Clint Eastwood
Page 71
And as we see him looking great and working well we happily accept from him the final gift it is within fame’s power to confer, a hopeful, even inspiring, example of grace under the pressure of the years. He hints to us the possibility of edging slowly toward the exit unflustered, steady on our feet, all our buttons firmly attached.
Doubtless we are indulging another of the fantasies with which we habitually surround celebrity, ignoring the fact that stardom nearly always begins with a lucky genetic accident, and that the older we get the luck of the DNA draw more and more determines how we will be permitted to play life out. Still, it is a pretty thing to think otherwise, and, in my opinion, a useful thing.
There are those, made of sterner stuff, who disagree. David Thomson thinks slightly ill of Clint’s late-life achievements. A more forthright acknowledgment of the growing shadow of death, he believes, would become Clint. “Gary Cooper had seen doom ahead some time in the mid-1940s, and it gave him grandeur. Eastwood wants to suffer in his recent films—but it’s still a reach, just a little bit beyond his experience or imagination.”
There is some truth in that. But some untruth also. There was much discomfiting pathos in Cooper’s slo-mo decline, some unspoken plea for pity that is as we know antithetical to Clint’s nature. Something Andrew Sarris said about Charles Chaplin, imagining his own demise in Limelight, also applies. To do so, especially if you are an actor with a singularly and sharply outlined screen persona, is to imagine, he wrote, the death of the world, “a conception of sublime egoism.” Such conceptions, sublime or otherwise, are truly beyond the range of Clint’s experience and imagination.
His need is the opposite—to render death an anticlimax. It is why he so often ends his films with a sudden disappearance, why, perhaps, he has so often toyed with the idea of reincarnation. Each implies that the end is, comparatively speaking, nothing; not, certainly, when the comparison is to life.
We have to agree that this thought lacks doomy grandeur. But it is not without a certain gallantry and, in this case, a certain honesty and instructive power. This is who Clint Eastwood is now, what he has come to be at this stage in his long career. The business of movie stars is not to impersonate others. It has never been interesting to say of them that they only play themselves. Of course they do. The only worthwhile question is, with what honesty and subtlety do they do so?
That is why we often come to our deepest affection for them—and our deepest alienation from them—later in life, when we see how they have played out the challenge of the years. Suppose, for the moment, that Clint Eastwood had played his Sergio Leone characters as the director originally wanted him to—with openness and articulateness that did not at that age suit the actor. Suppose, by contrast, he had gone on playing that silently disdainful figure decades later, when he had, in fact, become in life a man capable of expressing himself much more fully. In either case, we would have sensed the lie—or, worse, the arrested development—and likely turned away from him. Or suppose he had stopped his evolution at the next stage, with the more openly, but still brutally expressed, outrage of Dirty Harry. It was appropriate to that season of Clint’s life, but not to its subsequent ones.
The point is that we like to see, need to see, in male movie stars—not in female ones, wherein lies their terrible problem—what we need to see, hope to see, in ourselves: the capacity not so much to grow, but to find and project the best of themselves in the context of the encroaching years. It is what the great ones—Tracy, Grant, even John Wayne in his blunter way—contrived to do. It is what Clint is now doing, as he plays characters searching for the kind of reconciliations we are all ideally obliged to seek in our seventh decade. In so doing he guarantees the truth of his previous incarnations. He has always done what he honorably could with what he had at the particular moment—no duplicity, very little in the way of artifice or artfulness.
Younger, smoldering with anger, but struggling to control it, he confronted the chaos attendant upon our culture’s redefinitions of manhood with the willed application of a sometimes-violent irony. Confronting age—that universally redefining force—irony, slightly sadder in its expression, more gently wielded, remains his weapon of choice.
Sitting with Clint in the fading light of certain wintry afternoons, searching through his life for such meanings as could be extracted from it, I have thought: He is a different man now than he was then … and then … and then. At virtually the same moment I have seen that at his core he was then … and then … and then the same man. And I have asked: Aren’t we all? And are we all? And I have thought that the power of his presence on our screens, in our minds, in the life of our times, derives from the elegant and enigmatic double helix he has spun from those questions.
