Production notes

Eastwood reportedly liked the offbeat quality of the film's original nine-page treatment and approached Universal with the idea of directing it. It is the first Western film that he both directed and starred in. Under a joint production between Malpaso and Universal, the original screenplay was written by Ernest Tidyman, who had won a Best Screenplay Oscar for The French Connection. Tidyman's screenplay was inspired by the real-life murder of Kitty Genovese in Queens in 1964, which eyewitnesses reportedly stood by and watched. Holes in the plot were filled in with black humor and allegory, influenced by Sergio Leone. An uncredited rewrite of the script was provided by Dean Riesner, screenwriter of other Eastwood projects. Universal wanted Eastwood to shoot the feature on its back lot, but Eastwood opted instead to film on location. After scouting locations alone in a pickup truck in Oregon, Nevada and California, he settled on the "highly photogenic" Mono Lake area. Over 50 technicians and construction workers built an entire town—14 houses, a church, and a two-story hotel—in 18 days, using 150,000 feet (45,720 meters) of lumber. Complete buildings, rather than facades, were built, so that Eastwood could shoot interior scenes on the site. Additional scenes were filmed at Reno, Nevada's Winnemucca Lake and California's Inyo National Forest. The film was completed in six weeks, two days ahead of schedule, and under budget. The character of Marshal Duncan was played by Buddy Van Horn, Eastwood's long-time stunt double, to suggest that he and the Stranger could be the same person. In an interview, Eastwood said that earlier versions of the script made the Stranger the dead marshal's brother. He favored a less explicit and more supernatural interpretation, and excised the reference. The Italian, Spanish, French and German dubbings restored it. "It's just an allegory," Eastwood said, "a speculation on what happens when they go ahead and kill the sheriff, and somebody comes back and calls the town's conscience to bear. There's always retribution for your deeds." The graveyard set featured in the film's final scene included tombstones inscribed "Sergio Leone" and "Don Siegel" as a humorous tribute to the two influential directors. The 'ghost story' interpretation of the film favoured by Eastwood is hinted at strongly throughout the movie, suggesting that the Stranger may be the ghost of slain Federal Marshal Jim Duncan, returning for vengeance and justice; the beginning and end of the film sees the Stranger mysteriously emerge, apparition-like, as he rides into and out of Lago through a shimmering heat-haze. Upon arriving, the Stranger has a lucid and graphic dream about Jim Duncan's death, in which Duncan declares damnation upon the townspeople for not saving his life. The Stranger's instructions that all buildings should be painted red and the town's name of Lago be replaced by a sign labelled 'HELL' echoes Duncan's dying words that the residents would suffer in Hell for failing to prevent his death. After spending a night in a hotel bed together, Sarah Belding tells the Stranger of her belief that Jim Duncan cannot rest in peace nor depart the physical realm because he was buried in an unmarked grave. Then, upon the Stranger's final departure from Lago, the dwarf Mordecai is seen tending to an unmarked grave which now bears the name Jim Duncan.

Universal released High Plains Drifter in the United States in April 1973, and the film eventually grossed $15.7 million domestically, ultimately making it the sixth-highest grossing Western in North America of the 1970s and the 20th highest-grossing film of 1973. The film was well received by many critics, and rates 91% positive on Rotten Tomatoes based on 33 reviews. On Metacritic the film has a score 69% based on reviews from 10 critics, indicating "generally favorable" reviews. Vincent Canby of The New York Times called the film "part ghost story, part revenge Western, more than a little silly, and often quite entertaining in a way that may make you wonder if you lost your good sense". Gene Siskel of the Chicago Tribune gave the film 3 stars out of 4 and wrote, "What does work very well indeed is Eastwood's presence, personal style, and direction. Though his laconic sense of humor often drags out the pacing of the movie, Eastwood uses his camera with intelligence and flair." Arthur D. Murphy of Variety called it "a nervously humorous, self-conscious near satire on the prototype Clint Eastwood formula of the avenging mysterious stranger. Ernest Tidyman's script has some raw violence for the kinks, some dumb humor for audience relief, and lots of arch characterizations befitting the serio-comic-strip nature of the plot." Kevin Thomas of the Los Angeles Times called it: "a stylized, allegorical western of much chillingly paranoid atmosphere and considerable sardonic humor that confirms Eastwood's directorial flair. It's also a pretty violent business that won't disappoint the millions who flocked to the Leone westerns." Tom Zito of The Washington Post called it "an enjoyable, well-constructed work that suffers only from a slightly tedious tone that makes the film seem longer than its 105 minutes." The film had its share of detractors. Some critics thought Eastwood's directing derivative; Arthur Knight in Saturday Review remarked that Eastwood had "absorbed the approaches of Siegel and Leone and fused them with his own paranoid vision of society". Jon Landau of Rolling Stone concurred, noting "thematic shallowness" and "verbal archness"; but he expressed approval of the dramatic scenery and cinematography. Nigel Andrews of The Monthly Film Bulletin wrote that "after Play Misty For Me, High Plains Drifter emerges as a disappointingly sterile exercise in style, suggesting that the first thing Eastwood should do as a director is forget the lessons he has learned from other film-makers and start to forge a convincing style of his own." John Wayne criticized the film's iconoclastic approach; in a letter to Eastwood, he wrote: "That isn't what the West was all about. That isn't the American people who settled this country." The film was recognized by American Film Institute in 2008 on AFI's 10 Top 10 in the category "Nominated Western Film".