User reviews

Even when matched up against his Oscar-winning 1992 film UNFORGIVEN, THE OUTLAW JOSEY WALES must rank as being among Clint Eastwood's finest turns both in front of and behind the camera. Having displayed a solid feel for the director's chair with 1971's PLAY MISTY FOR ME and 1973's HIGH PLAINS DRIFTER, Eastwood took the reins on JOSEY WALES when he and the original director Philip Kaufman, who still shared a co-write of the script (and had directed 1972's THE GREAT NORTHFIELD, MINNESOTA RAID), ran into some pretty strong disagreements. The end result was one of the best westerns of the 1970s, in critical, commercial, and artistic terms.

Eastwood's character is a farmer living out a quiet life in Missouri near the end of the Civil War who is forced to see his whole family and homestead wiped out by marauding "Redlegs" from Kansas. He joins up with a guerrilla band of Southerners to "set things aright." But when the Union betrays those same guerrillas into surrendering and then promptly slaughters all of them, Eastwood takes violent revenge. He soon finds himself of the run at the reluctant hands of his former commander (John Vernon), and a determined Union man named Terrill (Bill McKinney, who played one of the sadistic mountain men in DELIVERANCE). As he heads towards Texas, he encounters a motley group of outcasts (Chief Dan George; Sondra Locke; Paula Trueman), and becomes less obsessed by violent revenge and more interested in helping, going for his guns only when McKinney's Union troop closes in, and bounty hunters come looking for him.

In contrast to the "Man With No Name" persona he codified with Sergio Leone in the 1960s, or the tough cop he personified in DIRTY HARRY, Eastwood's Josey Wales is a man of great courage and sympathy who becomes tired of all the violence he has had to see and to take part in. The vengeance motif is largely played out by the time the film is into its second half, and it only comes back towards the tail end for a brief moment. Those who have tagged Eastwood as a political reactionary, a John Wayne of our time, have certainly misjudged him, as even one viewing of THE OUTLAW JOSEY WALES will testify to. He is not interested in being tough for the sake of being tough; he just wants to survive, and he wants those he protects to be able to live in peace. That's why, although the film is unavoidably violent at times, it has a considerable humanity too, and why it remains one of Eastwood's finest films even to this day.

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.

"The Outlaw Josie Wales" was made by Clint Eastwood at a time when westerns were out of favor and the public wanted more of Clint as Dirty Harry. This film as it turned out, was one of Clint's best and certainly ranks up there with the more popular "Unforgiven" (1992).

Josie Wales (Eastwood) is a dirt farmer in Missouri during the American Civil War. One day a group of yankee raiders led by Captain "Red Legs" Terrill (Bill McKinny) attacks and burns his farm and murders his wife and young son while leaving Josie for dead. As Josie ponders what to do next a group of southern raiders led by "Bloody Bill" Anderson (John Russell) takes him into his gang to seek his revenge.

After the South surrenders, a fellow southerner, Fletcher (John Vernon) offers the remaining members of Anderson's gang amnesty if they will swear allegiance to the North. All but Wales agree. Unbeknownst to Fletcher, the men are suddenly murdered by the Union soldiers led by Terrill and in spite of Josie's efforts, only he and a young soldier names Jamie (Sam Bottoms) escape. Terrill and Fletcher are sent to hunt down the fugitives.

Jamie soon dies from his wounds and Josie is left alone. He makes for Mexico but is joined first by Lone Watie (Chief Dan George), then Little Moonlight (Geraldine Kearns) whom Josie rescues from a trading post and finally Laura Lee (Sondra Locke) and Grandma Sarah (Paula Trueman) who he rescues from a gang of Commancheros.

The group makes for Texas where Grandma Sarah's son has left her a ranch. All the time Josie is being pursued by Terrill and assorted bounty hunters. Josie dispatches several of them with his brace of Colt 45 horse pistols.

Finally at the ranch, the group sets up a home and Josie begins to fall for Laura Lee. Fearing an Indian attack, Josie rides to meet with Chief Ten Bears (Will Sampson) and makes peace with him. But finally Terrill and his group of "Red Legs" tracks Josie down and..........

Eastwood who also directed the movie, plays Wales with his usual grim faced persons. He's not afraid to pull his pistols and dispose of anyone who stands in his way. Interestingly enough, Eastwood cast all of the principal Native roles with native actors and treated them as equals and not in the old Hollywood tradition.

