Clint Eastwood: Actor & Director [Archive]

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groucho070

29th September 2009, 10:55 AM

A2A vendukoolukku inangga, I've started this thread for Talaivar.

So, first thing first, do you (ingga enna rendu peeru varuvangga, A2A and TF probably) like him as an actor or director? I suppose most like him as an actor first...even fans of classy films would finger The Good, The Bad & The Ugly as one of their favourites and its inevitable that Eastwood has played a part in it...I mean in its critical success, of course he played a part in the film :P

There you go...we can go on and discuss his other roles, the contribution to the Western genre (John Wayne never liked Talaivar's take on Western) and of course, his work as a director.

Mods, it would be lovely if you can upload a pix. :D

P_R

29th September 2009, 11:20 AM

[html:7786f2cd33]<img src=http://1.bp.blogspot.com/_6I5p4s-YDF0/SVVaG6v2F0I/AAAAAAAACn8/cTlEX3TY7j4/s320/eastwood.jpg>[/html:7786f2cd33]

groucho070

29th September 2009, 11:25 AM

Nenechen, intha role-than poduvengganu. Thanks PR. :thumbsup:

P_R

29th September 2009, 11:27 AM

Have watched exactly one movie. Million Dollar Baby. And it did not like it. So I haven't seen any others yet.

groucho070

29th September 2009, 11:33 AM

:shock: Haven't seen TGTBTU?

Crikey, this thread is necessary then. But seeing that he's too mainstream, I am not sure what other films you'd like. MDB is definitely overrated, though I won't say the same of his performance.

As director, I think he nailed it in Unforgiven and later Mystic River.

As actor, too numerous to mention, but rather than being a competitor to Brando or Newman, he is close to Connery, working within limitations and co-creating iconic film characters.

P_R

29th September 2009, 12:10 PM

:shock: Haven't seen TGTBTU?

I find Western and the associated coolness unappealing.
I have seen TGTBTU in bits and pieces. The famous triangular confrontation scene - which is considered one of the greatest scenes of all time - left me :?

But seeing that he's too mainstream, I am not sure what other films you'd like. Hey ! What do you take me for ? I am mainstream ya. I like mainstream more than 'sidestream' switch-on-cerebrum-and-watch-with-every-fibre-of-your-being movies. I've heard nice things about Mystic River. paakkaNum.

>>Digression on sidestream. Was recently talking to an acquaintance who recommended Japanese director Ozu. He was how the films have frozen frame on people largely conversing about problems they have. Camera and people in frame hardly move. I was waiting for the punchline but that was all. :lol2:<<

groucho070

29th September 2009, 12:28 PM

The famous triangular confrontation scene - which is considered one of the greatest scenes of all time - left me :?Well, I guess the rave was about the cinematography, where you go frame them tighter and tighter, with Morricone's score blasting heightening the tension, more tighter shots, so close you can feel the lens touching the characters eyeball if not for the freakin' hat...music blaaring & bang, bang bang! It's over. No one then experienced anything like that. John Wayne-na there will be some tough guy talk and you see all parties drawing gun, and then the bad guy takes forever to fall to the gun, and we see Wayne's wooden face taking it. Leone did something totally different in here. That is why one critic then dubbed (I am always repeating this) this films title reflected the cinematography, the dubbing and the violence. It was something new then...ippo romba kaapiadichu, spoof pannunathaala, we don't feel anything.

But seeing that he's too mainstream, I am not sure what other films you'd like. Hey ! What do you take me for ? I am mainstream ya. That's why I said, "too mainstream"...among the list you will come across Every Which Way But Loose where he co-stars with an Orangutan with lust for beer. Itha eepadi avoid pannurathu :oops: Incidentally that was his biggest hit, inflation adjusted :P

kid-glove

29th September 2009, 01:56 PM

Totally agree Groucho.

It was something new then...ippo romba kaapiadichu, spoof pannunathaala, we don't feel anything.
I don't think this matters at all. Despite all the spoofs, and overcooked standoffs, the way Leone sets it up towards the denouement and the confrontation itself, is brilliant. The eyes, as you said, shows the distrust that runs in-between, and the music, strikes the recurrent notes (three different musical-motifs for three characters flexed together) and the imagery is setup. The deft movement along the periphery of a Circle. We are much used to traditional Western dramatalogy - you know the flip-side good vs bad, but a tripartite showdown of three different shades of Grey came off well.

Btw I'm responding towards Peckinpah's style a lot more these days when it comes to choreographing fights and violence.

Bala (Karthik)

29th September 2009, 02:04 PM

Groucho/Thilak,
Mystic River climax pathi aalukku rendu vari....

groucho070

29th September 2009, 02:34 PM

Btw I'm responding towards Peckinpah's style a lot more these days when it comes to choreographing fights and violence.It's more romanticised, there is a beauty in it. Though I think he played it down in The Getaway to suit McQueen's style. If I'm not mistaken John Woo was inspired by Peckinpah, before taking it further and added churches and pigeons :P

Leone's set up takes time, but it's dealt with quickly. Eastwood picked that up for his own westerns and cop movies.

Bala...I need to take another look at MR.

*************SPOILER ALERT. ***********

The shooting was a mistake, and Bacon knows Sean did it, "you could have told me earlier" or to that effect. But loyalty and sympathy for his childhood friend. They all went through that dreadful thing in past, where Robbins was the victim and he has been living with it miserably. It's was intended as revenge, but Penn ended up killing a zombie anyway.

I have to watch it again. I may have missed some points there.

Bala (Karthik)

29th September 2009, 02:38 PM

Groucho,
Naan adhukkappuram vara scene a solren. paathuttu sollunga. That took me completely by surprise. Edho idikkara madhiri irundhuchu...

kid-glove

29th September 2009, 03:08 PM

Bala,
Are you referring the conversation between Jimmy and his wife, specifically when she talks about Celeste, 'what kind of wife would say things like that about her husband' (not in verbatim)? And so why would Celeste report to Sean about Dave missing, because it's so obvious Jimmy had done something about it?

Not nearly an odd-moment, but I wonder why Sean goes on about that incident involuntarily affected their (Sean and Jimmy) lives too. They are all these 11-year old kids who are locked in the same cellar. Sort of like the line in Magnolia, "We might be through with the past, but the past ain't through with us". I wonder if that episode would have really affected them, as much as it would have in Dave's case.

kid-glove

29th September 2009, 03:19 PM

I wonder if it's the story writer's trademark. The novelist Dennis Lehane had also done a similar work in "Gone baby gone" which deals with pedophilia, kids, parenthood, and dysfunction, in a crime novella (I've only seen the film adaptation). The story is progressed through private investigation, much more than in Mystic River. I could almost make-out how Lehane's latest screen adaptation by Scorsese (called Shutter Island) is going to be. :)

kid-glove

29th September 2009, 03:42 PM

Btw I'm responding towards Peckinpah's style a lot more these days when it comes to choreographing fights and violence.It's more romanticised, there is a beauty in it. Though I think he played it down in The Getaway to suit McQueen's style. If I'm not mistaken John Woo was inspired by Peckinpah, before taking it further and added churches and pigeons :P

Modern stylized fight/violence should be inspired by Peckinpah by some way or another. It's choreographed like a dance sequence. The Camera movement, and also the technique - freeze frames, and slow-mos, everything that had been designed & preconceived before, and not done in post-production (like fixing different cameras around & selecting the images in editing). Forget De Palma and Tarantino, even Scorsese got the essence of this, and captured brilliant pieces of film-making in a boxing ring (he wanted 'Raging bull' to be "The Wild Bunch" of boxing movies :) )

Bala (Karthik)

29th September 2009, 03:54 PM

Bala,
Are you referring the conversation between Jimmy and his wife, specifically when she talks about Celeste, 'what kind of wife would say things like that about her husband' (not in verbatim)? And so why would Celeste report to Sean about Dave missing, because it's so obvious Jimmy had done something about it?

I meant that conversation and what we see of the wife then. "Competition" etc.....

Not nearly an odd-moment, but I wonder why Sean goes on about that incident involuntarily affected their (Sean and Jimmy) lives too. They are all these 11-year old kids who are locked in the same cellar. Sort of like the line in Magnolia, "We might be through with the past, but the past ain't through with us". I wonder if that episode would have really affected them, as much as it would have in Dave's case.
Same here

kid-glove

29th September 2009, 04:28 PM

Bala,
I guess Jimmy would keep sending 500$ in name of Dave, and led her believe he is alive somewhere. Hence why she was searching for Dave. I guess that would be a reasonable explanation.

Bala (Karthik)

29th September 2009, 04:37 PM

kid-glove

29th September 2009, 04:40 PM

Bala,
I guess Jimmy would keep sending 500$ in name of Dave, and led her believe he is alive somewhere. Hence why she was searching for Dave. I guess that would be a reasonable explanation.
I meant the scene where Jimmy's wife "comforts" him and tells that bit about being the "king" etc...

