News: See Eastwood's latest, THE 15:17 TO PARIS, coming on DVD May 22!

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Messages - KC

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Is it a piece of luggage? :)

Great, now if I could only find a clip of them going through security in the US ... or through customs in Europe ... ???

Well, I'd better make it a question, because I'm clueless.

Is it something one of them has brought along on the trip?

OK, something they've brought with them then ... I'll assume.

I don't think I can get this in nine. Especially since I have only fuzzy memories of the movie ... and I don't have it on DVD yet. (Shame on me.)

Is this a European inanimate object?

Reminds me that in Middle French, the word "acteur" meant "author."

Is it one of the grownup actors, i.e. the real McCoy guys ... as opposed to the kids who play them as kids?

EDIT: I said "actors," but you know what I mean.

Hmm, I saw the movie back in February and can't remember many details except the train. :(

Is it something one of our three amigos touches?

Is it a vehicle?

Clint didn't direct either Pink Cadillac or City Heat. Since he didn't act in The 15:17 To Paris, we have to be talking about his directorial career here.

Clint Eastwood #1 Fan, I get why you don't like Bird (it IS hard to follow, and if you don't like jazz, you might wonder why the characters are worth caring about). But a lot of people consider it a masterpiece. Nobody is saying that about The 15:17 To Paris ... or The Rookie, either.

EDIT: I just noticed you said "the music is great," so I can't accuse you of not liking jazz! ;D

Geez, I haven't played this game in a million years ... I don't remember about condensed games.

Bigger than a breadbox? :D

No, it is not the worst movie he ever made. Not until Alan Smithee fesses up and admits it was actually he who directed The Rookie.

General Discussion / Re: Happy 88th Birthday Mr Eastwood
« on: May 31, 2018, 10:07:49 PM »
It's still Clint's birthday in California! So ...

Happy Birthday, Clint! And many happy returns!  8)

(Above: On the set of Sully, 2016)

Eastwood News / Re: THE MULE: Production Information and News
« on: May 26, 2018, 07:25:38 AM »
That is great news, AKA! Thanks for digging it up for us.

If you didn't know anything about Clint except the three "Dollars" films and Dirty Harry, and someone told you Clint is also a director, and his directorial debut is about a laid-back California jazz disc jockey, who is in an on-again, off-again relationship with a wan blonde, but he never lets that stop him from picking up attractive women in a bar where he hangs out after work ... seriously, if I then asked you who you think he cast as the disc jockey, would you ever in a million years have answered "Himself"?

It's a very un-Eastwood like role, and he's excellent in it.

I've enjoyed the discussion too, and I think everyone has made some good points.

One thing I would do is start by asking which Eastwood films the person has already seen. In the case of my friend, I'd be willing to bet he hasn't actually seen anything Clint appears in. (I know I made him and his wife watch Invictus, after they'd been on a trip to South Africa, so he's seen that, at least.) He's not really a movie person and often relies on whatever he reads in the New Yorker or the New York Review of Books to tell him what to think inform his critical opinion. (Couldn't resist that bit of fun with the strikethrough formatting.)

Now this hypothetical person, as you say, is familiar with Clint's work and thinks he's a good director. But maybe he has only seen Clint in one or  more of his "typical" roles? In that case, almost anything else would do, starting with The Beguiled, or maybe even better, Play Misty for Me, up to The Bridges of Madison County and beyond. Actually, those three might be my selection, in any event.

Eastwood News / Re: Bill Gold RIP
« on: May 21, 2018, 06:53:37 AM »
Sad news. Thanks for posting, Palooka.


Off-Topic Discussion / Re: The Celebrity Obituary Thread
« on: May 20, 2018, 08:48:34 PM »
I was going to post this last week, but am just finding time now. Anne V. Coates, the film editor, has died at the age of 92. She won an Oscar for her work on Lawrence of Arabia (1963), and four more nominations, most recently in 1998 for Out of Sight by Steven Soderbergh. There's a minor Eastwood connection: Her next-to-last nomination was for In the Line of Fire in 1993. (She also won an honorary Oscar in 2016.)