An excellent western in every way.

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.

Love, hate, revenge, forgiveness, sorrow, life, death, emargination, racism, the uselessness of war, betrayal, redemption, solidarity, friendship. Not many films manage to deal competently with even just one of these topics. This masterpiece deals with all. Within the first 4 or 5 minutes (even before the opening credits) one has already been exposed to more force and emotion than most films can pack up in 90 minutes.

By the end of the 2 hrs 10 minutes of this film one would have lived through tour-de-force highlighted by memorable climaxes and showdowns featuring some of the most striking dialogue in cinematic history... "dying ain't no way to make a living". Eastwood's character doesn't speak much but utters a handful of memorable lines.

The central character played by Eastwood is given fine support by an excellent ensemble cast including Chief Dan George, Sondra Locke, Bill McKinney and most of all John Vernon. John Vernon plays a character called Fletcher who turns out to be one of the most complex characters I have ever come across. His motivations and true intentions are never quite clear. He comes across as a bit of a Judas figure and yet he still retains his humanity as the script and Eastwood as the director never truly judge Fletcher, leaving the viewer to judge for him or herself. Almost every character is memorable and every performance fits in place.

The action is sudden and explosive and not always expected. The film takes many twists and turns, yet every twist is a natural consequence of the situations and characters in the film. Ultimately one is left with a truly rich cinematic experience which should appeal to more than just fans of the Western genre. Its themes of suffering and the consequences of evil acts is still sadly relevant in today's world - a world in which not all wars are won by the good guys and in which the good are sometimes persecuted by those who win these wars.

When thinking of the best pre-credit sequences ever forget most others... this should be your best bet.

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 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.

Sixteen years before the unforgettable Unforgiven (1992), Eastwood delivered this genre classic, at a time where New Hollywood had confidently taken over and, outside of Italy's fledgling film industry, Western was no longer on the agenda. America's self-understanding as a conquering nation had been dealt a traumatic blow in Vietnam, and hence, tales of fearless and god-fearing conquistadors seemed at best inappropriate. Well into his transgressive Dirty Harry stints, Eastwood plays one Josey Wales, a farmer who is caught in the horrors of the Civil War and turns against his tormentors with a vengeance. The figure of Wales, which shares essential features with both the earlier Harry Callahan and the later William Munny, is the epitome of an Eastwoodian character, freighted with a moral ambiguity that is still likely to puzzle viewers today. A constituting factor of his lone riders is the outward defiance of authority where it is deficient, providing the moral justification for an individual to take the law into his hands. Josey Wales was unjustly harmed by the Union forces (who represent the State) and will fight them down come what will. Incidentally, Eastwood's positive depiction of Natives throughout his career fits in neatly with this ethical code, the State having stripped them of their rights, calling for individual action outside the boundaries of the law, or self-empowerment, if you will. Both the Natives and Josey Wales are outcasts, and by way of this ostracism, forced to become outlaws. The general feel of this film, like so many others, reflects Eastwood's no-nonsense directing. After all, he boasts a reputation for making swift decisions, doing with few takes, and coming in below budget. The opening credit scenes are a case in point here: instead of lengthy battle scenes, Eastwood has his bunch of guerrilla fighters ride across the landscape and shoot at random, enough to convey the essence of their action. The plot serves this purpose as well: a brief (pre-credits) introduction (Wales's family killed by the Union forces during a raid on his farm) serves as the inciting incident and must suffice to lay down the hero's motives. From here on, we may concentrate on Wales's adventures and, eventually, his inner conversion. It takes an immaculate female to bring this conversion about, a virgin who can be seen as the embodiment of the hippie movement and a Catholic figure of redemption alike – a perfect incarnation of Eastwood's trademark double entendre.

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.

Much like High Plains Drifter this is one of the more underrated Clint Eastwood westerns. This is a thrilling and thought-provoking film that will stand the test of time. It's a story about personal redemption in the face of stark tragedy, injustice and revenge. Although it is set more than 130 years ago, the key elements are played out every night on the news in many parts of the world, most recently in Kosovo. This movie is about a lot more than the post-Civil War period. Wales had a long, violent journey to find people he could make peace with and want to give his life serving. The texture of this film was deep and rich with fine colorful characterizations from Eastwood's supporting cast, particularly the Lone Waite and Fletcher parts. I consider it Clint Eastwood's finest film, both in front of and behind the camera.