Linney, as his wife, has a scene where she responds to his need for vengeance, and it is not unreasonable to compare her character to Lady Macbeth

uh okay. I get that! It didn't feel out of order though, considering the lady would know what kind of man she had been living with. But, I guess that line would have felt a lot less comforting to him. :)

Bala (Karthik)

29th September 2009, 04:45 PM

I think its a little setup there. Its about justice and righteous revenge all along and suddenly we get this moment where the wife not only condones the mistake but congratulates him. The placement of the love-making scene there is quite powerful. And when we see the faces in the parade it has ultimately become something else, isn't it?

kid-glove

29th September 2009, 05:10 PM

IIRC, there's another scene where Jimmy's wife doesn't feel disquieted when he is concerned about Katie missing, and she thinks of it as another day ruined by Katie. at an occasion or two, she reminds him of the other(her) two daughters as well. I guess being a step mother, she didn't feel as much love for Katie, and to lift up Jimmy, attempts to find a level of contentedness for him.

Lady Macbeth moment? Very much probable and compelling, but I have to see the film again. Didn't get that feeling when I watched it.

equanimus

29th September 2009, 09:40 PM

[tscii:1a75b2d146]
I think its a little setup there. Its about justice and righteous revenge all along and suddenly we get this moment where the wife not only condones the mistake but congratulates him. The placement of the love-making scene there is quite powerful. And when we see the faces in the parade it has ultimately become something else, isn't it?
Bala,
Rosenbaum's ambivalent take (http://www.jonathanrosenbaum.com/?p=6107) on the film in case you've not read it before. An excerpt relevant to this discussion:

One might counter that Eastwood is perfectly aware of the monstrousness of this conclusion and that the darkness of his film’s vision makes room for it. Maybe, but I don’t much care. Most of the critical appreciations of Mystic River I’ve read seem so smitten with the fatalistic and deterministic side of this scenario that Eastwood’s intentions don’t matter. He may have tried to cross tragic inevitability with some form of Christian forgiveness–of Jimmy, if not the child molesters–but if we’re doomed regardless of what we do or think, what’s the point of trying to clean up our act? We’re free of any obligation to act differently–yet also free to relish the nobility of our pain at the realization that we’ve done something wrong.[/tscii:1a75b2d146]

kid-glove

30th September 2009, 12:24 PM

[tscii:4cad734e55]As always, an excellent writeup by Rosenbaum. Thanks for Posting, Equa. Trademark critique on mainstream criticism. Yes, he does go overboard sometimes, but it's a good read nevertheless. :)
This is vintage Rosenbaum on American audience:
"I thought there was something obscene about audiences’ delighted fascination with the evil and brilliant lunatic Hannibal Lecter gleefully killing without a shred of compunction, especially since some of those audiences seemed indifferent to the slaughter of innocent Iraqis that was going on at the same time. I couldn’t blame Demme or the story he was filming for that obscenity, since he wasn’t responsible for the delight with which his movie was received or the time at which it was released. Mystic River is too depressing to fill audiences with delight, but it does seem to validate questionable attitudes, especially an indifference to the suffering of innocent people and a willingness to shoot first and ask questions later."
The premise of the argument is mostly based on that conversation, & I'm unmoved by it. I thought of it as solace provided by Jimmy's wife, and he is fully aware of unredeemed nature of his act. But it could be perceived differently like Rosenbaum, who explores the overall vision of this creation as he sees it. I'm not exactly sure if it's the intention, but by Rosenbaum's rules of film canonization, it has to be explored regardless. In a trademark fashion, he uses it to arrive at the inference of mainstream audience & critics. I love such voices of criticism (of criticism), but at times, it's often prone to slackly judge the audience. I'd argue a reasonable audience is a lot less stereotypical, and not a mere cardboard cut-out that Rosenbaum often conjures them to be. That remains my criticism of his critiquing technique. [/tscii:4cad734e55]

Bala (Karthik)

30th September 2009, 06:05 PM

[tscii:ce099c1cc4]
I think its a little setup there. Its about justice and righteous revenge all along and suddenly we get this moment where the wife not only condones the mistake but congratulates him. The placement of the love-making scene there is quite powerful. And when we see the faces in the parade it has ultimately become something else, isn't it?
Bala,
Rosenbaum's ambivalent take (http://www.jonathanrosenbaum.com/?p=6107) on the film in case you've not read it before. An excerpt relevant to this discussion:

One might counter that Eastwood is perfectly aware of the monstrousness of this conclusion and that the darkness of his film’s vision makes room for it. Maybe, but I don’t much care. Most of the critical appreciations of Mystic River I’ve read seem so smitten with the fatalistic and deterministic side of this scenario that Eastwood’s intentions don’t matter. He may have tried to cross tragic inevitability with some form of Christian forgiveness–of Jimmy, if not the child molesters–but if we’re doomed regardless of what we do or think, what’s the point of trying to clean up our act? We’re free of any obligation to act differently–yet also free to relish the nobility of our pain at the realization that we’ve done something wrong.[/tscii:ce099c1cc4]
Thanks Equa. I remember reading a response to this in which the responder criticizes Rosenbaum's "moral" anger.

Is this tragic inevitability or misogyny?
Thirst for unconditional revenge is one thing (which is the focus of Rosenbaum's criticism) but the last couple of scenes not only signify that but my problem is that i didn't see it coming and like i said i'd been set up all along. It's odd, doesn't "fit" :lol:

And why does virtually every movie involving a cop have to show a woman and some "problem" or "conflict". Take way that character of Sean's wife and what do we miss?

Maybe he’s telling us we’re wrong even when we’re right, but he’s made it too easy to read that message in reverse
Isn't this one of the criticisms of Thevar Magan?[/b]

VENKIRAJA

30th September 2009, 08:25 PM

Have watched exactly one movie. Million Dollar Baby. And it did not like it. So I haven't seen any others yet.
Exactly opposite. I rate it in between 'very good' and 'excellent'.

Groucho/Thilak,
Mystic River climax pathi aalukku rendu vari....
:shock: thoongittEn. erichal erichalA vandhuchu

groucho070

1st October 2009, 12:03 PM

:shock: thoongittEn. erichal erichalA vandhuchuErichal vantha eppadi toonggurathu? But why erichal? The pace?

VENKIRAJA

1st October 2009, 06:54 PM

:shock: thoongittEn. erichal erichalA vandhuchuErichal vantha eppadi toonggurathu? But why erichal? The pace?

I was irritated by Tim Robbins. Sean Penn was my only hope and the climax, to me was very ordinary. Expected a great film the way it started, but :oops:

P_R

1st October 2009, 07:24 PM

Family Guy digression

Tim Robbins on an info message
Hi, I am Tim Robbins. Most of you know me as Susan Sarandon's son. I am actually her husband.

groucho070

5th October 2009, 07:05 AM

:rotfl: Poor guy, forever overshadowed by his wife's bossomic talent.

Avadi to America

8th October 2009, 09:37 AM

One of the most popular dialogues in the history of hollywood.......

http://www.youtube.com/watch?v=u0-oinyjsk0&feature=related

Avadi to America

8th October 2009, 09:41 AM

Any one has seen the movie The bridges of Madison county?

it is one of under rated eastwood movies.....

groucho070

8th October 2009, 11:08 AM

Any one has seen the movie The bridges of Madison county?

it is one of under rated eastwood movies.....Not really underrated. Since he had done better films, some mainstream stuff that I like, some darker deep stuff that the intellect types like (see above posts), this film is hardly talked about.

It has been rewarded financially (did decent business considering that his films [except some of the recent ones] have always been under schedule and low budget0. Plus not to mention the awards (http://www.imdb.com/title/tt0112579/awards)

Eastwood was on a roll at that time, after Unforgiven, he directed A Perfect World, which was not so perfect, it coulda, woulda type of film predating the dark films he made recently, and this film. Appuram back to meat and potato stuff.

I liked it because of its a dream casting. Who'd have thought that the greatest actress ever would be teamed up with ex-Poncho wearing, formerly Smith & Wesson Model 29 packing Mr. Squinty Eyed himself. Plus it has beautiful cinematography...with that kind of location, you better shoot it well. Nice film, good to revisit these days. What's your take A2A?

Avadi to America

8th October 2009, 06:50 PM

[tscii:0a98970568]I usually do not like or am not much in to love stories...... :lol: :lol: some movies could be exceptional.... But this movie really engrossed me. First of all, this movie is not typical love story or I would say chick's movie......probably, It could be one of the reasons i liked it.

