Pale Rider (1985) Review

 

A mysterious cowboy rides into a struggling 19th-century mining town, where a ruthless land baron terrorises a community of prospectors. Known only as The Preacher, he becomes both protector and avenger.

Clint Eastwood's Pale Rider (1985) is one of his strongest Westerns, a spiritual cousin to High Plains Drifter but with a more grounded, reflective tone. Where Drifter leaned into eerie, almost supernatural revenge, and The Outlaw Josey Wales blended gritty action with found-family warmth, Pale Rider entertainingly moves with quiet inevitability toward its violent finale. If, pre-Unforgiven, the aforementioned were considered Eastwood's directing Western trilogy, Pale Rider would debatably be the second strongest, after The Outlaw Josey Wales.

Eastwood directs with restraint, favouring atmosphere and gradual tension. Bruce Surtees' cinematography beautifully captures the rugged and picturesque landscapes, while Lennie Niehaus' sparse, mournful score enhances the film's sombre mood.

Eastwood gives a typically stoic, imposing turn as The Preacher. Michael Moriarty shines as Hull Barret, with Carrie Snodgress adding grit as Sarah Wheeler, and young Sydney Penny offering sincerity without sentiment. Richard Kiel makes a strong impression as Club, and John Russell radiates cold menace as Stockburn. Notably the later Billy Drago,Chris Penn and Charles Hallahan also appear.

Written by Michael Butler and Dennis Shryack the final shootout is a tense, expertly paced payoff, delivering brutal satisfaction after the slow build.

Overall, with its moody visuals, measured storytelling, and mythic undertones, Pale Rider stands as one of Eastwood's most atmospheric and powerful Westerns.