Here's the link to the Times obituary:

I never knew the famous "match cut" (literally) in Lawrence was her idea:

In one scene, T. E. Lawrence, a junior British Army officer during World War I, is ordered to the Arabian Peninsula. Receiving the order, he leans over to light the cigarette of a British diplomat (played by Claude Rains), then stares transfixed at the still-lighted match between his fingers.

Lawrence blows out the match, and in the instant he does, the action cuts from the smoldering flame to a panorama of the sunrise over burning desert sands.

In that single cut — born when Ms. Coates looked into Mr. O’Toole’s eyes and chose to splice two discrete bits of film together — is contained the passage of time, a journey through space and a delicious visual pun: a literal “match” cut.

The director Steven Spielberg has described that cut as “the transition that blew me away” when he first saw the film as a youth.

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Eastwood News / Re: THE MULE: Production Information and News
« on: May 19, 2018, 11:11:09 PM »
That wasn't a mule in A Fistful of Dollars, though. It was a horse. A very old horse, but a horse. The Baxter men were just making fun of it by calling it a mule.

Of course, there was also Two Mules for Sister Sara pretty early on in Clint's career.

Hi, TomTurner, and welcome to the Board!

This is a thoughtful post. Personally, I don't think Josey could have had any idea, after hearing Grandma Sarah talk, that he had killed her son, specifically, among the many other deaths he was responsible for. How would he have known what he looked like? For the same reason, Grandma couldn't have suspected him, specifically, among the many other "Missouri ruffians" her son had done battle with, of being her son's killer. She had never seen him before. But they certainly each understood that this was a possibility, and that is what makes their relationship so tense in the beginning, and their mutual reconciliation and the "new harmonious life" they embark on with the rest of the makeshift family so moving.

From that post you referenced in the "Film Discussion Thread" for The Outlaw Josey Wales

Further along in the movie, we note that Grandma Sarah has a change of heart when she prays aloud:

    GRANDMA SARAH: Lord, thanks a lot for bringing us to this place. Pa and Daniel died at the hands of that low-down, murdering trash out of hell that done 'em in. But they put up a good fight, and died the best they could. And thanks a lot for Josey Wales, who you changed from a murdering bushwhacker on the side of Satan to a better man in time to deliver us from the Philistines. And thank you, Lord, for getting us together in Texas.

Grandma Sarah seems to think that Josey is the one who has changed, rather than herself. Discuss what you think finally precipitates her change of heart.

I think they both have changed. Especially in a civil war like this, where atrocities were committed by both sides, each believing firmly that their cause was the just one and the other side deserved what it got, it would be hard not to see those on the opposite side as entirely evil. But when the war is over, and the scarred human beings have to live with one another, they have to find a way to change themselves, and recognize that others may have changed as well. Of course there were die-hards who would never allow their prejudices to soften even a little bit, and if their whole family has been slaughtered, we can understand that. But we feel more for those who are able to overcome their past and live with hope towards a better future.

In the movie, the final shot is a freeze frame. Josey is badly wounded, but he has killed his archenemy Terrill (who he does know was responsible for killing his wife and son at the beginning) and is free for the moment of further pursuit by the vengeful Union troops, thanks to the support of the saloon patrons and Fletcher. Now we see Josey riding off, not into the sunset as in Western cliché, but into the sunrise. But to what destination? Here is another question posed in that long-ago "Film Discussion Thread":

At the end of the movie, Josey, wounded, leaves the scene of his showdown with Terrill and his tacit reconciliation with Fletcher, and starts to ride off into the sunrise. He is caught in a freeze frame, and the final credits come up. What happens next? Do you think Josey is going back to his surrogate family, or is he going off by himself, as he had intended to do earlier that morning? Do you think he will survive, or will he die of his wounds? If he lives, will he attempt to start a new a life with Laura Lee and the others? Why or why not?

The best answer we got in that thread (or the one I agreed with most, anyway), was from mgk:

In my opinion, Josey rides off toward the ranch where everyone is waiting for him.  He has reluctantly gathered up this new family of his but he's very grateful to have them around.  He hopes that now that the Texas Rangers think that he is dead and Fletcher has given him a new opportunity to get rid of his "hunted man" image, he is ready to settle down again and make something of him life similar to the way it was when he lost his first family at the beginning of the movie.

But don't forget the last line spoken in the move, "I reckon we all died a little in that damned war."

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