Clint Eastwood COLOR still Best Picture & Director UNFORGIVEN 1992 w/rifle & hat

Description

(This looks MUCH better than the picture above. The circle with the words, “scanned for eBay, Larry41” does not appear on the actual photograph. I just placed it on this listing to protect this high quality image from being bootlegged.)
Clint Eastwood COLOR still Best Picture & Director UNFORGIVEN 1992 w/rifle & hat Mint! 8x10
They would look great framed on display in your home theater or to add to your portfolio or scrapbook! Some dealers by my lots (check my other auctions for lots) to break up and sell separately at classic film conventions at much higher prices than my low minimum. A worthy investment for gift giving too!
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This photograph may not be an original release but it is a digital copy or digital reproductions.
DESCRIPTION:
Dedicated to his mentors Sergio Leone and Don Siegel, Clint Eastwood's 1992 Oscar winner examines the mythic violence of the Western, taking on the ghosts of his own star past. Disgusted by Sheriff "Little Bill" Daggett's decree that several ponies make up for a cowhand slashing a whore's face, Big Whiskey prostitutes, led by fierce Strawberry Alice (Frances Fisher), take justice into their own hands and put a 1000-dollar bounty on the lives of the perpetrators. Notorious outlaw-turned-hog farmer William Munny (Eastwood) is sought out by neophyte gunslinger the Schofield Kid (Jaimz Woolvett) to go with him to Big Whiskey and collect the bounty. While Munny insists, "I ain't like that no more," he needs the bounty money for his children, and the two men convince Munny's clean-living comrade Ned Logan (Morgan Freeman) to join them in righting a wrong done to a woman. Little Bill (Oscar winner Gene Hackman), however, has no intention of letting any bounty hunters impinge on his iron-clad authority. When pompous gunman English Bob (Richard Harris) arrives in Big Whiskey with pulp biographer W.W. Beauchamp (Saul Rubinek) in tow, Little Bill beats Bob senseless and promises to tell Beauchamp the real story about frontier life and justice. But when Munny, the true unwritten legend, comes to town, everyone soon learns a harsh lesson about the price of vindictive bloodshed and the malleability of ideas like "justice." "I don't deserve this," pleads Little Bill. "Deserve's got nothin' to do with it," growls Munny, simultaneously summing up the insanity of Western violence and the legacy of Eastwood's the Man With No Name.
CONDITION:
This quality 8 by 10 inch still photograph is in MINT physical condition. The back of the still has that slick plastic feel of the newer digital print and the word AGFA can be seen on the backside. It is probably not a vintage original for the year of the film/event but is of a later date.   I have recently acquired two huge collections from life long movie buffs who collected for decades… I need to offer these choice items for sale on a first come, first service basis to the highest bidder.
SHIPPING:
Domestic shipping would be FIRST CLASS and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. International shipping depends on the location, and the package would weigh close to a half a pound with even more extra ridge packing.
PAYMENTS:
Please pay PayPal! All of my items are unconditionally guaranteed. E-mail me with any questions you may have. This is Larry41, wishing you great movie memories and good luck…
BACKGROUND:
In the early 1990s, Clint Eastwood experienced a rare lull in his career so he elected to dust off a previously optioned Western script from years before and prepare it for what might be his last venture as both director and lead. Between its crisp narrative and willingness to subvert both the image of its star and the conventions of its genre, the resulting product not only re-energized Eastwood's marketability with a 0 million-plus domestic box-office take, it granted him validation as a serious filmmaker. The critical response to Unforgiven (1992) culminated with a string of awards, including the Oscars® for Best Picture and Best Director.  The narrative is set in the 1880s, and opens in a brothel in the dusty Wyoming cow town of Big Whiskey. One of the working girls has just had her face slashed by a cowpoke client, all for the transgression of giggling at the man's endowment. The slasher and his partner are dragged before the town's despotic sheriff, Little Bill Daggett (Gene Hackman), whose notion of sufficient punishment is to have the men make good on the whore-master's expenses in bringing his now "damaged goods" to town. The miscarriage of justice so inflames the prostitute Strawberry Alice (Frances Fisher) that she pools her colleagues' savings, some 00, and offers it up as a bounty on the offenders.  The story shifts to a ramshackle Kansas homestead, where aging widower William Munny (Eastwood) is struggling to care for his two young children. While tending to his hogs he is visited by a cocky youngster (Jaimz Woolvett) with visions of himself as a mythic gunslinger with the moniker "The Schofield Kid". News of the hookers' gold has spurred him to find a partner to help him collect, and he can barely conceal his disappointment in finding this broken-down pig farmer in the place of the legendary gunfighter he came to recruit. As it turns out, Munny's late wife had steered him into a honest, pious life; with his family's fortunes fading, however, the temptation provided by the bounty is irresistible. Over the Kid's objections, Munny rouses his old accomplice Ned Logan (Morgan Freeman) from his similar domestic retirement for backup.  The legend of the bounty, however, has also reached an incensed Little Bill, who rouses his deputies to disarm any stranger entering Big Whisky. The brutal lawman makes a public example of the first such gunslinger who arrives to collect the prize, a big-hat, no-cattle British dandy known as English Bob (Richard Harris). The unfolding of the fates of the Munny party as they ride into certain disaster take Unforgiven to a jarringly violent conclusion.  Screenwriter David Webb Peoples had authored his script (originally titled The Cut-Whore Killings) on spec all the way back in 1976; Francis Ford Coppola picked up the option, and held onto it through the Zoetrope Studios' collapse in the early '80s. Soon afterwards, Eastwood was handed a copy as an example of Peoples' work, and immediately sought the rights. As recounted in Richard Schickel's Clint Eastwood, the star's rapt interest appalled his story editor, Sonia Chernius. "We would have been far better off not to have accepted trash like this piece of inferior work," she stated in a memo. "I can't think of one good thing to say about it. Except maybe, get rid of it FAST."  In a 1992 interview for Cahiers du Cinema, Eastwood expounded on what separated Unforgiven from his previous Westerns. "[T]he film deals with violence and its consequences a lot more than those I've done before," the star stated. "In the past, there were a lot of people killed gratuitously in my pictures, and what I liked about this story was that people aren't killed, and acts of violence aren't perpetrated, without there being certain consequences. That's a problem I thought was important to talk about today, it takes on proportions it didn't have in the past, even if it's always been present through the ages."  There's actually quite a bit that separates Unforgiven from the rest of Clint's sagebrush oeuvre. Consider the feminist subtext spurring the plot, his willingness to play a bounty hunter whose skills had eroded and his handing of the supporting roles to actors with the gravitas of Hackman, Freeman and Harris. As a result, these elements make the film seem fresh and elegiac at the same time. (Eastwood dedicated the film to the two directors that most profoundly affected his early career and own behind-the-camera aspirations, Sergio Leone and Don Siegel.) In August 1992, after the studios had rolled out their big-budget, special effects extravaganzas of that summer, Unforgiven made its way into theaters with relatively little fanfare, and audiences and critics that were hungry for more adult fare flocked to it eagerly.  The film received an aggregate eight Oscar® nominations, and ultimately also captured the prizes for Joel Cox's editing and Hackman's supporting performance. Hackman, whose characterization was at least partially inspired by former LAPD police chief Darryl Gates, gave his usual flavorful effort as the autocratic lawman with carpentry skills as suspect as his moral code. He had initially passed on the script as too violent, and ostensibly has no regrets about having reconsidered.   winkle in her eye.