This is Clint Eastwood in one of his best roles ever. There's great one-liners like "You gonna pull those pistols or whistle Dixie?", "Dyin ain't much of a livin boy", etc. Eastwood meets up with the likes of 10-bears (Indian chief), Yankee soldiers, Rapist Trappers, you name it. At one point Eastwood meets an old Indian "I forgot his name" who tells him that he didn't surrender, but they captured his horse and made him surrender. I haven't seen this movie in over 2 or 3 years and so my memory of it has faded some but it's one of the best Westerns ever. As Eastwood would say "Better 'an you'll ever live to see". Rarely is there a happy ending in Eastwood's work. There's always another trail to ride, a bounty to collect, and blood to be shed. 'The Outlaw Josey Wales' shows how hard it is for that blood to be washed away.

This is a very good Clint Eastwood western that has a feeling of adventure. Josey Wales travels though different places and meets all kind of people. Most want him dead, some just want to travel with him, and some can't decide because he's a decent guy but there's a big reward for his head.

A couple of people who would later get bigger roles in Eastwood's films make an appearance here. They are Jaimz Woolvett (probably better known as the Schofield Kid from "Unforgiven") and Sondra Locke (the vigilante from "The Dead Pool", the fourth part of Dirty Harry series).

It's an all-around enjoyable action adventure in the west. I won't spoil the ending, just say that I don't know what did I expect but in the end it was different and better.

ps. I noticed something funny. If there's ever been a person who looks (or looked at some point) like Chuck Norris, it's Eastwood in 1976. Especially in the end of the movie where he has a full beard. I wonder if Chuck got the idea for his trademark beard from this movie! Thus, every action movie enthuasiast must watch this movie!

As the civil war is ending, a rebel seeks revenge against Yankee soldiers who slaughtered his family. After Clint single-handedly kills about two hundred soldiers in five minutes, he becomes America's most wanted, and there's no place to hide because apparently every person in the country knows who he is (they must have seen his picture on the evening news or perhaps the Internet). Clint expands his acting range here, adding precision spitting to his usual squinty eyes, gritted teeth, and whispered delivery. Locke plays the school marm type that Clint falls for, although she has only about five lines. The only good thing about this never-ending Western is Chief Dan George.

Certainly Clint Eastwood's best complete movie, the story of a man drawn into hell by the inhumanity of others (specifically, the Redlegs and the Senator), who is redeemed by the humanity of others (the settlers, Lone Wattie and Ten Bears) to recover some semblance of a life after the Civil War. Eastwood's acting is economical (but a far cry from the man-with-no-name character he made famous), and carries the story very well, and his directing style is practically invisible (which is exactly what it should be -- if the director does his job, you should never even notice his contribution). The viewer is entirely caught up in the story of the man. All in all, a brilliant bit of film from Eastwood (who clearly learned everything he could from his own directors, and then combined that knowledge into superb craftsmanship of his own.)

It is interesting to contrast the Jose Wales and Billy Munny (from Unforgiven) characters. Wales seeks to regain his humanity through others; Munny - having regained his humanity from being a Wales-like character at the beginning of the movie - descends willingly into a hell of his own choosing.

This movie was well received by the public when it premiered and it remains a true movie classic. There is no weakness. All aspects of movie making is above average.

The powerful and humorous scenes are numerous, as are the historically faithful presentations. However, the scene where Ten Bears meets Josey Wales ranks among the most poignant in Hollywood history. Devoid of sap, it projects a seriousness of two men who have been betrayed, victimized, and even traumatized.

As Eastwood's character said, "I came here to die with you, or live with you. Dying ain't so hard for men like you and me, it's living that's hard, when all you've ever cared about has been butchered and raped."

In that single line, plus the commentary on the treachery of governments, the protagonist delivers a uniquely powerful commentary that comes across both sincere and relevant for all time.

This one scene goes well beyond excellent entertainment, and instead offers a social commentary that carries not one bit of hollow pretension. The entire scene is well crafted, and by itself elevates this movie to a timeless category that endures well into the future.

Whether this is the best movie Eastwood has made is debatable, as he put together a most enviable resume. But, certainly it is among the greatest, and by that remains one of the finest movies ever made of any genre.

