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Messages - bigdai

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81
Eastwood News / Re:Eastwood on a Last Ride West?
« on: April 15, 2004, 02:10:41 AM »
I thought the Missing was very over-rated but agree that Costner could do a good job.  Dances With Wolves was a little too long and ponderous but he certainly did a goodjob with Open Range.

82
General Discussion / Re:Clint Best Performance
« on: March 07, 2003, 01:00:15 PM »
Although not my favourite Clint western, I would have to say Unforgiven.  I think that was a flawless performance.  

Bridges was good but, I don't think challenging as it was a pure weepy and had high emotion.  

HeartbreaK ridge as I have said before is in my opinion a very poor film and so is Eastwood's performance.  

Runner-up - GBU.

Third - Bronco Billly/Josey

83
Clint Eastwood Westerns / Re:Steak & Potatoes vs Spaghetti
« on: March 04, 2003, 09:55:36 AM »
This is where the contradictions in the theses is evident.  Having said, that i'm not sure that the characters were formulaic.  Certainly there have been similarities in each, but they are all also very different.  Cooper is different to Josey Wales who is different to the Preacher who is different to Will Munny.  The similarities tend to show through Eastwood's acting personality.  The audience know what to expect from Eastwood in a western without it being predictable and formulaic.  In this way Eastwood has changed his films and developed them in line with the audience reaction rather than giving them the reaction.  An example is you would not have expected Josey Wales to settle down after watching the character in High Plains Drifter or the liberalism of Callaghan in the first sequal to Dirty Harry.

I agree with Doug about the music in Unforgiven.  who needs hoards of music when you can have something as effective and beautiful as Claudia's theme.

84
Clint Eastwood Westerns / Re:Steak & Potatoes vs Spaghetti
« on: March 03, 2003, 02:07:38 PM »
I have just finished some research on a book called The Popular Arts by Stuart Hall and Paddy Whannel (1964).  It is one of the founding books of British media and cultural studies and is aimed at education.  In the book Hall and Whannel argue that there are two kinds of popular culture: Popular Art and Mass Art.  

Popular Art is art that has derived from folk art and has its own personality and style.  In the case of a film, it may be the directors personal style or the actors performance in response to the script, director, audience etc.  Mass art is a corrupt version of this.  In mass art there is no stylization or personality.  The work is depersonalised and the audiences reactions are taken into account in the production of the art.  They gave the following example of this by comparing Liberace with Johnny St. Cyr a musician of the same period.

St. Cyr:

‘The more enthusiastic his audience is, why the more spirit the working man’s got to play.  And with your natural feelings that way you never make the same thing twice.  Every time you play a tune new ideas come to mind and you slip that one in.
ed. N. Shapiro and N. Hentoff, Hear Me Talkin’ to Ya  

Liberace:

"My whole trick is to keep the tune well out in front.  If I play Tchaikovsky I play his melodies and skip his spiritual struggles.  Naturally I condense.   I have to know just how many notes my audience will stand for.  If there’s time left over I fill in with a lot of run ups and down the keyboard."
Reported in Jazz Monthly

In other words Johnny St. Cyr is an organic artist whereas Liberace is a corrupt version of this in it for the money.

This may seem slightly off the point.  However, if Clint Eastwood had gone onto make westerns in a formulaic way, copying the success of Leone, then he would have been guilty of producing this mass art as he would be doing it for the sake of the audience reaction and the box office.  This is what Lee Van Cleef went on to do.  It is obviously a shame to a Leone fan that Eastwood didn't go on to make Leonesque westerns.  However, the fact that he didn't created more satisfying films in a purely artistic sense, if we follow the Hall and Whannel model.  I'm not saying this form of textual cultural discrimination is correct and it is certainly contradictory to some extent.  Despite this, it is worth bearing in mind when considering why Eastwood treated a film like Hang 'em High differently.  He is certainly closer to an artist than a Jean Claude Van Dam or perhaps a Mel Gibson whose films have always been formulaic.