Meryl Streep:
She had acted well in so many movies and nominated for Oscars many time (guess 13 times). I think she is one of the method actresses in Hollywood. She really learned the way the Italian immigrant speaks English. In my opinion, her character reflects closely with Indian woman who sacrifices their needs or happiness for kids and family. The movie carries a lot of emotional scenes and she did it well. I would say one could see her presence or dominance through out the movie. As you know, how Clint would be in romantic scenes….though I had seen her many movies like Kramer Vs Kramer, Sophie’s choice, out of Africa, the Deer hunter, but this is the movie which convinced me that she is probably only living legendary actress in Hollywood. :thumbsup: :clap:

Clint Eastwood:
In my opinion, Clint excels more behind the camera than in front of the camera. I notice one thing with Clint movies is that he never deliberately incorporates any scene. He just let the story goes as it is and not bothering much about the twist and turns. I think he wants the viewer should feel like they are reading some kind of novel….this is what I felt from most of his movies. I like the climax in the movie where Clint waiting for Meryl Streep in small town in Iowa. She comes out of the grocery shop with her husband and Clint waits for her. She gets in to car and Clint drives his car in front of her. He stops his car at the intersection for signal. One could feel her battle with emotions…. She feels like he is the right man for her but still she could not make her decision because of her kids and family……Clint does not cross the intersection after the red turns to green….it increases the intensity of her emotions…. During this entire climax, camera does not show clint’s face…..Camera focuses more on her and shows more her emotions than Clint. What I mean, the climax was so natural and set in a small town unlike Indian movies where the climax sets in railway station. As a director, Clint excelled very well. As an actor, he under played himself. In my opinoin, He has a great knack of story telling..... :clap: :clap: :clap:

Read the below comments from Clint east wood on this movie.
When I was doing The Bridges of Madison County (1995), I said to myself, "This romantic stuff is really tough. I can't wait to get back to shooting and killing." :rotfl3:
[/tscii:0a98970568]

P_R

8th October 2009, 06:58 PM

One anecdote I recall is Meryl Streep saying how annoyed she was that during the lovemaking scene Clint Eastwood's attention was not on her but on the camera position :lol:

Avadi to America

8th October 2009, 07:07 PM

One anecdote I recall is Meryl Streep saying how annoyed she was that during the lovemaking scene Clint Eastwood's attention was not on her but on the camera position :lol:

:lol: :lol:

Avadi to America

8th October 2009, 10:22 PM

Groucho,

the movie got rave review and probabaly did well in boxoffice..... What i mean that, not really many people know that Clint directed and acted in a beautiful romantic movie..... Probabaly, his star value or other his movies overshadowed this one.

groucho070

9th October 2009, 06:49 AM

Avadi to America

9th October 2009, 06:15 PM

When I was doing The Bridges of Madison County (1995), I said to myself, "This romantic stuff is really tough. I can't wait to get back to shooting and killing." :rotfl3:
[/tscii] :rotfl: After that, as an actor he did Absoloute Power where he did only one killing directly. After that True Crime, no death. Space Cowboy, zilch. MDB, indirect. Gran Torino, finally, himself. Namma talaivara Streep convert pannittanggaloo :D

Edit. Blood Work. Aweful film, he almost died then did one killing at the end.

irrukum irukkum......thalivaruku thaan NAALU wife ithuvaraikum...... :lol:

I have seen all the movies you have mentioned here.... I really enjoyed lot with BLOOD WORK except the climax, a tough army officer role in Absolute power and boxing coach (mercy killer) in MDB....So far, i have seen only one movie in theater which is Gran Torino.... I had different experience in theater.... it was opening day evening show.... theater was house full.... people thoroughly enjoyed the movie... audience were laughing for the joke and clapping for his dialogues against bad guys.... the movie got standing ovation at the end of the show.... you know one thing i was probably one among the young guy in the theater..... strong fan base among 50+ age group (Baby boomers). They simply love him....

groucho070

10th October 2009, 07:43 AM

a tough army officer role in Absolute power You are probably talking about Heartbreak Ridge, one of the most quotable movie apart from the Dirty Harry films.

Now, that is an underrated film. Pure fun. Eastwood trying to connect with his feminine side reading women's mag :lol:

Here's how he introduces himself to the platoon he is placed in charge:
Highway: My name's Gunnery Sergeant Highway and I've drunk more beer and banged more quiff and p!ssed more blood and stomped more ass that all of you numbnuts put together. :lol:

.... the movie got standing ovation at the end of the show.... you know one thing i was probably one among the young guy in the theater..... strong fan base among 50+ age group (Baby boomers). They simply love him....Yeah, they are his biggest supporters naturally, when he came bursting into the scene in the sixties, when they were hippies. I was influenced by my dad naturally, but he was into all of those tough guys including one I cannot digest like Charles Bronson (pre-Death Wish was good though) and Chuck Norris (not many know he wears a wig :P ).

Avadi to America

14th November 2009, 05:55 AM

watched once again Grant TORINO Yesterday....At the age of 79, Clint does it again.....

ajithfederer

19th November 2009, 11:43 AM

Letters from Iwo Jima - Fantastic, fantastic making. hmm..

The film portrays the Battle of Iwo Jima from the perspective of the Japanese soldiers, Excellent battle scenes along with fantastic acting. Clint eastwood :clap:.

P.S: The entire film is in Japanese with few English dialogs.

Grouch, Have you seen this and Flag of our Fathers( American Perspective of Battle of Iwo Jima)??.

Avadi to America

21st November 2009, 08:10 PM

groucho070

25th November 2009, 08:47 AM

Grouch, Have you seen this and Flag of our Fathers( American Perspective of Battle of Iwo Jima)??.No, actually :oops: I am a fan of the actor first, before the director, and the subject matter did not interest me all that much. I might visit them one of these days.

salaam_chennai

25th November 2009, 11:03 AM

Last Clint movie i watched

Enforcer.
Nothing to rave about the movie. It was better than Magnum Force though. After watching Dirty Harry, i liked it so much that i downloaded Magnum Force and Enforcer. But, both the films were a let down except for Clint. Sudden Impact wouldnt be any better, i guess. Still, i am planning to download it.

P.S I couldnt avoid imagining Rajinikanth in Clint's character in the Dirty Harry movie series. Anybody else here thought so??

groucho070

25th November 2009, 11:18 AM

salaam_chennai

25th November 2009, 11:35 AM

Thanks groucho for the alert on Sudden Imapct. will watch and post here how the movie was.

By the way just now noticed the poll. If the director option is split as Director('Unforgiven' and later) and Director(Before 'Unforgiven'), I would have voted for Director('Unforgiven' and later).

I voted for Clint the actor.

groucho070

25th November 2009, 12:00 PM

Yarabba athu third option-ukku vote pottathu :evil: . (VV style) Raascal!

f the director option is split as Director('Unforgiven' and later) and Director(Before 'Unforgiven'), I would have voted for Director('Unforgiven' and later).

I voted for Clint the actor. Athu 8-)

In case of being a director, yeah, you are right to a point. My take on his films as director before Unforgiven:

The Rookie (1990): To quote NOV, "stupid movie", but not without some nice Eastwoodian lines.

White Hunter Black Heart (1990): Brilliant, still in my top ten.

Bird (1988): Awesome tribute to one of the greatest jazz musician.

Heartbreak Ridge (1986): Highly, highly underrated. Watching it again recently, my wife opened up and confessed that she is now an Eastwood fan.

"Amazing Stories" (1 episode, 1985)
- Vanessa in the Garden (1985) TV episode - with Sondra Locke. Boy am I happy I have never seen it.

Pale Rider (1985): Sort of remake of the better High Plains Drifter. Had its moment, though.

Sudden Impact (1983): Sondra Locke Rape Movie.

Honkytonk Man (1982): Forgettable. Honestly, Clint was not convincing as: 1) Honky Tonk Singer
2) Dude with TB. Nah, he looks like he's faking it.

Firefox (1982): Reason why he never made effects ladden movie until, like twenty years later. Badly made!

Bronco Billy (1980): Sweet...his take on Capra's works.

The Gauntlet (1977): Sondra Locke Rape Movie the Prequel.

The Outlaw Josey Wales (1976): Superb. One of his best, top five material definitely.

The Eiger Sanction (1975): I find this boring, except the part where the native girl bares her assets.

Breezy (1973): Haven't seen it yet.

High Plains Drifter (1973): Top Five Material, for sure. Awesome pix.

Play Misty for Me (1971): Unofficially remade as Fatal Attraction later. Known for Talaivar in his Y-brief :oops:

kid-glove

25th November 2009, 12:06 PM

groucho070

25th November 2009, 12:12 PM

When you are right, you are right Thilak.

By the way, Talaivar on the GQ mag cover as "Badass of the Year" :twisted:
http://www.cherrybombed.com/wp-content/uploads/2009/11/ClintEastwoodBadassGQ.jpg

salaam_chennai

25th November 2009, 12:22 PM

great. I need to bookmark this page. It will be very useful for me.

Out of the movies you listed i like Play Misty for me(Eastwood'aye stalk pannudhunna andha heeroeni evlo peria thillalangadiya iruundhirukanum), and High Plains Drifter.

I downloaded White Hunter Black Heart and Duck Soup after seeing ur top 10 holly list thread. I didnt like Duck Soup(ok.. cuss me however you want). So, i kept WHBH on hold. have to watch it sometime.

groucho070

25th November 2009, 12:40 PM

SC, thanks for taking my top ten list seriously :shock: . No harm in not liking Duck Soup, it depends on one's taste (pun either is or not intended, up to you).
So, i kept WHBH on hold. have to watch it sometime.You likey Gran Torino, then you likey WHBH. But its nice if you have watched The African Queen (1951, Bogart got best actor Oscar for this, err...knocking off Brando in Streetcar :shock: ). Then, you know what the heck the whole movie is about.

kid-glove

25th November 2009, 02:26 PM

Pretty much concur with your assessment above, Groucho. Although I haven't seen some of the lesser known titles and underrated ones, like "Heartbreak Ridge". I have seen about five from Early Eastwood, and I rate highly all five:

Play misty for me
High Plains Drifter
The Outlaw Josey Wales
Bird
White Hunter Black Heart

The last two are amazingly uncompromising and unique in his oeuvre. No wonder Rebel Rosenbaum listed it in his 1001 essential movies to watch from 20th Century.

salaam_chennai

30th November 2009, 12:44 PM

White Hunter Black Heart. :thumbsup:
Amazing movie. Eastwood's comic timing is amazing in this movie. The whole sequence in the party right from the discussion with the anti-jew lady and the fight with the hotel manager was a laugh riot. Sarcasm comes naturally to this guy. Must-watch movie for Eastwood fans.

