News: Having trouble registering?  Please feel free to contact us at help[at]  We will help you get an account set up.

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Topics - KC

Pages: [1] 2 3 ... 41
It's part of a series "Make My Day: American Movies in the Age of Reagan." There's a tie-in with film critic J. Hoberman's new book, Make My Day: Movie Culture in the Age of Reagan. He'll be speaking about the book and the film series on August 28.

Here's FilmLinc's blurb for the film:

“San Francisco police detective Harry Callahan was Clint Eastwood’s most enduring character—the personification of political reaction, the antidote to the permissive Sixties and Lyndon Johnson’s Great Society,” writes Hoberman. “Harry—like Reagan—was a walking contradiction, the authoritarian who hates authority.” Returning from a hiatus during the Carter administration, Eastwood’s Dirty Harry was back for Reagan’s first term to track a serial killer—who is avenging her own rape—only to unwittingly become romantically involved with her. Sudden Impact notably marked the first onscreen instance of Dirty Harry’s (and Eastwood’s) signature catchphrase, which Reagan would himself later quote: “Go ahead, make my day.”

The screenings are at 4 PM on both August 25 and 27. Unfortunately I won't be able to make either. Lately, they seem to deliberately schedule Clint films in New York at times when I can't go.

Eastwood News / Rip Torn ... R.I.P.
« on: July 09, 2019, 09:57:45 PM »
He was in one film with Clint, City Heat (as gangster Primo Pitt) ...

... but the IMDb lists no fewer than 190 other acting credits for "the hell-raising Texas-born actor who in real life was almost as colorful as the outsize characters he played in a 60-year TV and movie career" (NBC News). He also has two credits apiece as director and as producer. Now he is dead at the age of 88.

Now, the headline waiting for him all his life: Rip Torn, R.I.P.

Eastwood News / THE GAUNTLET at New York's Quad Cinema
« on: June 14, 2019, 07:54:59 AM »
This Sunday, June 16, at 5:25. It's part of a Pauline Kael series ... films she loved and a few she hated (as in this case, naturally).

A film by Clint Eastwood

Rarely if ever a fan of the actor/director, Kael didn’t reverse course for this shoot-‘em-up action thriller, but it had been a Christmastime (!) hit by the time her negative review ran. Alcoholic cop Eastwood is assigned to spirit upscale call girl Sondra Locke from Las Vegas to Phoenix so that she can testify against a gangster, but he’s being set up by corrupt superiors in league with the mob. With many an Eastwood fave including Bill McKinney, Mara Corday, and Dan Vadis.

Unfortunately, I won't be able to make it.  For anyone in the area who can: the Quad is at 34 W. 13th Street, near Sixth Avenue, in Manhattan.

General Discussion / Title frame screenshots of Clint Eastwood movies
« on: February 02, 2019, 10:41:08 PM »
I stumbled across a site called "The Movie Title Stills Collection" where a guy called Christian Annyas is posting screenshots of the moment where a film's title appears onscreen. It includes a whole page of films directed by Clint:

... and another for films starring Clint:

Neither page is complete (in the case of films directed by Clint, he specifies "all feature films directed by Clint Eastwood released on Blu-ray") but it's quite interesting to see so many all together like that. There are notes mentioning the titles designer and the font used (when known), and some other interesting trivia.

Annyas is a web designer. He says about this project:
I've seen a lot of movies over the years. To prove I've sat through at least the first ten minutes of them I started making screenshots of the titles. Then my computer crashed and I almost lost them all. To save them for future generations I created this little website.

Eastwood News / Carol Channing, R.I.P.
« on: January 26, 2019, 01:50:18 PM »
Speaking of surprising associations with Clint, I am surprised that no one here noted the passing of the great Carol Channing, who died on January 15 at the age of 97. She was in The First Traveling Saleslady (Arthur Lubin, 1956) with Clint, who had a large enough part to receive an "And introducing ..." billing.

Here is a link to her New York Times obit:

R.I.P., Carol Channing.

Off-Topic Discussion / Happy Birthday, Christopher ...
« on: December 10, 2018, 11:27:17 PM »
... 36!  :D

Happy Birthday, "old" friend!  :)

Have a wonderful day!  8)

Eastwood News / THE MULE: Reviews and Features in the Media
« on: December 09, 2018, 07:40:36 PM »
This will be the "official" thread for media reviews of The Mule and current features about its cast and crew. Please try to keep it to major print, broadcast and online media, not random blog posts or tweets.