85
Clint Eastwood Westerns / Re:Pale Rider question
« on: March 03, 2003, 01:40:42 PM »
Lust conquers all! :-*

86
General Discussion / Re:Only 403 members?
« on: February 27, 2003, 03:36:29 PM »
It's quality not quantity that counts.  Your a darn fine bunch!

Remember on the old board there were only maybe 50 regular posters out of the 1,500 members.  400+ isn't bad so far.

87
Questions & Answers / Re:The Eiger Sanction DVD
« on: February 26, 2003, 03:24:20 PM »
It came out on region 2 over a year ago.  As usual negligable SF.  I haven't heard about a special edition release on region 2 in the UK, but don't know about the US.

88
Clint Eastwood Westerns / Re:westerns
« on: February 26, 2003, 03:19:01 PM »
The region 2 release is probably not worth importing unless you are desperate.  The SF on it are negligable. In fact I don't think there are any although I will double check and get back to the board.  You may as well wait until the region 1 release because there will be more on it.

89
I'm not sure that the levels of violence make Hang 'em High similar to the Italian westerns.  Leone had certainly raised the bar on the levels of violence acceptable in a western which was clearly followed by Leonard Freeman.  This in turn was followed by Peckinpah in 1969 with The Wild Bunch.  I certainly wouldn't say that that film was similar to the Italian westerns (although closer than H 'em H).  

The same thing occurs in all film genre where a director will raise a bar, whether it be violence, language, expression etc.  Look at petty gangster films for example.  Goodfellas raised the violence and language levels set by the Godfather and this was followed about four years later by Tarantino's Pulp Fiction.  In no way are these two films similar but both contain extreme levels of violence.

I think the same thing applies to Hang 'em high.  It was trying to sell itself on the back of the Leone films but as mentioned by others, except for a few touches it was not alike.  Ok they are both very violent but I don't think this necessarily infers simmilarity.

90
Off-Topic Discussion / Re: THE ENDLESS, POINTLESS thread
« on: February 17, 2003, 05:05:53 PM »
I really wish I had some snow to avoid going to school.  Unfortunately we don't see much of it here.

I doubt the tooth fairy likes PYW though.

91
Dennis Hopper definately did over-do his death scene.  As KC said he always does over-do things.  I think he has been a lucky actor rather than a good one.  The performance as the 'prophet' could not be done that badly due to its length yet some how Dennis still managed to mess it up while just having to pretend to take a couple of bullets and fall on the floor.  

He was passable in Easy Rider and had a great scene in True Romance, other than those nothing good springs to mind.

92
In no way is this film similar to the Italian westerns.  The first time I saw Hang 'em High it was immediately obvious that the film had a whole different structure, style, political undertone and acting style en masse.  It was far closer to a traditional 1930's-50's western with the whole film more clean cut and to some extent melodramatic.  In fact, the first time I saw it I was slightly dissapointed because it reminded me more of Shane than FFD which was the type of film that I had begun to expect from Eastwood.  While I now like the film having critically viewed it for its own merits, I do think that the demands made on Clint by Freeman did not stretch him to his full ability and that any American born Hollywood actor could have played Cooper.  Clint certainly looks  more at ease playing a troubled or flawed character rather than a Cooperesque western character.  

93
General Discussion / Re:does he say
« on: February 16, 2003, 03:41:59 PM »
Contrived is a far better word.  Ok, yes, it was a weary line but so were the DH films by then.  In itself it was no lesser than 'Punk'.


94
General Discussion / Re:does he say
« on: February 16, 2003, 02:47:08 AM »
I quite like that line even if it is forced.  You could say the 'punk' line was also forced.

95
Clint Eastwood Westerns / Re:Father Ramirez
« on: February 16, 2003, 02:43:28 AM »
Matt, I agree the next scene is far better as we get to learn far more about Tuco's character - his strengths and weaknesses.  At the same time we learn more about Blondie.  I think he does show a certain amount of feeling and sensitivity by offering the cigar but it is done in a tactful and down right cool way.  We also see the bond between them continue to develop as it does throughout the film.