One of the greatest Westerns of the seventies, "The Outlaw Josey Wales" is not only a compelling revenge tale with plenty of typical Eastwood badassery, but is also a superb character study and offers much food for thought regarding wartime morality and even race relations among other topics. It's just a great story that's very well-told.

Eastwood's work as director here is excellent, although a couple of the action scenes, particularly the opening one, being pretty shoddy and borderline incoherent, but it's tightly-paced and fairly sophisticated visually, with warm, atmospheric photography by Bruce Surtees. Eastwood's handling of the film's tone is particularly notable, especially with something that is so often humorous yet such an intrinsically dark and serious story. There are many scenes with a wonderfully warm, welcoming air, and others that are just plain gruesome and disturbing, but the film never feels like a clash of tonalities. Eastwood also isn't afraid of variety. He'll go for a kinetic edge and make it work at times, but employs a minimalist approach at others.

Of course, outside of the wonderful performances especially from Eastwood and Chief Dan George, the film's main attraction for me is the brilliant screenplay, an all-time great, by the wonderful Philip Kaufman and co-writer Sonia Chernus. It is a remarkably sophisticated treatment of the story's characters, themes, and plot, with a remarkable narrative momentum and some of the best dialogue ever written. Those last lines are so perfect as well. If this were a more popular film surely they would be considered among the iconic last lines in cinema. Hey, at least "are you gonna pull those pistols or whistle Dixie?" has made it into the popular lexicon.

I have no real criticisms to make. Sondra Locke is okay, not horrible as some say. In every other way the film seems pretty great to me. Nearly forgot to mention Jerry Fielding's score, which is just outstanding. A real triumph on the whole, one of the best Westerns of the seventies and if not Eastwood's best Western as director then almost certainly on par with his best work.

John Wayne fans may well disagree, but if you ask me; Clint Eastwood has no equal when it comes to westerns. His mere presence ensures that the film will be well worth seeing, and like all his previous and later westerns; that statement is true of The Outlaw Josey Whales also. Not that this film is an Eastwood performance and nothing more, of course - his starring role definitely benefits the proceedings, but the story Eastwood presents is certainly nothing to be sneered at! The film is an epic in every sense of the word, and through the sprawling locations and lengthy plot, Eastwood's fourth film as director and star serves as both a fitting tribute to Sergio Leone; the director whom he made his name with, and an excellent western in its own right. The plot follows a farmer whose family is murdered by Union soldiers. He joins up with a Confederate guerrilla unit, and eventually finds himself living within a community. Overall, we follow him as the war turns him from a simple farmer into the most wanted man in the west.

You can always count on a strong lead performance from any film that has Clint Eastwood's name at the top of the actor's credit list, and The Outlaw Josey Whales certainly doesn't disappoint in that respect. It's obvious the director and star put his heart into this film, and even though he's merely playing the anonymous drifter that is synonymous with his name, the performance comes off with real verve and the man is always believable in his role. As you might expect from a western, the film is heavy in the action department, and Eastwood ensures that his film is never too far away from another shootout. However, the real impact of the movie doesn't come from a weapon, but from the progress that the central character makes throughout the movie. Any other person in an Eastwood film is always going to be second to the man himself, and this is certainly the case here. However, the likes of Chief Dan George and Clint's then girlfriend, Sandra Locke still manage to make an impression; even if it is obvious why the latter is in the movie. On the whole, this film is sure to please western fans, particularly those who are a fan of the great man behind this one. Well worth seeing!

As The Outlaw Josey Wales, Clint Eastwood is ideal as a wary, fast drawing loner, akin to the "Man with no name" from his European westerns. But unlike that other mythic outlaw, Josey Wales has a name and a heart. That heart opens up as the action unfolds. After avenging his family's brutal murder, Wales is pursued by a pack of killers. He prefers to travel alone, but ragtag outcasts are drawn to him and Wales can't bring himself to leave them unprotected. The Outlaw Josey Wales was released in 1976 and it stars Clint Eastwood, Sondra Locke & John Vernon. In my opinion this is no where near one of Eastwood's best films, don't get me wrong it is a good film but Eastwood has had much better for example, Dirty Harry, True Crime, Magnum Force, Coogan's Bluff and The Enforcer.