Remember that all quoted material should be formatted as such (surround it with [ quote] [ /quote] tags, without the spaces); only quote enough to give us the gist, not entire articles; and always, always give a link to the source (or publication information if it's not online). Also, please identify the author of the article, if it is not in the quoted material. The Moderators reserve the right to edit posts that don't follow these guidelines.

Please read through recent posts before posting new material to make sure someone hasn't already posted the same story or review. And remember that these are frequently reprinted, so try to find the original source if possible.

Off-Topic Discussion / Happy Birthday, exit00!
« on: December 01, 2018, 11:13:14 PM »
These days, we don't do as many birthday threads as we used to, but I just happened to notice at the foot of the page that today is exit00's birthday ... and he is one of our real old-timers in terms of how long he's been posting here.

So many happy returns, exit00!  8)

Have a wonderful day.  :)

Eastwood News / William Goldman, R.I.P.
« on: November 18, 2018, 10:50:46 PM »
William Goldman, the legendary screenwriter, has died at the age of 87.

He and Clint only worked together once, on 1997's Absolute Power. I'm sure they both would say it's not their best work. But the published edition of the screenplay (New York : Applause Books, 1997) is worth getting for Goldman's introduction.

It begins, "Absolute Power is the hardest screenplay I have ever written."

Goldman talks about wrestling with the book for nearly a year before Clint was involved, without finding a good solution to the various problems he saw in transferring the story to the screen. In particular, he couldn't settle on a character to be the star. Luther wasn't an option, because in the book, he dies halfway through. I'll quote a couple of pages:

SETH, by elimination, became my star.

There was still the problem of his not solving all that much. But I figured I could help that by giving him stuff to do that had belonged to other characters in the novel and the first draft.

One of the ways I did this was by giving him a family. … The family was a way to keep SETH around, and also to get rid of exposition that other characters carried earlier. And it made SETH vulnerable so, near the end, when he is closing in on RICHMOND, the President has BURTON and COLLIN send him a message by instructing them to hurt his family. Which they do, driving them off the road, putting ELAINE and the TWINS into the hospital. So SETH has a huge emotional score to settle when in the last scene, he visits the White House and brings RICHMOND down.

Not Shakespearean, no. But maybe an improvement over the first draft. And SETH was now at the center of pretty much everything possible. I had certainly written a star part which was primarily what I meant to do.

I sent it out. Fingers very much crossed.

Because this draft was going to Clint Eastwood. His agent had called while I was writing this draft and indicated he wouldn't mind taking a look at this draft when it was done.

I was desperate to work with Eastwood, had been for decades. He is quietly having one of the very greatest careers. Along with John Wayne, the two most durable stars in history. Plus plus plus the directing.

Eastwood as SETH - set the blood racing.

I had given them something. So at last we had something to change.

Little did he know...


December, 1995.

The second draft got out to Castle Rock around the 20th of October. Their reaction was good — not terrific but certainly good — and they were very appreciative about the amount of work that had gone into changing it.

Now, nothing to do but wait for Eastwood.

On the first of November Martin Shafer called to report that Eastwood definitely was reading it.

Then he called later that day and this is what he said. Eastwood had already read it. He thought it was absolutely OK.


—big but—

—he had already played guys like SETH and didn't want to play that character again—

—now Shafer dropped the shoe —

EASTWOOD was interested in playing LUTHER. He thought LUTHER was a terrific character but—

—amazingly huge but

Eastwood wanted LUTHER to live and to bring down the President.

I was rocked.

During these days of waiting my fantasies of writing a movie for Clint Eastwood grew out of all control. I was even more desperate to work with him —

—I simply didn't know if I could write it.

But write it he does. Goldman goes on to describe how all the various unsolvable problems got solved, to both his and Eastwood's satisfaction, and he ends:

I have seen the finished film as I write this and you will decide what you think of it. But I can tell you this: I'm sure glad I'm involved.

There, now you know everything.

Norman Mailer, center, presented the writing Oscars to Mr. Goldman, left, for “All the President’s Men” (best adapted screenplay) and Paddy Chayefsky for “Network” (best original screenplay) at the 1977 Academy Awards. Credit: Pendergrass/Associated Press

From Sasha Stone's obituary on the Awards Daily site:

Where to even start with William Goldman. I’ll start here. When I first began my site the tagline was “Nobody knows anything.” I think it remained so for about a decade. I can’t think of anyone I admired more in the movie business when I first started than William Goldman. So bright, so funny, so willing to jab a dagger into the heart of bull$#!t that Hollywood ran itself by. I’m such a fan of Goldman’s that I’ve watched Absolute Power, directed by Clint Eastwood, multiple times and All the President’s Men remains in my top five of all time. Goldman was a once in a generation mind and talent.