FILMOGRAPHY
NOTES
BIBLIOGRAPHY
ACKNOWLEDGMENTS
FILMOGRAPHY (1955–96)
REVENGE OF THE CREATURE (1955)
Universal-International
Producer: William Alland
Director: Jack Arnold
Screenplay: Martin Berkeley
Director of Photography: Charles S. Welbourne
Editor: Paul Weatherwax
Cast: John Agar, Lori Nelson, John Bromfield, Nestor Paiva, Grandon Rhodes, Dave Willock, Robert B. Williams, Charles Cane, Clint Eastwood as Jennings, a lab technician
FRANCIS IN THE NAVY (1955)
Universal-International
Producer: Stanley Rubin
Director: Arthur Lubin
Screenplay: Devery Freeman
Director of Photography: Carl Guthrie
Editors: Milton Carruth, Ray Snyder
Cast: Donald O’Connor, Martha Hyer, Richard Erdman, Jim Backus, Clint Eastwood as Jonesy, David Janssen, Leigh Snowden, Martin Milner
LADY GODIVA (1955)
Universal-International
Producer: Robert Arthur
Director: Arthur Lubin
Screenplay: Oscar Brodney, Harry Ruskin
Director of Photography: Carl Guthrie
Editor: Paul Weatherwax
Cast: Maureen O’Hara, George Nader, Victor McLaglen, Rex Reason, Clint Eastwood as First Saxon
TARANTULA (1955)
Universal-International
Producer: William Alland
Director: Jack Arnold
Screenplay: Robert Fresco, Martin Berkeley
Director of Photography: George Robinson
Editor: William M. Morgan
Cast: John Agar, Mara Corday, Leo G. Carroll, Clint Eastwood as First Pilot
NEVER SAY GOODBYE (1956)
Universal-International
Producer: Albert J. Cohen
Director: Jerry Hopper
Screenplay: Charles Hoffman
Director of Photography: Maury Gertsman
Editor: Paul Weatherwax
Music: Frank Skinner
Cast: Rock Hudson, Cornell Borchers,
George Sanders, Ray Collins, David Janssen, Shelley Fabares, Clint Eastwood as Will, a lab assistant
STARIN THE DUST (1956)
Universal-International
Producer: Albert Zugsmith
Director: Charles Haas
Screenplay: Oscar Brodney
Director of Photography: John D. Russell Jr.
Editor: Ray Snyder
Music: Frank Skinner
Cast: John Agar, Mamie Van Doren, Richard Boone, Leif Erickson, Coleen Gray, James Gleason, Randy Stuart, Terry Gilkyson, Paul Fix, Harry Morgan,
Clint Eastwood as a ranch hand
AWAY ALL BOATS (1956)
Universal-International
Producer: Howard Christie
Director: Joseph Pevney
Screenplay: Ted Sherdeman
Director of Photography: William Daniels
Editor: Ted Kent
Music: Frank Skinner
Cast: Jeff Chandler, George Nader, Julie Adams, Lex Barker, Keith Andes, Richard Boone, William Reynolds, Charles McGraw, Jock Mahoney, John
McIntire, Clint Eastwood as a sailor
THE FIRST TRAVELING SALESLADY (1956)
RKO
Producer/Director: Arthur Lubin
Screenplay: Devery Freeman, Stephen Longstreet
Director of Photography: William Snyder
Editor: Otto Ludwig
Music: Irving Gertz
Cast: Ginger Rogers, Barry Nelson, Carol Channing, David Brian, James Arness, Clint Eastwood as Jack Rice
ESCAPADE IN JAPAN (1957)
RKO/Universal-International
Producer/Director: Arthur Lubin
Screenplay: Winston Miller
Director of Photography: William Snyder
Editor: Otto Ludwig
Music: Max Steiner
Cast: Teresa Wright, Cameron
Mitchell, Jon Provost, Roger Nakagawa, Clint Eastwood as Dumbo, a pilot
LAFAYETTE ESCADRILLE (1958)
Warner Bros.
Producer/Director: Willaim A. Wellman
Screenplay: A. S. Fleischman
Director of Photography: William Clothier
Editor: Owen Marks
Music: Leonard Rosenman
Cast: Tab Hunter; Etchika Choureau; Marcel Dalio; David Janssen; Paul Fix; Clint Eastwood as George Moseley, a fighter pilot; Bill Wellman Jr.
AMBUSH AT CIMARRON PASS (1958)
Regal/20th Century-Fox
Producer: Herbert E. Mendelson
Director: Jodie Copeland
Screenplay: Richard G. Taylor, John K. Butler
Director of Photography: John M. Nickolaus Jr.
