![]() ![]() The relationships are all peculiar, with none of them having any earth-shattering importance to the character, though the romance with Sondra Locke comes the closest, but there’s more revealing character moments between Eastwood and Chief Dan George’s tag-a-long Indian friend. The film’s about Josey Wales and people–his effect on them and their effect on him, try as he might not to let it get to him–and Eastwood’s rarely alone. ![]() Story-wise, The Outlaw Josey Wales is different from just about any other Eastwood film I’ve seen and can recollect, which leaves out maybe three contenders (but I’m doubtful of The Gauntlet’s artistic import).Įastwood, the star, gives more in this film than he does for the entire 1980s, more than since he had to back in the 1960s. There’s also a lot of visible Don Siegel influence. Stylistically–visually–it’s more in line with his early 1970s work. The Outlaw Josey Wales is a different kind of Eastwood directorial film. I’ve seen Josey Wales before, probably twelve or fifteen years ago, maybe more–long before I could appreciate it. It’s about a man on a trip and what the trip does to the man on the trip. The Outlaw Josey Wales is a going places Western. Ones where people go places, ones where people don’t. There are a couple kinds of Westerns, once you break it down enough.
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