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Wales operates as a military tactician, methodically executing schemes such as shooting off a rope that is attached to a Union vessel, subsequently trapping them in the middle of a body of water, or creating a diversion by placing a corpse on top of a riding horse to draw out soldiers at a camp. In the film, Union and Confederate armies are equipped with advanced weaponry, including a Gatling gun that Wales used to attack the opposing soldiers during the Confederacy's surrender. The fast cuts and unstable camera movements create the sensation of being in the middle of an intense military clash. The gritty visual aesthetic is complemented by the direction of action sequences, which are stripped away of the elegance of a pistol duel in classic Westerns. The weathered landscapes of Missouri, Kansas, and the U.S.-Mexico border are antithetical to the glossy, painterly images created by John Ford, the definitive visionary of Western iconography. The cinematography of Bruce Surtees, a frequent collaborator of Eastwood, and his filmmaking mentor, Don Siegel, shoots the Western vistas and rural villages with a distinct grain. This feeling of worth and validation is the root of the film and its harsh commentary on how warfare captures the emotional vulnerability of Americans.īeyond the thematic crux of the story, Eastwood's film is visually rendered like a combat picture. A distraught Josey, at his lowest moment, is given a chance for payback. In the film's early moments, immediately after his family is massacred and his home is destroyed, the Confederate army emerges in the background. Soon after, Wales forms a pact with an assortment of misfits, including a Cherokee man, Lone Watie ( Chief Dan George), a Navajo woman, Little Moonlight ( Geraldine Keams), an elderly woman from Kansas, Sarah Turner ( Paula Trueman), and her granddaughter, Laura Lee ( Sondra Locke, who developed a personal relationship with Eastwood). Along his journey of vengeance, he forms a brief alliance with a Confederate guerrilla army before their subsequent surrender and killing at the hands of the Union soldiers. Following the harrowing murder of his wife and young son, led by Captain Terrill ( Bill McKinney), he sharpened his skills as a gunfighter. Indeed, camaraderie is an essential fabric of the story of The Outlaw Josey Wales. 'That's kind of a sad statement on mankind, if that's what it takes,' he remarks. Humans are also at their most creative, as evident by the mass development of advanced weapons and machinery. Eastwood identifies a solemn reality surrounding war's existence, stating that 'war is a horrible thing, but it's also a unifier of countries.' According to the actor-director, civilization perversely coexists and sparks genuine camaraderie among people during these years of bloody havoc. Everybody gets tired of it, but it never ends,' he said, comparing the film's narrative to the contemporaneous turmoil ensuing during the Vietnam War.

'I saw the parallels to the modern day at that time. More so than any of his explicit war films, including Letters from Iwo Jima or American Sniper, Eastwood labeled Josey Wales as an 'anti-war' film. Ultimately, the subtext of The Outlaw Josey Wales crystallizes Eastwood's belief that the nobility of justice is destined to be undermined by a warmonger complex that permeates American politics. Edgar Hoover to Gene Hackman's Oscar-winning turn as 'Little' Bill Daggett in Unforgiven) who seek proper justice but are derailed by an excess of chivalry is an insightful portrayal of his vast filmography.

His sympathy towards law officials (from the real-life J. Edgar, Eastwood opined on the ethics of law enforcement and reflected on his military experience in the Korean War.

In a 2011 interview with The Wall Street Journal, in the lead-up to his upcoming biopic, J.

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