96
David Cronenberg or Woody Allen.  Just because all three are totally different but all brilliant  in their own ways.  I think Clint could do some interesting work with either.

97
General Discussion / Re:Favourite Clint Memorabilia
« on: February 15, 2003, 06:53:56 PM »
I've got four genuine autographed photos.  The best one is from the set of Josey.

98
General Discussion / Re:The Beguiled and Blood Work
« on: February 15, 2003, 06:50:58 PM »
Quote
As posted by shabby chic:
The only thing they have in common is that I watched them side by side.  It didn't make Blood Work look very strong.  I think he should either act or direct, but not both.

Umm, ever seen Unforgiven.  I think he can manage both more than adequately.

99
Clint Eastwood Westerns / Re:Father Ramirez
« on: February 15, 2003, 06:41:40 PM »
I'm not so sure about that scene.  It is a typical bridging effect used in many different films to build up a rounded character.  While it does give Tuco a history and human side, the scripting is cliched as is the Ramirez character with the whole good versus evil thing.  That said, the scene is fairly enjoyable so in one sense is good for the audience even if it is run-of-the-mill.  

100
Clint Eastwood Westerns / Claudia's Theme Guitar Tab
« on: February 15, 2003, 06:24:08 PM »
I found this earlier today and thought it may be useful for any other guitarists out there.

Well for all you western movie fans, and Clint Eastwood for that matter, here are the tabs for the
main song in the movie Unforgiven.  It's really simple if you just listen to the song! Enjoy!


B  -------------------------------------------------------------------------17 16-------16---------                                                                                                                                            
G  13 16 14 / 14 14 16 18 16 14 13 / 13 13 14 16 14 / 14 14 16             16 /      18 14 /

B  --------------------------------------------------------------------------------------------17 16 ---
G  16 14 13 / 13 13 14 16 14 / 14 14 16 18 16 14 13 / 13 13 14 16 14 / 14 14 16          16 /

B  16-------------------------------------------------------------------------------------------------
G       18 14 / 16 14 13 / 11 13 14 14 / 11 9 8 / 8 9 11 13 / 9 8 6 / 11 13 14 14 / 11 9 8 /

B  -------------------------------------------------------------------------------------------------17-
G  8 9 11 6 / 4 / 13 13 14 16 14 / 14 14 16 18 16 14 13/ 13 13 14 16 14 / 14 14 16      

B  16------16-------------------------------------------------------------------------------------------
G       16 /      18 14 / 16 14 13

Then the orchestra breaks in w/o the guitar, and then the guitar comes in playing a half step higher:

B  -----------------------------------------------------------------------------------------------------
G 12 14 15 15 / 12 10 9 / 9 10 12 14 / 10 9  7 / 12 14 15 15 / 12 10 9 / 9 10 / 7 / 5 /

B  ------------------------------------------------------------------------------------18 17------------
G  14 14 15 17 15 / 15 15 17 19 17 15 14 / 14 14 15 17 15 / 15 15 17           17 /

B  17-----------------------------------------------------------------------------------------------------
G      19 15 / 17 15 14

And then it goes on to place this twice:

B  ------------------------------------------------------------------------------ 18 17------17--------
G  14 14 15 17 15 / 15 15 17 19 17 15 14 / 14 14 15 17 15 / 15 15 17         17 /       19 15 /

B  ----------------------- 18 17-------17---------------------------------------------------------------
G  17 15 14 / 15 15 17           17 /       19 15 / 17 15 14

There is a retard at the end of the song, so just listen to it for the rhythm.  The slash marks give a good
indication of breaks.  If anyone needs the violin part, I’ll have that worked out soon- just email me and let
me know you need it:  merlyteen@yahoo.com


I don't know if it's been posted before but enjoy.  Thanks to www.guitartabs.cc


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