Avadi to America

4th December 2009, 07:13 AM

Sudden Impact wouldnt be any better, i guess. Still, i am planning to download it.The Enforcer is the best sequel of them all. Sudden Impact would require you to forward scenes involving the cadaverous Sondra Locke. Yet, another Eastwood flick where she gets raped :lol: This is the film from where the then US President Ronald Reagan hijacked a line...a very immortal line.

GO ahead. make my day.....

P.S I couldnt avoid imagining Rajinikanth in Clint's character in the Dirty Harry movie series. Anybody else here thought so??Ithai patti nanbar A2A virivaaga peesuvar :D

Ennaku vazhi vittu mic koduthu annan grouch a avaragaluku nandri....

How can one forget thalivar while watching Clint movies? infact, they are twin brothers but rajini born 20 years after clinteastwood... Hmm.....may be probably father-son relationship.... :lol: :lol:

Avadi to America

4th December 2009, 07:17 AM

groucho070

4th December 2009, 07:24 AM

Groucho,

where is my movies..... :evil: :evil: :evil:

Dollar triology, Dirty harry and beguile.....Chill, birather. I was writing about the films Eastwood directed himself before Unforgiven. Not the entire list. Athai patti pesuna whole year pattaathu :D

ajithfederer

4th December 2009, 11:02 AM

Gran Torino - Clintty :clap:.

groucho070

4th December 2009, 11:05 AM

Gran Torino - Clintty :clap:.Clintty-yaa, ippadiyellam isthtatukku pet name kodukkurathaa :lol: Revisited Heartbreak Ridge recently...and the Highway character could have easily been younger version of Kowalski. Easily.

ajithfederer

4th December 2009, 11:11 AM

A very good American film. Captures the essence of rough neighborhoods in Midwest America and families which don't talk to each other. Mr. Kowalski is the conservatuve old American guy who wouldn't take s!@@t from anybody and can rattle anybody's ass. This guy is 78!!. Will surely watch Invictus.

groucho070

4th December 2009, 11:31 AM

Ethu ethukkoo Aascar, Golden Gulob-ellam kodukkurangga. Intha performance-ukku koduttirukkalaam. Though for HC fans like me, the performance is not new. Anyway, he did get Best Actor award from few critics associations. :D

Avadi to America

5th December 2009, 08:21 PM

When you are right, you are right Thilak.

By the way, Talaivar on the GQ mag cover as "Badass of the Year" :twisted:
http://www.cherrybombed.com/wp-content/uploads/2009/11/ClintEastwoodBadassGQ.jpg

what a manly photo........ 8-)

Avadi to America

6th December 2009, 05:13 AM

this is thala clint's week...just watched heart break ridge.... i am going to watch the(good, bad, ugly) nth time and hang them high.......

kid-glove

8th December 2009, 12:16 AM

Bala,
I guess Jimmy would keep sending 500$ in name of Dave, and led her believe he is alive somewhere. Hence why she was searching for Dave. I guess that would be a reasonable explanation.
I meant the scene where Jimmy's wife "comforts" him and tells that bit about being the "king" etc...

Linney, as his wife, has a scene where she responds to his need for vengeance, and it is not unreasonable to compare her character to Lady Macbeth

Clint acknowledges this (http://video.google.com/videoplay?docid=2056235950070863140&ei=8kQdS_jmM5SWwgOn_bD3Ag&q=clint+eastwood+charlie+rose&view=2#)in Charlie Rose. After 21:00.

groucho070

8th December 2009, 08:16 AM

From Woody's thread:

I am guilty of being Woody's fan the same way I am of Eastwood's. I want them, and their brand of content in those films.

Oh man, once again, frighteningly close to my taste. :shock:It's all about what we liked about them in the first place, I suppose. In Eastwood's case, he does not write those films, so we can't find "him" in the films he does not star.

By the way, for fans of White Hunter Black Heart, I found this :shock: http://dialnet.unirioja.es/servlet/fichero_articulo?codigo=821031&orden=75399

kid-glove

8th December 2009, 01:16 PM

[tscii:443e340a77]
From Woody's thread:

I am guilty of being Woody's fan the same way I am of Eastwood's. I want them, and their brand of content in those films.

Oh man, once again, frighteningly close to my taste. :shock:It's all about what we liked about them in the first place, I suppose. In Eastwood's case, he does not write those films, so we can't find "him" in the films he does not star.

By the way, for fans of White Hunter Black Heart, I found this :shock: http://dialnet.unirioja.es/servlet/fichero_articulo?codigo=821031&orden=75399

Thank you, Groucho. That's an interesting dissection of WHBH themes. It's a layered film that works on so many levels. I had some semblance of thoughts on such lines without the drive and power to articulate. Many thanks for this!

White Hunter can thereby criticise Wilson’s individualism and violence, and consequently revise Eastwood’s persona, while at the same time celebrating that independence and spontaneity, his anti-bureaucratic stance, which he is seen to embrace at the end
by becoming a director. This final move echoes Eastwood’s alleged
independence as a filmmaker, now even cynically enhanced by the film’s aura of revisionism.

The film is in deed a statement of Clint's paradigm shift. There was a point in mid-80s when Clint had to put up with detractors and critics in general, unable to relent or accept the transformation from iconic characters to a flexible actor and intelligent filmmaker. The only country that supported and recognized him around that point was France. But even there, mainstream press had a stereotyped fixation when it came to him. He managed to vanquish 'em all in the end. 8-)

And I do see a lot of Warner brothers (the long standing employers/producers of Clint's films) in Paul Landers characters. :) [/tscii:443e340a77]

kid-glove

8th December 2009, 01:25 PM

Btw, reg. stereotyped fixation in French mainstream press (considering they are better informed than American press. Even Charlie Rose was annoyingly ignorant in one of his interviews with Clint). Here's one example (http://www.ina.fr/art-et-culture/cinema/video/CPB8505083404/clint-eastwood-le-prochain-godard.fr.html)where I wanted to punch the arrogant lady interviewer. Just watch Clint managing to keep it short and to-the-point. Had this film happened, It would have been excellent, no doubts. Godard is the greatest film stylist and trickster to my mind. the one who genuinely kept out of overtly "dramatic" acting. Clint would be a dream choice. I guess months after this interview, that lady would have got some food for thought with Godard dedicating his film "Detective" to Clint (and John Cassavetes).

Appu s

8th December 2009, 06:10 PM

//Dig @ K_G, oruthar ennanna "no smoking",innoruthar "களவும் கற்று மற" inga oruthar Whiskey piriyar :lol2:
BTW, Jack tells "the glass of beer" right? Dig//

kid-glove

9th December 2009, 02:31 AM

//Dig @ K_G, oruthar ennanna "no smoking",innoruthar "களவும் கற்று மற" inga oruthar Whiskey piriyar :lol2:
BTW, Jack tells "the glass of beer" right? Dig//

Yes yes. This one caters to my taste. :lol:

groucho070

9th December 2009, 11:32 AM

But that is bourbon ain't it? More to my taste. Or maybe you are making "Jack" connection :wink:

kid-glove

9th December 2009, 05:20 PM

But that is bourbon ain't it? More to my taste. Or maybe you are making "Jack" connection :wink:

Jack Torrance orders bourbon. but the original quote has 'beer' in it.

My preference is in the avatar and signature. :D

Avadi to America

10th December 2009, 01:24 AM

groucho,

intha thread ethir parthatha vida activavey irrukku....

groucho070

10th December 2009, 07:16 AM

Talaivar-Oda magimai, A2A. His work reaches low-brow fans like me to to right up there with the pundits. Still haven't read the WHBH dissection, enna mathiri semi-literates-ukku konjam time veenum. :P

groucho070

10th December 2009, 08:28 AM

[tscii:352c70bb36]For fans of both Eastwood (the actor) and James Bond
http://www.indielondon.co.uk/DVD-Review/changeling-clint-eastwood-interview

Q: Were you at one time asked if you would play James Bond?
Clint Eastwood: I was, yes at one time. This was after Sean [Connery quit]. I had the same attorney as the Broccoli family.

Q: Any regrets about not having been 007?
Clint Eastwood: I thought that James Bond should be British. I’m of British descent but by the same token I thought that it [Bond] should be more of the culture there and also, it was not my thing, it was somebody’s else’s thing.

