Unforgiven, One Piece, and Suspended Expectations
March 16th, 2010 Posted by david brothers
William Munny, as played by Clint Eastwood, spends most of Unforgiven stumbling around, missing shots, and falling off horses. Eastwood, the prototypical Western hero and a guy who has starred in a majority of the good ones, is used to disassemble the myth of the gunfighter. He’s old, he’s slow, he’s tired, and he makes you wonder if he was ever really all that. He’s washed up and broken, shaken in body and in spirit.
The rest of the movie works similarly. The violence is ugly and awkward, with none of the style and swagger of Fistful of Dollars. There’s no “My mistake: four coffins,” to be found here, just a man bleeding out on the sand and desperate for a drink of water to quench his thirst. There is only an old man who has outreached his grasp and outlived his own usefulness.
And then Morgan Freeman, his friend, dies because of what Munny did and is trussed up in the town square as a warning. After that, Munny takes his first drink of liquor in years, and then he goes and proves that gunfighters do exist, but they are cruel, evil men, and God help you if you get in their way.
“Well he should have armed himself if he’s gonna decorate his saloon with my friend.”
Another good example is in The Bourne Ultimatum, or possibly The Bourne Supremacy. At one point, Jason Bourne is arrested and taken to an embassy. He’s meek and silent throughout the scene, despite having displayed the ability to mow through trained soldiers with ease. However, he waits, and when an agent gets too close, he explodes into the action we expected to see.
I don’t know the term for this sequence of events. It’s different from the normal action movie move, where the hero is beaten down before getting a second win or new motivation. The best way to describe it is to describe a boiling pot. It is the conscious avoidance of explosive action on the part of a character who, by all rights, should be knee deep in it until the anticipation reaches a certain level, critical or not, and then the pot boils over and we’re in the thick of it. It’s always done for a specific storytelling reason.
Call it “suspended expectations,” maybe?
(An aside: Mark Millar and Steve McNiven bit the plot for their Old Man Logan, but never even came close to stepping out of Unforgiven’s shadow, nor approaching the subtlety to be found in the film. When Eastwood starts gulping whiskey, there’s no clever callback to when his wife made him stop. It just happens and it is up to you to connect the dots. In Old Man Logan, Millar and McNiven pull the trigger on the violence too soon, save the turning point until after the violence, and then spend an entire issue bathing in blood. It doesn’t work because it has none of the pointed menace of Munny shooting an unarmed man and listing his sins, and hinges on excess, rather than precision and context. Millar, as ever, is derivative to the point that he cannot escape his influences.)
One of my favorite examples of this phenomenon is in Eiichiro Oda’s One Piece. OP is dumb boy’s comics, like Naruto or Bleach, but consistently maintains a higher level of quality over its several hundred issue run. This is due in large part to the fact that Oda often focuses on characterization over action, building a fairly tight cast who are funny, engaging, and most of all, fun to read about. We want to know about their quirks and their tragedies.
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