General Discussion / MOVED: Burt Reynolds RIP
« on: September 06, 2018, 11:19:33 PM »

This topic has been moved to Off-Topic Discussion , as Clint is no longer connected with the project.

Eastwood News / Pierre Rissient, R.I.P.
« on: May 09, 2018, 07:00:14 PM »
Pierre Rissient, the French all-round film maven, whose championing of Clint's career goes all the way back to The Beguiled in 1971, has died. He was 81.

Nicole Prayer/Gamma-Rapho, via Getty Images

Mr. Rissient filled roles that no one could easily define but that all agreed were vital: scouting movies for Cannes, advising directors, making introductions, cultivating journalists. “A cinema guru,” “an ambassador of film” and “the Cannes-do man” are among the phrases reporters used to describe him.

When Todd McCarthy, a longtime film critic for Variety, made a documentary about him in 2007, he titled it simply “Man of Cinema.”

But he made his real mark in promotion, working in that business during the 1960s and ’70s with Mr. Tavernier. They were not the kind who would plug just any movie.

“We were partners during nearly 10 years,” Mr. Tavernier said, “working as freelance press agents. We were only picking films we loved.”

Among the people who caught their eye was Mr. Eastwood, then known mostly from roles in westerns, though he was seeking to broaden his acting résumé with a Civil War drama, Don Siegel’s “The Beguiled,” and was also starting his directing career.

“In 1971, I went to Paris for only the first or second time in my life, with Don Siegel, for the release of ‘The Beguiled,’ ” Mr. Eastwood said by email. “We met these two maniacal publicists, Bertrand Tavernier and Pierre Rissient, who loved the picture and wanted to handle it. They were famous for pinning people up to the wall if they didn’t agree with them about something!”

The relationship Mr. Eastwood formed with Mr. Rissient would be a lasting one. Mr. Rissient’s promotional efforts gave Mr. Eastwood considerable cachet in France, which in turn elevated his career in the United States.

Eastwood News / The 15:17 to Paris: Reviews and Features in the Media
« on: February 05, 2018, 09:58:54 PM »
This will be the "official" thread for media reviews of The 15:17 to Paris and current features about its cast and crew. Please try to keep it to major print, broadcast and online media, not random blog posts or tweets.

Remember that all quoted material should be formatted as such (surround it with [ quote] [ /quote] tags, without the spaces); only quote enough to give us the gist, not entire articles; and always, always give a link to the source (or publication information if it's not online). Also, please identify the author of the article, if it is not in the quoted material. The Moderators reserve the right to edit posts that don't follow these guidelines.

Please read through recent posts before posting new material to make sure someone hasn't already posted the same story or review. And remember that these are frequently reprinted, so try to find the original source if possible.

Eastwood News / Louis Zorich, R.I.P.
« on: February 03, 2018, 08:38:58 PM »
He only had one brief scene in a Clint Eastwood movie, but it was as indelible as any:

CABBIE: Head of the line, head of the line, cowboy. That's luggage.


[Closeup of COOGAN's battered briefcase.]

CABBIE: That thing in your hand, that's luggage.

COOGAN: So it's luggage.

CABBIE: So it's fifty cents extra for a piece of luggage.

[COOGAN gets into the cab.]

CABBIE: Where to, cowboy?

COOGAN: One seventy-seven East 104th Street.

CABBIE: You from Texas?

COOGAN: Arizona.

CABBIE: You with the rodeo?


CABBIE: Everybody wear them clothes in Arizona?

COOGAN: No, lifeguards wear swim trunks, nurses wear white dresses. What do they wear here?

[CABBIE nods and smiles.]

[They reach their destination, COOGAN gets out of the cab.]

CABBIE: That's $2.95 including the luggage.

COOGAN: Tell me, how many stores are there named Bloomingdale's in this town?

CABBIE: One, why?

COOGAN: We passed it twice.

CABBIE: It's still $2.95 including the luggage.

COOGAN: Yeah. Well, there's three dollars, including the tip.

Louis Zorich passed away last Tuesday at the age of 93. He had quite a distinguished career on stage, screen and television, and continued acting into his 90s. His last film appearance was in No Pay, Nudity (2016), which Neil Genzlinger, in Zorich's obituary, calls "a bittersweet comic drama by Lee Wilkof about the troubles older actors have finding work."

Rest in peace!