***/***** Good but overrated

It simply sickens me that this movie is not considered in the top 250. My innards churn with rage as this cineamatical marvel is reduced to such a pitiful rating. This movie is in my personal top 50 if not higher. Released in 1976, this is a timeless masterpiece that I will watch and enjoy for the remainder of my lifespan. I am not a huge Clint Eastwood fan, but simply love his character in this movie. His roll is equivalent to the Spartan King in "300". This movie has influenced my vocabulary and any fan of this movie will use the term "reckon" in their everyday life. If anyone has not seen this movie I strongly encourage. If anyone dislikes this movie or rates it less than an 8 (suprised every vote is not a 10) they are just silly individuals.

Interesting movie based on a novel by Forrest Carter titled "Gone To Texas" and professionally performed and directed by Clint Eastwood . Exciting film based on historical events set during American Civil War (1861-1865) in which the Bushwhackers use guerrilla warfare to destroy Yankee targets and led by men set on revenge, make raid and surprising attacks . A Missouri peaceful farmer named Josey Wales (Clint Eastwood) whose family is killed by ¨Red Legs¨, a bunch of pillaging outlaws who have allied themselves with the Union Army ; he then turns vigilante . After the war , everyone in his troop surrenders to the victorious Unión except Wales . There take place fights between cutthroat Bushwhackers versus Jayhawkers , including historical characters named Quantrill and Bloody Bill Anderson (John Russell) who carried out an infamous Raid on Lawrence, Kansas . The surrendering detachment are then murdered after being promised amnesty . Then Wales in turn has a price on his head and joins a Confederate guerrilla unit to revenge their deaths and winds up on the run along with a motley group (Sam Bottoms , Chief Dan George , Sondra Locke) from the Union soldiers who murdered his family and undertaking a lethal chase .

The picture compellingly describes the atmosphere of violence set in post-Civil War ; in which women have few rights, and took place confrontation among bands and bloody battles . This thrilling as well as violent flick details a bloody vendetta , propelling a cat-and-mouse pursuit odyssey . Although atmospheric , it's also sometimes slow-moving and winds up into a spectacular showdown . Very good production design , including breathtaking attacks and fights ; as the film contains some of the most wild horse scenes ever recorded and kept in a movie . The scenes of the picture were filmed in Lake Powell, Arizona, Wyoming,Glen Canyon, Utah, Kanab, Paria, Utah, Oroville, Utah and Mescal, Arizona . Nice acting by Eastwood in his usual stoic attitude as the outlaw becomes the hunter and the hunted . In fact , Clint Eastwood cites Josey as his personal favorite of all the movies he's made . And this is the first of six movies made by real-life couple Clint Eastwood and Sondra Locke. Very good support cast plenty of familiar faces such as Chief Dan George , Bill McKinney . John Vernon , Paula Trueman as Grandma Sarah , Sam Bottoms , Joyce Jameson , John Davis Chandler , Will Sampson , Doug McGrath , John Russell , Charles Tyner , Matt Clark , among others . And uncredited Kyle Eastwood , in film debut , can be glimpsed very briefly in the opening sequence helping his dad, Josey, work the land by their home . Thrilling and atmospheric musical score by Jerry Fielding , Sam Peckinpah's usual . Colorful and adequate cinematography shot in Panavision by Bruce Surtees , great cameraman Robert Surtees's son.

This masterpiece of characterization , adventure and action was efficiently directed by Clint Eastwood ; however , the movie received mixed reviews on its release . Clint took over filmmaking from Philip Kaufman who also co-wrote the script , a rule which has ever since been titled the "Eastwood rule" . It is Clint's one of the best films as both a player and filmmaker and being followed by ¨The return of Josey Wales¨ with no participation by Clint Eastwood . Star, producer , director Eastwood realizes an excellent film and perfectly directed . This classic Western as good as the notorious ¨Pale rider¨ is magnificent in every way . Later on , Eastwood produced and directed another successful Western , the Oscarized ¨Unforgiven(1992)¨ also with some common theme.

Having just watching Unforgiven, I thought I'd continue on the Clint Eastwood trip and check out one of his alleged classics. I couldn't have been more disappointed. The plot often fails to make sense or rise above a general "these are sum bad dudes" mentality; all the villains are one dimensional monsters bent on raping and pillaging. The Indian characters verge on racist parody and the film never seems to decide if its a comedy or a serious drama. Indeed, I frequently find myself wondering if they intended it to be funny--but im never quite sure. It's so terrible I almost find it entertaining in the vein of Troma team films or stuff like Repo Man. Just surprisingly bad.