(On DVD, March 2017) You would think that after twenty-five years, so-called “revisionism” would be absorbed, normalized, taken as granted and disappear into the background of a changed genre. But as Unforgiven continues to prove even today, revisionism can be an evergreen state of mind. Even now, the film’s treatment of violence in its western setting still rings as faintly blasphemous. As hurt women put a bounty on the head of an aggressor, as greedy killers converge on a town where the sheriff won’t tolerate guns carried by strangers, as a stained hero picks up his weapons in order to keep the family farm afloat, Unforgiven still has something special to offer. It plays with the codes of heroism (few characters are either all-good or all-bad), undermines who should be sympathetic and seems almost aghast when excessive violence does resolve problems. What makes it even more interesting is seeing Clint Eastwood take on the project both as a director and as a star—there’s a finality to his performance that stands as his closing statement on the genre. (This being said, this wouldn’t be the last time Eastwood would puncture his own myth—Grand Torino also has a few things to say about the toxicity of violence as he himself portrayed in a string of earlier movies.) Eastwood is terrific as a retired gunman reluctantly picking up his guns (and being thrown off his horse a few times for his troubles), while Morgan Freeman shows up in a rougher role than usual. Gene Hackman makes for a credible antagonist, unlikable although not purely evil in his goals of pacifying the Wild West by all means necessary. The result is absorbing even for viewers without natural or national affinities for the Western as a genre—Unforgiven manages to escape the western to become a great film of its own.