Ithu eppadi irukku :D [/tscii:352c70bb36]

kid-glove

10th December 2009, 08:59 AM

Nalla vela. Considering the shit-house production studios and shit-house directors then, the films wouldn't work on me. I'm not a fan of Bond as it existed then. ;-)

The moment I took Bond mythology in earnest was sometime after I read QT had revealed interest in adapting 'Casino Royale' with Pierce Brosnan. And when I got hold of the book (the one & only Ian fleming book I have read). I could understand why he would want to. Then I was running over select few actors in my mind, who would suit better than Brosnan. The young Clint Eastwood would have nailed it. He created his own mythological characters in Sergio Leone & Siegel films. And QT, IMHO, is on his way to near Sergio's level (well above Siegel). In my imaginary scenario, Clint should be cast as Bond in QT's version and not Brosnan. If it had happened, he would have furnished a new legacy for Bond series, which would easily out scale the impact of Nolan brothers & batman franchise. :P

groucho070

10th December 2009, 09:11 AM

Well said about the 70s Bond. I like Moore for his humour, and Bond he is definitely not. The lest I talk about the films the better :evil:

News on QT's interest have been hovering around the Bond fandom for sometimes now, and frankly he would have given it a fresh breath of air, instead of the so-called reboot, which is actually same old 1995-2002 trash with better script and waaaaay better lead actor.

The Bond in Fleming's book is flesh and blood, dark brooding, but at the same time patriotic, warm and is a sucker for good frienship. Not sure how a young Eastwood, if at all he can pull of the Queen's English, would inject a bit more humanity into the character. Stoic presence and grunted lines worked well in Leone's landscape and later Siegel and his own films. Okay, there were some great performances along the way, but I don't want other hubbers to snicker and snort out their chaiya.

Closest he came to playing such character happened to be one of the least-liked film - The Eiger Sanction. It was supposed to be the Deighton/ Le-Carre type spy flick with mountain climbing background. Didn't work for me. He just looked bored, and when doing the climbing, looked tired (coz he did most of the actual climbing anyway).

Nein...he would not be the top ten actor in my list, if I was the filmaker and I was forced to hire an American (then). Now, Steve McQueen would have been a different story altogether :P

Edit. My 2nd fav Bond, Timothy Dalton, is a huge Eastwood fan and said that once he did a TV special equivalent of a fan letter to da Man...never got around to see it.

kid-glove

10th December 2009, 09:27 AM

The Bond in Fleming's book is flesh and blood, dark brooding, but at the same time patriotic, warm and is a sucker for good frienship.

I think so too. But the quality of Casino royale is the Bond who ruffles few feathers on this mission, so to speak. The dialogues in QT mode wouldn't just be laconic in any case. But a bit more brooding with a ring to it. There would be less of acting, & humanity and that sort of thing. So the iconography of Bond is built by Casino royale. And when it was to be made after all the trash in 70's would be a rebirth of the genre/franhise. How apt it would be. But it wouldn't be achieved through the motives on lines of patriotism and fondness in QT's hands. The darker parts should have interested QT immensely. He was most definitely seeing it as assasin's creed and the narrative as a procession for Bond, of a learning curve.

kid-glove

10th December 2009, 09:33 AM

And one other thing, the romantic angle would almost certainly fit Clint Eastwood in QT mode had imagined. "The bitch is dead" would bring the house down. :notworthy:

groucho070

10th December 2009, 09:42 AM

The darker parts should have interested QT immensely. He was most definitely seeing it as assasin's creed and the narrative as a procession for Bond, of a learning curve.Definitely. QT would have picked them up and try to run his way to the bank, except it would have spelled death to the franchise. The first film, Dr. No, was very far removed from the books, he was a glorified policemen, as the villain himself put, and only in From Russia With Love did we see Fleming's Bond, and a smattering of the old boy in On Her Majesties Secret Service, and we had to wait for, like 18 years before Fleming's Bond resurfaced in The Living Daylight in an otherwise the franchise holders-sanctioned film (Dalton took advantage of the desperate producers to pick the character up back from the book, though hints of previous nonsense were abound here and there).

Arrr...remba digress pannitten.

Anyway, coming back to Eastwood. The best book would be You Only Live Twice. It starts dark, with Bond recently losing his wife, then a trip to Japan, where he lightens up, and then the confrontation with Blofeld who killed his wife earlier. The last few chapters of the book are perhaps the darkest of the entire series. QT would have loved the bleakness and the violence in it.

kid-glove

10th December 2009, 09:52 AM

Oh, then I would have to get my hands on it.

I am beginning to appreciate what Qt is doing. Fully appreciate things I might not have the cognition to understand but read from some place else. Like this (http://www.collativelearning.com/pulp%20fiction%20-%20gold%20watch%20story%20analysis.html). Thanks to bala.

salaam_chennai

11th December 2009, 07:13 PM

Invictus review.

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20091209/REVIEWS/912099994

groucho070

16th December 2009, 06:55 AM

Eastwood in Golden Globe again 8-)

http://www.goldenglobes.org/news/id/159 (link given by tamizharasan)

Avadi to America

20th December 2009, 12:15 PM

did anyone see invictus?

groucho070

21st December 2009, 09:06 AM

A mysterious preacher comes to a small mining town circa 1860s, and causes a stir when both single mother and her fifteen year old daughter falls for him.

Sounds like a plot for a slow moving artsy fartsy film.

No way. This is the subplot for....

Pale Rider (1985)revisit.

Talaivar is the preacher who packs gun. Totally mysterious, that's his name, nobody knows who he is except we get to see a bit of the reason why he rode into the town. The above sub-plot is well played out, but it doesn't bog the pix down.

Of course, overall it looks like a remake of High Plains Drifter (which me and wife set about watching right after this one finished), but the Biblical reference, the snowy atmosphere, the more-grizzled Eastwood in priest's garb makes it a different viewing experience.

Best line?

One of the miner after witnessing what Eastwood was capable of: Preacher my a**!!!

groucho070

23rd December 2009, 02:51 PM

Sharing with fellow fans, might be news for some:

http://alltopmovies.com/the-top-10-awesome-things-you-didnt-know-about-clint-eastwood2/

Avadi to America

23rd December 2009, 08:11 PM

Sharing with fellow fans, might be news for some:

http://alltopmovies.com/the-top-10-awesome-things-you-didnt-know-about-clint-eastwood2/

very interesting article.....

salaam_chennai

23rd December 2009, 08:56 PM

An interesting article.

2. Clint is allergic to horses :shock: :shock:

Also, i read somewhere that Clint-E is a non-smoker in real life. In most of his cowboy movies, either he rides horse or smokes cigar. paavamya indha manushan

8. Clint used to dig pools for a living :shock: :shock:

Avadi to America

24th December 2009, 02:52 AM

An interesting article.
[quote]2.
Also, i read somewhere that Clint-E is a non-smoker in real life.

it is true.

Avadi to America

24th December 2009, 02:53 AM

thalayoda political carrier pathi annan groucho konjam virivaga pesavum....

groucho070

24th December 2009, 06:51 AM

thalayoda political carrier pathi annan groucho konjam virivaga pesavum....Well, he didn't like what was going on in his little town, athan naama kaduppula solluvome, "naan mattum Mayor-a irunthu ithu pannuven, athu pannuvenn"nu, well he basically did just that. Served for two years, did what he wanted, and stepped down. :D Ithe namma Tamizh philim stars-a iruntha naarkaaliya vitturuppanggalaa? :lol:

groucho070

24th December 2009, 06:53 AM

Also, i read somewhere that Clint-E is a non-smoker in real life. In most of his cowboy movies, either he rides horse or smokes cigar. paavamya indha manushan :lol: True, true. He bought loong cigar from Hollywood, chopped them in pieces and said that the bitter foul taste got him into that killer mood for the movie :lol: Ithu Talaivar-oda Method for acting :wink:

Avadi to America

16th January 2010, 12:14 AM

thala pdam parthu konja nall ayiduchu... i need to revisit some movies....

VENKIRAJA

16th January 2010, 07:03 PM

one fella who came with me to AO had a thaarumaaru Eastwood Tee-shirt. Harry Callahan in 6 succesive frames like a comic strip. Anyone has such goodies? Please put up interesting bitmaps or whatever, from web also. Wanna get one soon!

kid-glove

16th January 2010, 07:07 PM

Nan kuda Penelope Cruz snaps-lam thEdi, collect panni, oru print pOdaNum. :mrgreen:

Avadi to America

27th January 2010, 10:27 AM

http://movies.yahoo.com/feature/movie-talk-johnny-depp-no-2.html

In "Pirates of the Caribbean: At World's End," Davy Jones asks Johnny Depp's iconic character, Jack Sparrow, if he felt dead. Sparrow replies, as might Johnny Depp right now, "You have no idea."

Despite untimely rumors to the contrary, not only is Johnny Depp very much alive, he's also just been named the runner-up in the much-ballyhooed Harris Poll. The poll, which measures public opinion on movie stars living and long gone, named Depp the second-most-loved Hollywood celebrity. Clint Eastwood came in first. :clap: :clap: :clap: :clap:

It's been an interesting week for Depp. Over the weekend, an Internet rumor that the 46-year-old star had perished in a traffic accident in France gained traction on Twitter. Then today, the "Public Enemies" star learned that he finished second in the new Harris Poll to an actor who hasn't been in a movie in over a year. (Clint was last seen in his 2008 film "Gran Torino"; he directed - but does not appear in - this year's critical favorite, "Invictus.")

