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The Preacher is one of the main characters of the movie “Pale Rider” wore this beautiful Pale Rider Clint Eastwood Coat. Pale Rider is an American Western film and Clint Eastwood also produced and directed this film. It took in nearly $41 million at the box office.
became the highest-grossing Western of the 1980s. Clint Eastwood is an American actor, filmmaker, politician, and musician.
He has been recognized with multiple awards and nominations for his work in film, television as well as in music.
1986, Clint Eastwood served for two years as mayor of Carmel-by-the-Sea, California, a non-partisan office.
The unique brown color
is used for making Pale Rider Coat vibrant. The external of the coat is consists of a 100% pure cotton fabric and the internal covers with a soft viscose lining.
Clint Eastwood Coat is intended with a wide notch lapel style collar that enhances your look. Black buttons are also present on the frontage for the double-breasted button closure.
This men’s coat is offered in different sizes and can also be customized according to your desired measurements.
Long and fitted sleeves along with open hem cuffs are also a part of this attire.
Product Description For Pale Rider Clint Eastwood Coat:
- High-Quality Cotton
- Double Breasted Button Closure
- Long Sleeves
- Unique Color
- Two Waist Pockets
After its near-death experience during the early 1970s, the Western was kept alive pretty much personally by Clint Eastwood for more than 15 years.
It’s not that nobody else was making Westerns—though as a matter of fact very few were. In fact even Eastwood only made three Westerns between 1975 and the present. But what a threesome:
The Outlaw Josey Wales in 1976, tonight’s movie Pale Rider in 1985, and of course the Oscar-winning Unforgiven in 1991. Josey Wales is a big, even an epic, Western; and of course Unforgiven is a masterpiece. Pale Rider is certainly the least of the three,.
and I would say it’s a movie that has some serious problems. But it also has a kind of weight and stature, a real presence, part of which comes simply from the spectacle of the Father of all still-active Western heroes on the screen again.
As an actor, Eastwood had his movie origins in the Western, specifically in Sergio Leone’s Spaghetti Westerns of the late 1960s
—and the character he played there had a terrific impact and historical influence at a crucial, very weak and vulnerable, stage of the genre. The Man With No Name, as he came to be called, was mysterious, unknowable, harsh, and above all invincibly violent.
This represented a substantial change from earlier generations of cowboy hero, although (as you can see from a movie like The Searchers) the straightforwardly good cowboy hero was already on the way out before 1960. Nobody, though, had dared to be as physically dirty, as morally ruthless, and as casually violent as the Man With No Name.
These qualities, in fact, allowed Eastwood to survive in Westerns right through a period of tremendous disbelief in good guys, and on into a period when it was possible to re-introduce them.
The most dominant Eastwood screen persona is that of the killer—whether he wears a badge like Dirty Harry or a cowboy hat like the heroes of his Westerns
Where does his killing-power come from? In his case it’s absolutely not a case of being a master of the craft of violence. No, Eastwood’s power is too big and too mysterious to be the result of lots of practise or professional skill or even personal bravery and intelligence. It comes from somewhere transcendental.
This is exactly the point that Eastwood immediately seized on when he began to direct his own Westerns. In High Plains Drifter, from 1971, he plays an invincible avenging spirit literally returned from the grave—though the movie is careful never to spell things out too carefully.
And the same is true of Pale Rider, whose Eastwood-hero, known as The Preacher
rides out of an empty landscape in answer to a young girl’s prayer for a miracle. He arrives in town on a dappled white horse exactly at the moment when this girl is reading from the Book of Revelations:
“And behold a pale horse, and his name that sat on him was Death, and Hell followed with him.” Two other qualities quickly emerge:
this guy is wearing a clerical collar, and he has across his torso the scars of six bullet-hole that absolutely must have been fatal. The Preacher has a killer’s look that’s totally chilling and he really is invincible and deadly. This is the Clint we know, all right.
But here’s a really interesting thing.
The hero apparently comes as the answer of a prayer to God and defends a helpless community of citizens from a predatory capitalist
so he must be the good hero. But then why does he have has such collection of dark and even demonic qualities? You see this not just in his lethal look, but in all the stuff surrounding him–desolate landscapes, whistling cold winds and portentous music on the soundtrack.
The movie really raises the question of violence exactly through this picture of a devilish-killer good guy. The question is of course.
How can the Eastwood hero be so murderously scary and still be a hero? And again, where does his power come from–power over the bad guys, and also power over the audience–and is it good or bad? I want to talk about these questions some more after the movie.
Pale Rider is a really strange movie in a bunch of ways. The character of The Preacher is just a jumble of irreconcilable contradictions. Does he really come as a miracle from God? Did God let him out of heaven or out of hell? He sure doesn’t seem a likely candidate for the heavenly choir.
It’s more like he came from the source of his scriptural quotation, the delirious and creepy Book of Revelations, the least Christian of all Christian texts. At the same time he appears as a minister—why? One minute he’s smiting the evildoers and the next he’s passing out sensitive family-counseling-type advice.
He won’t sleep with Megan but he will sleep with Sarah—just after she’s announced she’s going to marry Hull Barrett.
Then there’s the whole question of his personal vendetta. If he’s here to revenge himself on the men who killed him previously, how does that make him an instrument of divine justice? Is he here on his own account or Providence’s?
The title is a reference to the Four Horsemen of the Apocalypse, as the pale horse’s ghost rider (Eastwood) represents Death. The film, which took in nearly $41 million at the box office, became the highest grossing Western of the 1980s.
Outside the snowy mountain town of LaHood, California, armed men working for mining baron Coy LaHood destroy the camp of independent prospectors and their families. One of them shoots a dog belonging to 14-year-old Megan Wheeler.
After burying her dog in the woods, she prays, asking God for deliverance, “If You don’t help us, we’re all going to die. Please, just one miracle.” Thunder rolls, and a lone horseman astride a fine, pale horse, appears, riding easily but with inexorable purpose toward Carbon Valley.