Editor: Carl L. Pierson
Music: Paul Sawtell, Bert Shefter
Cast: Scott Brady, Margia Dean, Clint Eastwood as Keith Williams, Baynes Barron, William Vaughan, Ken Mayer, John Manier, Keith Richards, John Merrick, Frank Gerstle, Dirk London, Irving Bacon, Desmond Slattery
FISTFUL OF DOLLARS (1964; U.S. 1967)
Jolly Film/Constantin/Ocean/United Artists
Producers: Arrighi Colombo, George Papi
Director: Sergio Leone
Screenplay: Sergio Leone, Duccio Tessari, Victor A. Cantena, G. Schock
Director of Photography: Jack Dalmas (Massimo Dallamano)
Editor: Roberto Cinquini
Music: Ennio Morricone
Cast: The Stranger (Joe), Clint
Eastwood; Ramon Rojo, Gian Maria Volonté; Marisol, Marianne
Koch; Silvanito, Pepe Calvo; John Baxter, Wolfgang Lukschy; and
Sieghardt Rupp, Antonio Prieto, Margarita Lozano, Daniel Martin, Bruno Carotentuto, Benito Stefanelli, Richard Stuyvesant, Josef Egger, Mario Brega
FOR A FEW DOLLARS MORE (1965; U.S. 1967)
Produzioni Europee Associates/ Constantin Arturo Gonzales
Producer: Alberto Grimaldi
Director: Sergio Leone
Screenplay: Luciano Vincenzoni, Sergio Leone
Director of Photography: Massimo Dallamano
Editors: Giorgio Ferralonga, Eugenio Alabiso
Music: Ennio Morricone
Cast: The Stranger (Monco), Clint Eastwood; Colonel Mortimer, Lee Van Cleef; El Indio, Gian Maria Volonté; and Klaus Kinski, Josef Egger, Rosemary Dexter, Mara Krup, Mario Brega, Aldo Sambrel, Luigi Pistilli, Benito Stefanelli, Panos Papadopoulos, Roberto Camardiel
THE WITCHES (1965; U.S. 1979)
Dino De Laurentiis/Les Productions Artistes Associes
Executive Producer: Alfredo De Laurentiis
Producer: Dino De Laurentiis
Director (Part Five, “A Night Like Any Other”): Vittorio De Sica
Screenplay: Cesare Zavattini, Fabio Carpi, Enzio Muzii
Director of Photography: Giusseppe Rotunno
Editor: Adriana Novelli
Music: Pierto Piccinoi
Cast: Giovanna, Silvana Mangano;
Husband, Clint Eastwood; and Armando Bottin, Gianni Gori, Paolo Gozlino, Angelo Santi, Piero Torrisi
THE GOOD, THE BAD, AND THE UGLY (1966; U.S. 1968)
Produzioni Europee Associates/United Artists
Producer: Alberto Grimaldi
Director: Sergio Leone
Screenplay: Luciano Vincenzoni, Sergio Leone
Director of Photography: Tonino Delli Colli
Editors: Nino Baragli, Eugenio Alabiso
Music: Ennio Morricone
Cast: Blondie, Clint Eastwood; Tuco, Eli Wallach; Angel Eyes, Lee Van Cleef; and Aldo Giuffre, Mario Brega, Livio Lorenzon, Luigi Pistilli, Rada Rassimov, Enzo Petito, John Bartha
HANG ’EM HIGH (1968)
United Artists/Malpaso
Producer: Leonard Freeman
Director: Ted Post
Screenplay: Leonard Freeman, Mel Goldberg
Directors of Photography: Richard Kline, Lennie South
Editor: Gene Fowler Jr.