John Wayne, who died in 1979 and hasn't been featured in a film since 1976, is the only actor to be ranked in the countdown every year since its inception in 1994. Wayne finished first in 1995, when he barely edged out this year's winner, Clint Eastwood.

Denzel Washington, who has finished in the top spot on the poll for the last three consecutive years, fell to No. 3 this year.

John Wayne aside, the Harris Poll has a history of honoring actors that haven't appeared in any recent films. Mel Gibson -- who before this upcoming weekend's release of "The Edge of Darkness" has not starred in a film since 2002's "Signs" -- topped the poll in 2003 and continuously ranked in the top 10 until 2006. Conversely, Meryl Streep, who has been nominated for 15 Academy Awards, made her first-ever appearance on the poll, finishing eighth. "The Blind Side" star Sandra Bullock was the highest ranking woman, finishing fourth.

The top 10 in this year's "America's Favorite Movie Star" Harris Poll (with last year's rank in parenthesis) is as follows:

1. 1. Clint Eastwood (2)
2. 2. Johnny Depp (8)
3. 3. Denzel Washington (1)
4. 4. Sandra Bullock (not ranked)
5. 5. Tom Hanks (7)
6. 6. George Clooney (not ranked)
7. 7. John Wayne (3)
8. 8. Meryl Streep (not ranked)
9. 9. Morgan Freeman (9)
10. 10. Julia Roberts (6)

groucho070

27th January 2010, 12:07 PM

Never thought I'll see a day where Eastwood is in Top Ten bracket sharing it with Julia "smile like old Cadillac grille" Roberts :banghead:

groucho070

1st March 2010, 08:26 AM

Revisited Talaivar as "Ladies Man" films.

1. Coogan's Bluff.
Often labeled as precursor to Dirty Harry, there's lots of smooching, and flirting here. He sleep with one suspect chick after which he threatens to punch her face :lol: Not his greatest, but preview of what to come.

2. The Beguiled.
Civil war, gothic romance. Talaivar is surrounded by girls from 12 year old to 40. Pretty raunchy scenes, one with Eastwood doing err...one, two...foursome! Towards the end, things get very, very scary.

3. Play Misty For Me.
Talaivar as chick-magnet radio DJ. Personally, I think it's a bit of a stretch, but I wish all DJs were like him, instead of pathetic self-important jerks we get. Anyway, this is the precursor to Fatal Attraction...wait, not, actually Fatal Attraction stole the story from here. Ending also scary!

Overall verdict: Thank god no Sondra Locke....yet :(

Kambar_Kannagi

1st March 2010, 08:34 AM

The top 10 in this year's "America's Favorite Movie Star" Harris Poll (with last year's rank in parenthesis) is as follows:

1. 1. Clint Eastwood (2)
2. 2. Johnny Depp (8)
3. 3. Denzel Washington (1)
4. 4. Sandra Bullock (not ranked)
5. 5. Tom Hanks (7)
6. 6. George Clooney (not ranked)
7. 7. John Wayne (3)
8. 8. Meryl Streep (not ranked)
9. 9. Morgan Freeman (9)
10. 10. Julia Roberts (6)

Will Smith இல்லாதது வருத்தமே... :cry:

Avadi to America

17th March 2010, 01:02 AM

recently revisited "blood work".....At the age of 72, thala has good physige and could take off his shirt.... i am just imagining how i would be at the age of 72.... :wink:

RAGHAVENDRA

17th March 2010, 07:32 AM

Dear friends
I want to know if "Irumbukkottai Murattu Singam" is a remake of "Good, Bad, Ugly"

Raghavendran

groucho070

17th March 2010, 07:59 AM

Nice to see you here, Raghavendra-sar.

From what I understand Irummbukottai seemed to be more of a parody or homage to the old Cowboy films in our industry, especially the ones made by Jai Shankar and occasionally Rajini.

The Good, The Bad & The Ugly has certainly inspired the whole new bunch of western (cowboy films) that were not made by, or even set in the USA. This one is a Italian/Spanish production - referred to as Spaghetti western. The result of the chain reaction is definitely our own version of cowboy films, crudely referred to as curry-western :lol: . I imagine if it was made in Malaysia, it'll probably called Satay western, and Singapore, Laksa western, whatever.

But hope I was clear there.

RAGHAVENDRA

17th March 2010, 09:49 PM

Dear Rakesh,
I too am happy to be amidst this thread, because during mid 60-s, English films meant mostly westerners, occasionally films like Cleopatra and other war and historic films filling the gap. We were mostly be present either at the Shanthi Theatre or Casino. Most memorable films were screened there, being in partner with Paramount Pictures. Once Upon a Time in the West was one among them, which was among the best western films (of course they were based on Mexico or Italy as you said). It impressed that generation very much that Karnan took charge of it to give them in Tamil (though they were on the border of soft porn). His cinematography though jerking at times, were extraordinary for Tamil film audience, particularly the black and white master pieces like Kalam Vellum, Ganga, etc.
There was another westerner that was released at the Pilot, The Ballad of Cable Hogue, which too was publicised for wrong reasons. It had excellent cinematography.
The genre of Western films, definitely owe a lot to Clint Eastwood. But it was Gregory Peck and Omar Shariff starred McKenna's Gold which created a craze for westerners among all sections of Tamil audience.
Thank you for giving an opportunity for a journey down memory lane.
Raghavendran

Avadi to America

18th March 2010, 01:27 AM

[tscii:1227b28dee]
Dear Rakesh,
I too am happy to be amidst this thread, because during mid 60-s, English films meant mostly westerners, occasionally films like Cleopatra and other war and historic films filling the gap. We were mostly be present either at the Shanthi Theatre or Casino. Most memorable films were screened there, being in partner with Paramount Pictures. Once Upon a Time in the West was one among them, which was among the best western films (of course they were based on Mexico or Italy as you said). It impressed that generation very much that Karnan took charge of it to give them in Tamil (though they were on the border of soft porn). His cinematography though jerking at times, were extraordinary for Tamil film audience, particularly the black and white master pieces like Kalam Vellum, Ganga, etc.
There was another westerner that was released at the Pilot, The Ballad of Cable Hogue, which too was publicised for wrong reasons. It had excellent cinematography.
The genre of Western films, definitely owe a lot to Clint Eastwood. But it was Gregory Peck and Omar Shariff starred McKenna's Gold which created a craze for westerners among all sections of Tamil audience.
Thank you for giving an opportunity for a journey down memory lane.
Raghavendran

Thanks for giving interesting and valuable points. I am eagerly waiting for the chance to watch the (good, bad & ugly) and Once Up on a time in west in big screen. Though i have seen numerous times in DVD, I still wanted to watch it big screen. I am really happy that there is one more person agreed the greatness of the movie "Once Upon a Time in the West". I strongly believe that Sergio Leone movies redefined the western movies in 1960'. To certain extent, we could classify western movies before Sergio Leone and after Sergio Leone. Hope I am not exaggerating it.

Groucho,

The music in “Irumbukkottai Murattu Singam” seems or similar to Ennio Morricone…. G.V.Prakash copy adikaratha niruthuda….
[/tscii:1227b28dee]

groucho070

18th March 2010, 07:25 AM

Raghavendra-sar, as A2A said, very enlightening. Please share more with us.

Karnan's work was mentioned by Saradha madam in the other thread as you yourself have read and commented.

The Ballad of Cable Hogue was mentioned and analysed by brother Thilak (kid glove) somewhere here and glad to know that it was screened here.

You mentioned partnership with Paramount Pictures, which company did it partner with?

Interesting that you mentioned McKena's Gold. The film didn't do that well back in states, but garnered following here. I know that because my father used to rave about it. And the film is good too.

And an interesting trivia - McKenna's Gold was offered to Eastwood, who was tired of big budget westerns and refused it. It started his own company, Malpaso, and did a small budget hit film, Hang 'Em High.

A2A, Morricone-ai copy adichathu ithu muthal murai alla :wink:

Avadi to America

18th March 2010, 06:56 PM

[tscii:be5c9a78bf]
Raghavendra-sar, as A2A said, very enlightening. Please share more with us.

Karnan's work was mentioned by Saradha madam in the other thread as you yourself have read and commented.

The Ballad of Cable Hogue was mentioned and analysed by brother Thilak (kid glove) somewhere here and glad to know that it was screened here.

You mentioned partnership with Paramount Pictures, which company did it partner with?

Interesting that you mentioned McKena's Gold. The film didn't do that well back in states, but garnered following here. I know that because my father used to rave about it. And the film is good too.
And an interesting trivia - McKenna's Gold was offered to Eastwood, who was tired of big budget westerns and refused it. It started his own company, Malpaso, and did a small budget hit film, Hang 'Em High.

A2A, Morricone-ai copy adichathu ithu muthal murai alla :wink:

I tried watching McKenna’s gold few months back..... I miserably failed to sit through it.... thank god, thala did not accept the movie…. I think clint would be very good in harmonica character in OUTW.

