Full buildings were constructed rather than just facades; this allowed filming interior scenes on location as well. The construction process took about eighteen days and required , feet of timber. Mono lake is a , year old soda lake which basically means that the water is strongly alkaline in nature in Mono County, California.
The lot was officially inaugurated over a century ago in and today covers well over acres of space with more than thirty soundstages and structures.
Facebook Twitter Pinterest Reddit Email. Eastwood did not bother to answer his criticisms, and consequently they did not work together. Goofs When the Stranger is first sipping his beer at the saloon, the bottle of whiskey is placed on the bar to the left of his glass of beer.
When he reaches for his beer while saying the line "Faster than you'll ever live to be" to the one gunfighter, the bottle of whiskey "jumps" to the right of his glass of beer so he can pretend to draw his gun yet reach for the bottle of whiskey instead.
Quotes Sarah Belding : Be careful. Crazy credits The closing shot of The Stranger disappearing into the heatwaves plays out over the end credits.
All cuts were waived in when the film was granted an '18' certificate for home video. Connections Featured in Earthquake User reviews Review. Top review. Darkest Eastwood western.
It has similarities with "Pale Rider", his other western gem. The hero is a mysterious, ghost-like figure and he fights against the evil and corruption that infests a small town in the middle of nowhere. Eastwood delivers one of his strongest performances here and manages to be charming and humorous besides exacting cool-blooded vengeance.
His interactions with the two women Marianna Hill and Verna Bloom, both solid in their roles who are very different draws comparisons to his earlier film "Hang 'Em High". But what sets this apart from the typical Eastwood fare is the dark nature of this movie. Anthony James, the man with the unforgettable face, is once again back as one of the main villains. The rest of the cast are quite forgettable and lesser known names, which adds credibility to this movie, making it a film to be taken seriously and not just a gathering of famous faces.
This film's perhaps strongest asset is the excellent screenplay by Ernest Tidyman, the Oscar-winner for "French Connection" and it is probably the best screenplay ever written for an Eastwood-directed western.
The storyline never ceases to surprise and is full of suspense and great dialogue. As always, Clint knew who to pick. As always in the Clint films, this movie is not about love. Clint and Bloom's affair almost results in love, but it never gets the chance to develop. The surprise ending adds a great touch.
This film really is a delight for fans of Clint Eastwood and unusual, film-noirish westerns. FAQ 8. It seems the residents are the only ones in town. This stranger is recruited by the people of Lago to defend against a trio of outlaws who are returning to exact vengeance on the townspeople for sending them to jail, a familiar setup derived from multiple Western antecedents. Throughout the film, flashbacks and contrived dialogue scenes fill in the details of the town's past, suggesting that it's an utterly corrupt place with some very dark secrets.
Eastwood's stranger appears to nudge this vile place a few steps closer to the abyss, acting as a kind of moral arbiter and judge of these disgusting, cowardly people, even though this stranger is equally monstrous. In particular, the film's attitude about rape is absolutely unforgivable and horrifying, as several scenes suggest that not just one but two women are forced into sex with Eastwood's character and wind up enjoying the rape and even in some ways actively pursuing the drifter.
It's played, more or less, for laughs, as when one of the women returns to, quite understandably, take a few shots at the drifter for what he did. The stranger asks why it took her so long to get upset, to which the stranger's midget sidekick Billy Curtis replies that maybe she was just upset that he hadn't come back for more, which is a pretty appalling laugh line by any measure. Eastwood's character is portrayed as such a smirking badass that these women, though initially resistant, come to enjoy his attentions even when he forces himself on them.
It's despicable, and makes it especially hard to take too seriously the film's moralist judgment of the other characters for their various hypocrisies and sins. Indeed, by the end of the film the whole town has descended, quite literally, into Hell. Eastwood's drifter, using his position of power as their only defender to take control, reorganizes the town, orders all the buildings painted red, and paints over the town's name on the sign outside town with the inscription, "Hell.
There's a kind of awful impact to many of the film's images, particularly when Eastwood exploits the slightly surreal setting of this beachside Western town. In one scene early on, Eastwood strides through the town and the camera tracks along with him, the bright blue of the sea shining through the glass whiskey bottle that the stranger is taking swigs from.
Later, the town becomes truly hellish, with all those red buildings and flames everywhere, with the stranger himself as a kind of devil pronouncing his verdict on nearly everyone in the town. It's almost beautiful in its horrible way, especially when Eastwood's familiar silhouette is framed in black against the bright orange flames. The film betrays a sadistic, nasty-minded sensibility, assaulting the audience with horrific images like a lengthy flashback repeated several times of a man being whipped to death in the center of the town.
Each time the scene recurs, it goes on for an uncomfortable amount of time, with an emphasis on the sound of the whips thumping into flesh, while streaks of bright red movie blood run across the dying man's face and torso. The townspeople all look on, passively allowing this horror to happen, and Eastwood's aesthetic forces the audience into a similar passivity, forced to endure the sounds of the whips drawing blood for what seems like an endless span of time.
Eastwood wants to rub the audience's faces in the violence, like a cinematic punishment, but he repeats the whipping sequence so many times, and lets it run for so long, that it goes beyond grating into simply boring.
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