Music: Dominic Frontiere
Cast: Jed Cooper, Clint Eastwood; Rachel, Inger Stevens; Captain Wilson, Ed Begley; Judge Adam Fenton, Pat Hingle; Jennifer, Arlene Golonka; Preacher, James MacArthur; and Ben Johnson, Charles McGraw, L. Q. Jones, Bruce Dern, Ruth White, Alan Hale Jr., Dennis Hopper, Bob Steele
COOGAN’S BLUFF (1968)
Universal
Executive Producer: Richard E. Lyons
Producer/Director: Don Siegel
Screenplay: Herman Miller, Dean Reisner, Howard Rodman
Story: Herman Miller
Director of Photography: Bud Thackery
Editor: Sam E. Waxman
Music: Lalo Schifrin
Cast: Coogan, Clint Eastwood; Sheriff McElroy, Lee J. Cobb; Julie, Susan Clark; Linny Raven, Tisha Sterling; Ringerman, Don Stroud; Mrs. Ringerman, Betty Field; Sheriff McCrea, Tom Tully; and Melodie Johnson, James Edwards, Rudy Diaz, David F. Doyle, Louis Zorich, Meg Myles, Seymour Cassell, James Gavin
WHERE EAGLES DARE (1968)
Metro-Goldwyn-Mayer
Producer: Elliott Kastner
Director: Brian G. Hutton
Story and Screenplay: Alistair MacLean
Director of Photography: Arthur Ibbetson
Editor: John Jympson
Music: Ron Goodwin
Cast: John Smith, Richard Burton; Lieutenant Morris Schaffer, Clint Eastwood; Mary Ellison, Mary Ure; Vice-Admiral Rolland, Michael Hordern; Colonel Wyatt Turner, Patrick Wymark; and Robert Beatty, Anton Diffring, Donald Houston, Ferdy Mayne, Neil McCarthy, Peter Barkworth, William Squire, Brook Williams, Ingrid Pitt
PAINT YOUR WAGON (1969)
Paramount
Producer: Alan Jay Lerner
Director: Joshua Logan
Screenplay and Lyrics: Alan Jay Lerner
Adaptation: Paddy Chayefsky
Director of Photography: William Fraker
Editor: Robert Jones
Music: Frederick Loewe, André Previn
Cast: Ben Rumson, Lee Marvin; Pardner, Clint Eastwood; Elizabeth, Jean Seberg; Rotten Luck Willie, Harve Presnell; Mad Jack Duncan, Ray Walston; and Tom Ligon, Alan Dexter, William O’Connell, Ben Baker, Alan Baxter, Paula Trueman, Robert Easton, Geoffrey Norman, H. B. Haggerty, Terry Jenkins, Karl Bruck, John Mitchum
KELLY’S HEROES (1970)
Metro-Goldwyn-Mayer
Producers: Gabriel Katzka, Sidney Beckerman
Director: Brian G. Hutton
Screenplay: Troy Kennedy Martin
Director of Photography: Gabriel Figueroa
Editor: John Jympson
Music: Lalo Schifrin
Cast: Kelly, Clint Eastwood; Big Joe, Telly Savalas; Crapgame, Don Rickles; General Colt, Carroll O’Connor; Oddball, Donald Sutherland; and Gavin MacLeod, George Savalas, Hal Buckley, David Hurst, John Heller
TWO MULES FOR SISTER SARA (1970)
Universal/Malpaso
Producer: Martin Rackin
Director: Don Siegel
Screenplay: Albert Maltz
Story: Budd Boetticher
Director of Photography: Gabriel Figueroa
Editor: Robert Shugrue
Music: Ennio Morricone
Cast: Hogan, Clint
Eastwood; Sister Sara, Shirley MacLaine; Colonel Beltran, Manolo Fabregas; and Alberto Morin, Armando Silvestre
THE BEGUILED (1971)
Universal/Malpaso
Producer/Director: Don Siegel
Screenplay: John B. Sherry, Grimes Grice
Novel: Thomas Cullinan
Director of Photography: Bruce Surtees
Editor: Carl Pingitore
Music: Lalo Schifrin
Cast: John McBurney, Clint Eastwood; Martha Farnsworth, Geraldine Page; Edwina Dabney, Elizabeth Hartman; Carol, Jo Ann Harris; Doris, Darleen Carr; Nellie, Mae Mercer; Amy, Pamelyn Ferdin; Abigail, Melody Thomas; Lizzie, Peggy Drier; Janie, Pattye Mattick
PLAY MISTY FOR ME (1971)
Universal/Malpaso
Producer: Robert Daley
Director: Clint Eastwood
Screenplay: Jo Heims, Dean Reisner
Director of Photography: Bruce Surtees
Editor: Carl Pingitore
Music: Dee Barton
Cast: Dave Garland, Clint Eastwood; Evelyn Draper, Jessica Walter; Tobie Williams, Donna Mills; Sergeant McCallum, John Larch; and Clarice Taylor, Irene Hervey, Jack Ging, James McEachin, Don Siegel, Duke Everts
DIRTY HARRY (1971)
Warner Bros./Seven Arts/Malpaso
Executive Producer: Robert Daley
Producer/Director: Don Siegel
Screenplay: Harry Julian Fink, Rita M. Fink, Dean Reisner
Director of Photography: Bruce Surtees
Editor: Carl Pingitore
Music: Lalo Schifrin
Cast: Detective Harry Callahan, Clint Eastwood; Lieutenant Bressler, Harry Guardino; Chico, Reni Santoni; Mayor, John Vernon; Scorpio, Andy Robinson; Chief, John Larch; DiGeorgio, John Mitchum; and Mae Mercer, Lyn Edgington, Ruth Kobart, Woodrow Parfrey, Josef Sommer, William Paterson, James Nolan, Maurice S. Argent, Jo de Winter, Craig G. Kelly
JOE KIDD (1972)
Universal/Malpaso
Executive Producer: Robert Daley