Ragavendra Sir,

How “the (good,bad & ugly) and “once up on a time in west “ did in Indian box office?
[/tscii:be5c9a78bf]

Avadi to America

18th March 2010, 07:08 PM

RAGHAVENDRA

18th March 2010, 10:03 PM

Good Bad Ugly ... became a hit among the fans of western movies only after it was removed from screening ... and there was no initial crowd... Almost all the westerns got the same kind of reception. The first one to get a big and rousing reception was of course McKenna's Gold... From my perception, the success of this movie was mainly due to the acoustic appeal it made in the Devi Theatre, Chennai, for its stereophonic sound. Even today, after so much of evolution in sound systems - be it dolby digital/ dts/ whatever it be, Chennai still would welcome McKenna's Gold with the same zeal, of course only at the same venue ... Devi Theatre, because, it was the first film with stereo sound in Madras. And another reason is the climax horse rides among the grand canyon... These were the main reasons...
For my personal self, Morricone still rules..
And Sergio Leone ... definitely the western movies ought to be distinuished before or after him.
Jason Robards was at his best in the film Ballad of Cable Hogue. It was released in Pilot Theatre, Chennai, which was a craze then, with its cinerama screen. We virtually felt we were at the location. Though the majority of the audience were fans of western movies, there were some who came for the skin shows. But besides this, it is really a memorable film taking you deep into the subject and made you involve. Similar is the case of Once Upon a Time in the West. Particularly those scenes of where conversations will be going on, while the train passes by just like a bus or tram.
A really nostalgic moment for the likes of the previous generation

Raghavendran

groucho070

20th March 2010, 07:08 AM

Thanks again, Rhagavendra sar. We hardly get news about these films receptions back here, we only know how it did over there. I hope your visit here will also inspire others, especially those with knowledge of the theatre circuits of yesteryears to come here (yes, I'd love to see Murali-sar or Saradha mdm, but it's too much to ask, I guess :( )

Anyway, I coaxed my wife into revisiting The Good, The Bad & The Ugly.

Again, it's a film you never get bored revisiting. One of the critics those days (I've told this before) interpreted the title for The cinematography, The dubbing and The violence. Yes, the violence is still ugly - guy getting shot in the face through pillow, Tuco's punishment in the prison.

The best thing is, however, the cinematography. Like a beautiful painting. Every inch of the frame is utilised to full glory. Breathlessly beautiful. Ovoru scene-um rasichi, rasichi paarkalam.

And the editing. How can one forget the climax shootout. The shooting itself would have taken 0.0007 seconds. But the buildup to it...yabaaaa.....my wife gripped my hand in suspense!

Finally, Eli Wallach was bloody awesome as Tuco. While Eastwood and Van Cleef just stood, walked and squinted, Wallach did all the heavy duty acting here...true to this Actor's Studio alumni.

Ettana murai paartalum salikkatthu. While this is not Leone's best (Once Upon A Time In West takes the cake), it is certainly his most popular and it should be.

Oh, the DVD included deleted scenes with Eastwood and Wallach returning to dub. Wallach's voice is clearly different, really sounds old not suitable to the youthful Tuco. Eastwood was okay, you don't really notice it.

rangan_08

20th March 2010, 04:46 PM

rangan_08

20th March 2010, 04:49 PM

RAGHAVENDRA

20th March 2010, 10:24 PM

Dear Rakesh and Rangan,
Thank you for your kind words. There was one more actor who played crucial roles in many western movies. He was none other than Ernest Borgnaine (pls pardon me for the spelling mistake, if any). ஊறுகாய் மாதிரி, அள்ளிப் போட்டுக் கொள்ளவும் முடியாது, ஒதுக்கித் தள்ளவும் முடியாது. அப்படிப்பட்ட பாத்திரங்களில் அவர் நிறைய சோபித்திருக்கிறார். He too became more famous with McKenna's Gold. Pls forgive me for quoting this film too often, but can't help it.

Unfortunately cowboy films did not give enough scope for heroines! So not much popular artistes.

Raghavendran

great

21st March 2010, 09:33 AM

Dear friends
I want to know if "Irumbukkottai Murattu Singam" is a remake of "Good, Bad, Ugly"

Raghavendran

Good to see you here, Raghavendra sir.

I think we should not get deceived by the ad which says, " Oru Nallavan, Oru kettavan, Oru vinodhan ". Like groucho said, it could be a parody. Any way, it's been a long time since tamil audience had a cow boy film. More over, we can count on Chimbudevan.

if i am not wrong, the ad which says, oru nallavan, oru kettavan, oru vinodhan. Its a dubbed version of a korean movie The good , THe bad , the weird.

Avadi to America

22nd March 2010, 10:16 PM

great

23rd March 2010, 09:14 PM

Yeah, A2a, have seen this movie few months back. Good timepass flick.

Avadi to America

23rd March 2010, 11:06 PM

Yeah, A2a, have seen this movie few months back. Good timepass flick.

i am going to try online sources :lol:

salaam_chennai

1st April 2010, 01:12 AM

Invictus :(

May be i expected too much. I felt that the movie was very dramatic.

Matt Damon :thumbsup:

Avadi to America

23rd April 2010, 12:31 AM

salaam_chennai

23rd April 2010, 12:41 AM

Thamks A2A for reminding 'Unforgiven'. Need to revisit it. for me, Unforgiven is the 2nd best Western movie ever made..

groucho070

27th April 2010, 12:32 PM

And a nicewriteup from my favourite writer on Talaivar with him turning 80 end of may.

http://www.guardian.co.uk/film/gallery/2010/apr/26/clint-eastwood-80

Avadi to America

28th April 2010, 10:07 PM

[tscii:5f2f5b265e]i just want to paste the content, otherwise we may loose this well written article down the line. Clint Eastwood at 80: profile of a Hollywood legendThe actor and director is entering his ninth decade, What accounts for his astonishing professional longevity?

Gallery: 80 years of Clint in 80 pictures
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Joe Queenan The Guardian, Monday 26 April 2010 Article history
Clint Eastwood in Pale Rider (1985) Photograph: Allstar/WARNER BROS/Sportsphoto Ltd./Allstar

Directors may occasionally be shown respect, perhaps even asked for their autograph, in America, but no one actually likes them. People may admire or envy James Cameron or Steven Spielberg or Francis Ford Coppola or Martin Scorsese, and a significantly smaller group of filmgoers may look forward to Woody Allen's next outing, but they don't have much of an emotional connection with them. This is what makes Clint Eastwood's career so singular.

Because he started out as an actor, and very quickly became an actor that a large segment of the population positively adored, in the same way that they adored Jimmy Cagney and Cary Grant and both Hepburns, Eastwood has long benefited from a personal relationship with the American people that no other living director can even dream of. (In my lifetime, only Alfred Hitchcock, who came into everyone's living room once a week to deliver his weird, deadpan introductions to his creepy TV series, has enjoyed this sort of ongoing, intimate rapport with the American people. But little boys didn't want to grow up to look like the puffy director. And very few women would have asked Hitchcock to play Misty for them.)

Eastwood's close relationship with his countrymen is the sort of thing that Michael Jordan, Joe DiMaggio, Marilyn Monroe and Babe Ruth all experienced. At a certain point, he, like Elvis Presley, crossed over into a land beyond reproach, where no blemish would ever go on his personal record, no matter how many Sondra Locke movies he made. It was OK to dislike this or that Eastwood movie – Pink Cadillac, Tightrope, The Gauntlet – as long as you did not dislike the man himself. Even women who did not like Eastwood expected their men to. The American people might forgive you for being a communist or an atheist. But they would never forgive you for saying you did not like Clint Eastwood.

Next month, Eastwood turns 80. He has made more than 50 films as director or actor. He has been a fixture in American life since 1959, when he charmed his way into the bosom of the Republic by playing the likable cowboy Rowdy Yates on the TV series Rawhide. Much like Robert Redford, another actor who enjoys near-godlike stature in America, Eastwood's film career did not take off until he was in his mid-30s. But after the operatic, genre-smashing A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly, which made it impossible to go on making Westerns the way they had always been made, he was in the club for good.

To the extent that Westerns can be taken seriously, there are only two cowboys worth talking about: John Wayne and Clint Eastwood. Wayne was the old-style prince of the high chaparral, the hero in the white hat. (Only in The Searchers did he deviate from this role.) Eastwood always played a gunslinger with something dark in his past. This is the way people who grew up in the 60s liked their leading men – Jack Nicholson in Chinatown, Five Easy Pieces, One Flew Over the Cuckoo's Nest, Dustin Hoffman in The Graduate and Little Big Man, De Niro and Pacino in everything. People in that era still wanted heroes. But they no longer wanted monochromatic ones such as Wayne and Gary Cooper. They liked it if their heroes were a tad neurotic, with a bit of history. The Man with No Name fitted the bill perfectly.

Like John Wayne, Eastwood is a charismatic, somewhat underrated actor who was not born to play Lear. He is not in a class with the Nicholsons, Hoffmans, Hackmans and Freemans, much less the Washingtons and Day-Lewises, but he is far superior to contemporaries such as Harrison Ford. And no one else has ever had a career like his: The Good, the Bad and the Ugly, Hang 'Em High, Play Misty for Me, High Plains Drifter, Dirty Harry, The Outlaw Josey Wales, Pale Rider, Bird, Unforgiven, White Hunter, Black Heart, In the Line of Fire, The Bridges of Madison County, Million Dollar Baby, Gran Torino, Mystic River. Not to mention less successful, but not uninteresting, films such as Flags of Our Fathers, Letters from Iwo Jima, Bronco Billy, The Gauntlet, The Changeling, Invictus, Honkytonk Man and A Perfect World. And those truly bizarre films such as Paint Your Wagon, The Beguiled and Every Which Way But Loose.

