Yet, it is also revisionist in the way it punctures the romantic notions that surround our movie-made view of the Old West. Guilt-ridden confessional monologues are spoken by reformed bad men, and scenes that are set up as traditional Western moments instead turn into something else (Little Bill confronting English Bob, a box canyon standoff), something with a deeper, darker subtext. It is also suggested that killing someone can be almost as painful for the killer as it is for the victim.

This is a risky proposition in a time when movies treat graphic violence as either a prelude to a verbal zinger or as a punchline. To make a Western at all is risky, of course, but to make one that qualifies as an artistic work with a serious message would almost seem like cinematic suicide.

Yet, if there is any justice, "Unforgiven" will not only gain the audience it deserves, it will also remain in voters' memories come Oscar-nomination time. Hackman, who delivers a very complex and chilling performance, deserves a best supporting actor nomination. But Eastwood should absolutely be remembered when ballots are cast for best director. Aside from being one of the highlights of Eastwood's long career, this film unquestionably offers one of his top directing efforts, right up there with "Bird."

The rest of the cast is also excellent. Performances by Freeman, Harris, Rubinek and young Woolvett are terrific, as are those by Anna Thomson as the prostitute who is the victim of violence and Frances Fisher as the woman who runs the brothel.

Though much of the film is brooding, "Unforgiven" is not without humor and there are many clever touches in the superb script by David Webb Peoples ("Blade Runner"). Kudos as well to cinematographer Jack Green, production designer Henry Bumstead and the haunting score by Lennie Niehaus.

"Unforgiven" is rated R for violence and profanity. There is also some vulgarity and, in the opening moments, a sex scene.