Clint Eastwood in the s According to the CBS press release for Rawhidethe Universal known then as Universal-International film company was shooting in Fort Ord when an enterprising assistant spotted Eastwood and invited him to meet the director. He didn't know which way to turn or which way to go or do anything". Eastwood joined the Marsh Agency, and although Lubin landed him his biggest role to date in The First Traveling Saleslady and later hired him for Escapade in Japanwithout a formal contract Eastwood was struggling.
Managing to maintain those legendary statuses hand in hand is a crowning achievement, even if his versatile and prolific work over the last six decades has yielded as many duds as classics. With his maybe jingoistic or is it?
Here are the 10 best films directed by Clint Eastwood. Sergio Leone and Don Siegel. He adapted the meticulous framing—with great attention to both foreground and background depth—perfected by Leone, especially as he made his way towards helming westerns.
Costner was at the height of his stardom at the time, known for playing morally airtight do-gooders, so this antihero was a risky move on his part, playing a dark, violent character who can become an imperfect but necessary father figure. Essentially a supernatural thriller hidden inside a thick, old-fashioned western coating, High Plains Drifter sees Eastwood cleverly deciding not to play it safe when it comes to directing his first attempt at the genre that turned him into an international megastar.
Sounds pretty cut and dry, until some surreal elements begin to sneak into the picture, accompanied by the deliberate build-up of suspense, turning this simple premise into a downright biblical tale of divine vengeance.
Eastwood sensed the popularity of the traditional western was on its way out when Josey Wales went into production, so he composed a fitting Swan Song for the genre. Eastwood is predictably badass in the title role, but the MVP of the picture is his no-nonsense sidekick played by the illustrious Chief Dan George.
His third film as a director was the underrated Breezy, a surprisingly even-handed romance between a young hippie and a jaded middle-aged man. Will she leave her comfortable and responsible life behind to go on an adventure with the photographer, or is it too late for her?
By focusing on the universal feelings every audience would have with vital choices they had to make in their lives, some of them propelled by undeniably strong emotions, Eastwood transcends the confines of the tear-jerker melodrama, supported heavily by the sometimes tumultuous, sometimes wistful performances of his two leads.
However, the genre machinations are just the cherry on top of this somber and sobering drama about how time eventually embitters us all, and how desperation and paranoia can turn us into monsters.
As the narrative sprawls, Eastwood keeps a consistent tone, never getting in the way of the performances of his three leads, which, alongside the always reliable Marcia Gay Harden, are tops.
Million Dollar Baby Though the backlash against Million Dollar Baby began almost immediately after it won the Oscar for Best Picture—did it win only because of the controversial ending?
With hard-earned emotional stakes, Eastwood swoops in and delivers a devastating gut punch. But all the research for Flags of Our Fathers persuades Eastwood to tell the Japanese side of the story, to give the American film a smaller sister piece—which happens to be not only one of the most outstanding works of his career, but one of the great Japanese war films ever made.
Unforgiven Arguably the two greatest westerns ever, The Good, The Bad and The Ugly and Unforgiven, stand at complete opposite ends of the tonal and thematic spectrum for the genre.
A hollow and hellish existence, to be sure. Instead of the usual morally detached gunslinger his audience spent decades getting to know, Eastwood directs himself as a broken man who pretends to return to a life of killing because of simple monetary motivations, but is painfully aware of the curse that he inflicted upon himself:Janet Maslin of The New York Times wrote that film was " the best and funniest Clint Eastwood movie in quite a while", and praised Eastwood's directing, intricately juxtaposing the old West and the new West.
It was hailed as one of the best films of and the best western to appear for a considerable period, with Gene Siskel of the Chicago Tribune remarking, "This year () will go down in film history as the moment Clint Eastwood finally earned respect as an artist".
Gemmell described the novel as his love letter to his favourite writer, Louis L’Amour, and we can also detect Clint Eastwood’s Preacher from Pale Rider (released two years before Gemmell’s novel) and perhaps a far-off echo of Stephen King’s Gunslinger, Roland, from the Dark Tower series.
The dark and uncomfortable places the story goes, of a female boxer (Hilary Swank) rising up in the ranks through a cranky coach’s (Eastwood) training, is supported by the strong bond that’s. In his acting heyday, Clint Eastwood was a taciturn maestro of understatement. In his Man With No Name or Dirty Harry periods, one eyebrow raised was usually enough to pitch even the most arrogant antagonist into throes of panic and self-doubt, while a simple curl of the lip usually signified that the nearest dude was a dead man walking.
The Dark Side of Clint Eastwood Essay - Clint Eastwood first made a name for himself in Sergio Leone’s Spaghetti Westerns in the ’s.
Eastwood iconic Man with No Name in the “Dollar Trilogies” made him an international star, and it is only fitting that he would resurrect his career in a film of this genre.