the following review useful.
'A Man With No Name' Becomes 'A Man With A Real Story'., 12 November 2004
Author: Stephen West ( from London, England

Clint Eastwood's storytelling gives the western genre one of its most sublime story's. Gone is the trademark mysterious hero and in its place is an ex gunman who made his peace when he met his wife. Eastwood has transcended traditional entertainment to storytelling craftsmanship. He delivers rich characters with deep rooted problems inextricably linked to the villains of the story. Refusing to wither and die away, style has been perfectly adapted with age thus ensuring his maturation into a true Hollywood legend.

Besides his now distinctive storytelling, there are numerous factors that make this a landmark Western. The ensemble cast could not have been stronger and there were no weak performances. The soundtrack accentuates the intended atmosphere of the director. A single detracting factor I could find only just qualifies as such. Munny's whimsical lines seemed a little contrived at times. They droned on like pale attempts to capture the Western era. But this is a consequence of the fact that they were more to do with the character of William Munny. He is after all a reformed killer with a now passive approach to people. Given this fact and also that it may have been distracting since it was so out of sync with what we are used to seeing from Eastwood, I still have to list it as a demerit on the account it slightly jerked me out of the story.

Hollywood producers have to satisfy audience preferences if investments are going to accrue profits. It is the nature of the beast. The action and more specifically the Western genre will stick to tried and tested formulas in order to guarantee audience acceptance. But every so often you get people who as a natural consequence of their unique character appeal are able to deliver a story that is outside these understandably restrictive boundaries. Eastwood is a cool individualist who normally plays characters who are not team players and do it their own way. His own way this time is to give the western genre a real story oozing characterization. A sort of ballad for the bad guy.

The ballads tune provides the story with a sad, introspective mood, within the opening and closing scenes. The opening scene depicts Munny in his new found life. He is cured of his wicked ways, helped by his dear, departed wife. But men are not willing to forgive or forget his monstrous deeds and in the final scenes he is who he has to be. Such is the sorrowful life of William Munny.

Westerns are typified by clearly defined goodies and baddies, but this is definitely not the case here. Eastwood and Freeman play reformed killers who find circumstances drawing them once again to their evil ways. But the older and wiser men now realize the value of life and come face to face with their troubled consciences. This is unlike their naïve, young partner who is attracted to the bravado image of the killer and relishes taking a man's life. This moral issue is virtually taboo for the classic western which glamorizes the lawlessness and the hero attraction of the gunslinger. This is also why in my view no-one besides Eastwood should have handled this movie.

Then we have the juiciest character of the movie superbly played by Gene Hackman worthy of the weight of every micro granule of his Oscar. He is the epitome of every hard-line lawman that ever was. The misguidance of the so called righteously empowered, swinging the hammer against evil for good. Hackman must have salivated when he read the script since there was obvious relish in his performance. All the better for the movie, and of course for Eastwood at the Oscars. By far the best performance and the others were good further underlining the talent of the man.

The antagonist of the movie is almost always the most complex and thus most interesting to analyze. His vain attempts at carpentry are his way of trying to appear to be a good man. There is purity in building ones own home and it is this wholesomeness that he wishes to capture. In that way his fellow citizens will see him as a simple man only wanting to lead a righteous life. But his inability as a carpenter is indicative of his depravity. He cannot be a good man. The source of his drive is anger and hatred. It is through this failing that we realize he cannot escape who he is.

Indeed it was not only the power of the script that gave the audience a spellbinding climax, but the talents of the actors. The actors' characterizations deliver the audience a spellbinding climax. It is only through Hackman's performance that we not only acknowledge his ending as inevitable, but also as deserving. We saw him as a man who virtually thought that he was righteously empowered to rid the earth of Munny and his kind What he thought was an honorable task was one rather of abuse and suppression. He became the baddie in the eyes of the audience and it is he who the audience wants to see justice served upon.

Munny was so weak throughout the movie that the eruption of his evil ways captured the interest of the audience. He transformed into the Eastwood of old – the anti hero with a far more malevolent presence. Never could we have sensed this hatred and evil that we now see in William Munny. It is now that the frivolity of his mannerisms that I touched on in the beginning adds to the story as it helps to accentuate the turn in character. He is now only a killer, in it neither for money or fame as the writer nearly finds out to his tragic detriment.

Those who have only seen his Westerns of old or the 'Dirty Harry' movies may enter the cinema with expectations of such like will either be disappointed or pleasantly surprised. It is the atypical western and an unfamiliar portrayal by Eastwood. But I believe that most people will have the latter reaction. The differences are their strengths helped by the fact that it was a superbly crafted movie with a meaningful story and thought provoking lessons for our heroes and villains. Eastwood was directly suited to the roles that we identify him with, but it is exactly because of this suitability that he eases into the role of Munny. No mellowing with age, no identification with the mainstream, he has always done it his way, and he is so good that any way could be his way.

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