News: Coming in 2021: CRY MACHO, directed by and starring Clint Eastwood!

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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)

Off-Topic Discussion / Happy Birthday, Schofield Kid!
« on: October 15, 2017, 08:05:47 PM »
Happy Birthday, Schofield Kid!  :)

For once I'm getting this thread started before your birthday is nearly over in Australia ... though last I heard, you were on holiday in Spain! Oh well, it's already your birthday there, as well.  :D

Hope you have a wonderful day!  8)

Fascinating clip with great insight into Clint's working methods (and how Rubinek may have gotten his job thanks to a tip from Jack Nicholson). Much of this is known, but not that bit about how Clint followed Rubinek's advice on Clint's closeup in the saloon shootout scene.

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Off-Topic Discussion / Happy Birthday, nyna!
« on: October 11, 2017, 02:46:29 AM »
Happy Birthday, nyna!  :)

You haven't posted in a while, but I see you have been on the site. So I hope you have been having a wonderful day!   8)

Off-Topic Discussion / Solar eclipse, August 21, 2017
« on: August 07, 2017, 09:03:04 PM »
I was just wondering if anyone on the Board lives in the continent-wide path of the coming total eclipse of the sun? Or is anyone planning a trip to see it?

I must admit I deeply regret not making travel plans while there was still time. I'll probably never get another chance to see this extraordinary phenomenon.

(Looks like it will be passing right through Big Whiskey, Wyoming! ;) )

Off-Topic Discussion / Happy birthday, Satu!
« on: July 17, 2017, 10:20:10 PM »
Happy Birthday, Satu!  :D

Have a wonderful day! :)

It's part of a "Southern Gothic" series.

Part of BAMcinématek series Southern Gothic
Directed by Don Siegel | 1971

With Clint Eastwood, Geraldine Page, Elizabeth Hartman

This chilling, Civil War-set art-western stars Clint Eastwood as a wounded Yankee soldier who finds himself convalescing in a Confederate all-girls school, a charged setup that precipitates a disturbing series of sexual and psychological manipulations. Though produced the same year that Eastwood and director Don Siegel made Dirty Harry, The Beguiled forgoes bullet-spray action in favor of creeping, slow-burn menace.

It's playing Monday, June 26, at 4:30pm, 7pm and 9:30pm, and Friday, June 30, at 2pm and 4:30pm.

More information here:

The Times critics Manohla Dargis and A.O. Scott got together last Sunday and selected "The 25 Best Films of the 21st Century So Far." Million Dollar Baby is Number 3 on the list:

Million Dollar Baby
Directed by Clint Eastwood, 2004

A.O. Scott
Clint Eastwood sometimes releases his movies the way he shoots them: quickly and efficiently, without a lot of fuss and hype. “Million Dollar Baby” bypassed the festivals and the early awards-season buzz and was screened for critics about a week before it opened in December 2004. On a whim, I invited my editor at the time to the screening. Though he and I always got along well, we sometimes differed on matters of taste. Not this time. After the final credits rolled, we walked back to the office in a contemplative silence that he finally broke. “Now that was a movie,” he said.

It was, and it is. You sometimes hear that that they don’t make them the way they used to, but Mr. Eastwood – almost uniquely in 21st-century Hollywood – most assuredly does. In the years since “Million Dollar Baby” (which won him his second best picture Oscar), he has occasionally wandered into the public eye for reasons unrelated to movies. He appeared in a memorable Chrysler commercial, argued with an empty chair at the Republican National Convention in 2012 and expressed admiration for Donald J. Trump during the 2016 campaign. But that’s just his way of passing the time and letting off steam. Since turning 70 in 2000, he has continued to practice and refine his craft, producing some of the strongest work of his career and also some of the strangest. A ghost story? A musical? A rugby movie about Nelson Mandela? Why not?

But Mr. Eastwood has always been most at home in the classic American film genres: the western, the crime flick, the combat picture. And, in this case, the boxing movie, perhaps the most susceptible to sentimentality and cliché. The glory of “Million Dollar Baby” is that rather than strain for novelty, it settles into the conventions of the genre with masterly confidence and ease, and discovers deep currents and grace notes of feeling that nobody had noticed before.

Morgan Freeman and Hilary Swank each won Oscars for their performances. Mr. Freeman plays a former fighter nicknamed Scrap who acts as the confidant and conscience of Mr. Eastwood’s Frankie Dunn. Frankie is a trainer haunted by ghosts and regrets who takes a chance on an ambitious young fighter named Maggie Fitzgerald (Ms. Swank).

If for some unfathomable reason you haven’t yet seen “Million Dollar Baby,” I won’t spoil the plot by saying any more. But if you have seen it, you know that there’s much more to this movie than its plot. The warm, sharp banter among the principal characters never gets old. The images, shot by Mr. Eastwood’s longtime cinematographer, Tom Stern, glow with unexpressed, somber feeling. Fifty years from now, as the end credits scroll on whatever screen viewers are watching on, they will reach the same conclusion my editor did back in 2004. This is what a movie looks like.

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