David Toschi, a colorful San Francisco police detective who spent nine futile years as one of the principal investigators chasing the so-called Zodiac killer, died on Jan. 6 at his home in San Francisco. He was 86.

The Zodiac case, which remains unsolved and continues to fascinate crime buffs, involved a string of murders in Northern California in 1968 and 1969.

The killer sent taunting letters to newspapers, wrote messages in intricate code and otherwise tormented investigators. Officially, he is thought to have killed five people and wounded two others, although in one communication he put the number of victims at 37. That figure was discounted by the authorities, although some other crimes are thought to be linked to Zodiac.

Clint Eastwood also drew on Mr. Toschi for his portrayal of the title character in “Dirty Harry,” Don Siegel’s influential 1971 movie about a San Francisco police inspector, Harry Callahan, who hunts a psychopathic killer. Mr. Toschi, though, was bothered by Callahan’s penchant for administering his own brand of justice. He is said to have walked out of a screening of the movie, which was released when the Zodiac investigation was in full swing.

“He couldn’t take it,” [Mark] Ruffalo, who spent time with Mr. Toschi preparing for his “Zodiac” role, said in a 2007 interview with the website Collider. “It was so simplified.” [Ruffalo starred in Zodiac, David Fincher's 2007 movie about the case.]

Mr. Toschi’s daughter said he always thought that a suspect named Arthur Leigh Allen, who died in 1992, was Zodiac. But, unlike Harry Callahan, he and his fellow officers were bound by the evidence.

“If you get into who these cops were,” Mr. Ruffalo said in another 2007 interview, “you realize how they have to take their hunches, their personal beliefs, out of it. Dave Toschi said to me, ‘As soon as that guy walked in the door, I knew it was him.’ He was sure he had him, but he never had a solid piece of evidence. So he had to keep investigating every other lead.”


As part of a series "Emotion Pictures: International Melodrama," Bridges will screen at the Film Society of Lincoln Center's Walter Reade Theater once only, on Friday, December 22, at 1:30 PM. I'm planning to go.

About the series:

When many of us think about movie melodramas, the first names that come to mind are titans of Hollywood’s golden age, directors (Douglas Sirk, Nicholas Ray, Vincente Minnelli, George Cukor) and stars (Lillian Gish, Joan Crawford, Bette Davis) alike. But the melodrama is by no means a distinctly American or mid-century genre, having laid its roots during the silent era (in the work of D. W. Griffith, Erich von Stroheim, F. W. Murnau) before flowering in Japan (Kenji Mizoguchi, Mikio Naruse), Italy (Pier Paolo Pasolini, Federico Fellini), England (David Lean), and elsewhere. Indeed, the careers of many key filmmakers of modern cinema have been predicated on radical reinterpretations of the form, as in the work of Rainer Werner Fassbinder, Pedro Almodóvar, Todd Haynes, Leos Carax, Lars von Trier, Wong Kar Wai, and Guy Maddin. This series pays tribute to the genre that boldly endeavored to put emotion on screen in its purest form, featuring classics from the silent era and Hollywood’s Golden Age to major mid-century films from around the world to modern dramas and subversive postmodern incarnations. Bring tissues.

And about the film:

“I was acting like another woman, yet I was more myself than ever before…” During one summer in 1960s Madison County, Iowa, a married-with-children Italian-American housewife (Meryl Streep) finds fleeting romance with a rugged, passing-through-town National Geographic photographer (Clint Eastwood). It’s only four days, but it’s enough to fuel an infatuation that stretches even beyond their deaths. The rare literary adaptation to surpass its source material, this stirring, pro-adultery drama is elevated by the finely shaded performances and by Eastwood’s masterful direction, which turns a montage of a blinking car taillight, a rearview mirror, and a passenger side door handle into a heart-stopping, will-they-won’t-they emotional crescendo.

For more on melodrama as a film genre, see this story in the Times:

What’s the one thing these 62 films have in common? What makes them melodramas?

It has to do with emotion. Films that depict or express emotion directly, in as direct or pure a form as possible. But these are often films that depict emotion indirectly, that deal with heightened emotions and figure out interesting ways to express them onscreen.

The question behind the series is how emotion works on screen. How do we as viewers become emotionally invested? What makes us emotional?

Off-Topic Discussion / Happy Birthday, AKA23!
« on: October 25, 2017, 10:07:58 PM »
Happy Birthday, AKA!  :D

Have a wonderful day!  8)

Pages: [1] 2 3 ... 41

C L I N T E A S T W O O D . N E T