metaphysically) amid humanity’s catastrophic handling of their own affairs. It means that if
'redemption' is not found within the 'human realm', then it drives us to the supernatural
domain.
Eastwood's career centers on the eternal tension between the hero and his community,
justice and mercy, forgiveness and vengeance, compassion and emotion, and the relentless
inner urge for the creation of a better world. In High Plains Drifter, Anson Vaux states that
Eastwood addresses several questions bothering American society, such as how one brings
sense out of lynching and other herd-like human behaviours. Eastwood’s films suggest that,
to answer these questions, we must approach the past carefully - the way it is treated in The
Outlaw Josey Wales. In this film Eastwood takes up several issues: the relationship between
isolation and community, vengeance and mercy, and forgiveness and reconciliation. Josey
Wales is remarkable in this sense, for it captures the desperation and beauty of the ordinary
[27]. It addresses a central question: 'How can one be a stranger in one's own community?' It
seems there is no easy way to find reconciliation between individual(s) and society.
Consequently, Eastwood's treatment of the past involves a certain demystification of America
[41], which is the focus of Pale Rider – a film that deals with rescue, retribution, and
reconciliation. Here, Eastwood offers a more philosophical treatment of the issue of
'redemptive violence', which seems to be the only way out when 'habits of sin and violence'
become inseparable from the human condition [56]. Nevertheless, as it confronts us with the
problematic nature of 'violence for the sake of violence,' Pale Rider is undoubtedly a daring
attempt to understand justice and community differently. Eastwood treats this theme even
more directly in Mystic River, a film in which child abuse, the stealing of someone's life,
arrogance, and the quest for power all reflect an inability to rid oneself of the past and point
up the meaninglessness of life. Anson Vaux captures the mood of the film by highlighting the
"annihilating path vengeance can take" and by suggesting that "guilt and innocence are
2
Journal of Religion & Film, Vol. 17 [2013], Iss. 2, Art. 5
https://digitalcommons.unomaha.edu/jrf/vol17/iss2/5
DOI: https://doi.org/10.32873/uno.dc.jrf.17.02.05