Coppola, Scorsese and Spielberg, legends all, made better films, archetypal films, but none of them were actors. Nicholson has dominated the American psyche since Easy Rider in 1969, but his stabs at directing were not terribly successful – and nor is he actually liked by Middle America in the way Eastwood is. He is too dark, too strange, too LA. Eastwood has never been accused of that.

Redford, De Niro, Marlon Brando and Barbra Streisand, among others, also experienced a measure of success as directors, but not on the scale of Eastwood, who has directed 30 films, and is thought of as a serious, full-time director in a way they are not. There was, of course, Orson Welles, a splendid actor and brilliant director. But his career petered out early and, by the end of his life, the prodigiously fat has-been was making self-parodying TV commercials for mid-market California wineries and appearing in pitiful Pia Zadora movies. His fall from grace was the saddest event in the history of American cinema.

As a double threat, the most obvious comparison is with Mel Gibson, a solid, highly successful director who is also a very accomplished actor. But Gibson is not nearly as productive as Eastwood, nor as idiosyncratic and varied. And, though he was born just up the river from the town where I live, Gibson is an Australian, not an American. Nor, after the furore regarding The Passion Of the Christ and his boozy, antisemitic tirade to those Malibu coppers, will Gibson ever be thought of as "beloved". In the end, no other actor-director – not Beatty, Costner, Lee nor even Woody Allen – has had a career like Eastwood. Like the Man With no Name, he stands alone.

(Out of respect for the directors cited above, I have not mentioned Sylvester Stallone, director of nine movies, even once in this essay. Nor will I.)

Eastwood, born in 1930, displays a mindset shaped by the decade of his birth and by the 1960s. The best films from the 1930s and 1940s are both entertaining and uplifting, and united by a clear moral vision: good will prevail over evil, but it's going to take a while. In the spaghetti westerns that made him famous, good's triumph over evil takes even longer. Working with the director Sergio Leone had a huge stylistic influence on Eastwood, who has never been in any hurry to get to the point. Spaghetti westerns moved along at a languid pace and so do Eastwood's. Early films such as High Plains Drifter start off with a bang, then taper off, then build to a huge finale; so do Pale Rider and Unforgiven. In A Fistful of Dollars, the movie that made him a household name, a tall, lanky, enigmatic stranger comes to the aid of poor, downtrodden Mexicans. In Gran Torino, a tall, lanky, enigmatic stranger comes to the aid of poor immigrants from south-east Asia. Some things change. Some things don't.

A true child of the Depression, Eastwood understood that the only unforgivable crime was to stop working. So he never did. He made all kinds of movies and he made them fast. He didn't waste much money on co-stars and he didn't spend much money on special effects. He brought his films in under budget and on time. If a film flopped he'd make another one, and if that flopped, he'd try something different. Then, if his career as a director stalled, he'd hire himself out as an actor. Unlike Beatty and Welles, he does not seem to have been terribly afraid of failure, and nor does one get the impression that he ever cared much what the critics thought of his work. His biggest-grossing films – the stupid ones with the orangutan – are among his greatest box-office coups. So there.

William Goldman, probably the world's most famous screenwriter, worked with Eastwood on Absolute Power. He believes that Eastwood, like Paul Newman, benefited from having to delay gratification. "The reason they were so terrific is that they didn't make it early," he told me last year. "Eastwood was still digging swimming pools when he was 29. They were not John Travolta. They were not Tom Cruise."

He also pointed out that Eastwood's high-quality work at such an advanced age is unprecedented. "Directors lose it around age 60," he says. "They're either too rich or they can't get work anymore. And it's physically debilitating work. That's why Gran Torino amazes me. Clint Eastwood is nearly 80, and he can still make a movie like that. He is having the most amazing career."

Clint Eastwood falls into the category of artist – like Sean Connery or Judy Garland or Van Cliburn – who does something wonderful early in his career, for which the public believes he is owed a permanent debt of gratitude. The public never forgets A Fistful of Dollars, because it breathed life into a dying genre and because Eastwood – with the poncho and the cigarillo – was just so fantastically cool. (The genre is now even closer to death, only occasionally coming back to life when Eastwood directs a western.) Like Bob Dylan, once reviled for his born-again Christian albums of the early 80s but now thought of as a congenial old coot, Eastwood somehow managed to bury the rightwing Dirty Harry stigma that followed him around in the 70s. (At a time when a lot of people in Hollywood were genuinely concerned that their country might be turning into a police state – during Richard Nixon's administration – Eastwood was making movies lionizing a rogue cop. Talk about politically incorrect.) But Eastwood himself mellowed and grew as an artist with the passage of time: High Plains Drifter (1973) starts with three murders and a rape; The Bridges of Madison County (1995) doesn't.

In Eastwood's defence, the Dirty Harry movies that some found so objectionable were little more than Hang 'Em High transferred to modern times. Extremely unpleasant men are making life miserable for ordinary citizens. The police are unable to control them. Into the mix comes a mysterious sociopath who is nonetheless fighting on the side of the angels. Nobody minded when Eastwood did this sort of thing in A Fistful of Dollars, High Plains Drifter, The Good, the Bad and the Ugly and Hang 'Em High, just as nobody minded when he returned to this theme in Pale Rider and Unforgiven. It is only when the avenging angel appears in an urban setting that civil libertarians get riled up. Westerns are set in an era with which Americans feel comfortable, with everyone having a gun and gunslingers taking the law into their own hands. Rogue cop movies aren't. If somebody takes the law into his own hands in the late 1800s, he's a hero. If he does it in the late 20th century, he's a fascist.

Eastwood resembles the great directors who preceded him, such as Hitchcock and John Huston and Don Siegel, in that he never stopped punching the clock. Unlike sensitive auteurs, who will take a few years off to contemplate their next project, Eastwood has not stopped making films since his debut in 1971. Working with the same collaborators, he has made arty films such as Bird and White Hunter, Black Heart, creepy films such as Play Misty for Me, offbeat comedies such as Bronco Billy and Space Cowboys, sentimental films such as Honkytonk Man and Invictus, and epics like Flags of Our Fathers. He has taken a great book and made a great movie (Mystic River), but more impressively he has taken a terrible book and made a great movie (The Bridges of Madison County). Eastwood went through a few stretches where it seemed he might be washed up, but he always found a way to drag himself up off the canvas. Midnight in the Garden of Good and Evil, True Crimes and Bloodwork appeared in rapid succession. They were all duds. Then came Mystic River and Million-Dollar Baby, which were not.

The number of truly bad films Eastwood either starred in or directed is surprisingly small. This is mostly because he avoided comedies: cop movies can only be so bad, but with comedies, the sky's the limit. His worst movies, without question, are the ones he made with Sondra Locke, who briefly played Linda McCartney to Eastwood's Sir Paul. Still, the only thoroughly ridiculous (non-orangutan) film he ever made is Paint Your Wagon, the misbegotten 1969 musical. And even that has the redeeming virtue of being completely insane.

Clint Eastwood films are not philosophically dense. He likes to make movies where the little guy is up against it, where the small fry are going to need a champion, a deus ex machina. A conservative himself, Eastwood somehow manages to synthesise right- and leftwing points of view in his films. The government cannot be trusted – a position tenaciously held by Republicans – but the police are invariably brutal and corrupt – the opinion of most Democrats. In Eastwood's world, there is something for everyone, as long as they do not object to a bit of violence.

He has also never hesitated to poke fun at his own persona. Gran Torino, where Eastwood literally growls and squints and swears and points firearms throughout the film, is actually quite funny. So is Space Cowboys, where the famous twitch is on full display.

Like Denzel Washington, a far better actor, Eastwood presents an image of America to the rest of the world that Americans are comfortable with. He is not a gangster (De Niro), not a glamour boy (Richard Gere), not a wiseguy (Bruce Willis), not an orthodontist's dream (Tom Cruise), not a neurotic (Dustin Hoffman). He is not impish (Johnny Depp), not avuncular (Robert Duvall), not sincere (Harrison Ford), not mannered (Tommy Lee Jones), not hysterical (Al Pacino), and not homegrown Hollywood royalty (Warren Beatty). Pundits are always using the term "national treasure" to describe people such as Michael Moore, a fiercely divisive American who is only a national treasure to those who hate conservatives. Eastwood is a conservative, a rarity among movie stars. Yet he is also, without question, a national treasure. Even Michael Moore knows that.

Eastwood made his film debut in 1955, playing a lab technician in Revenge of the Creature. That was the year Marlon Brando and Frank Sinatra made Guys and Dolls, the year Rosa Parks refused to give up her bus seat in Alabama. This has been one long career. Eastwood has outlasted all of his notable contemporaries, and has lapped a host of actors and directors whose stars once, briefly, emitted somewhat more light than his.

Directors and stars have come and gone; Eastwood has endured. He is still working today, directing Hereafter, his 31st film. "Man's got to know his limitations" is the famous line he delivers at the end of Magnum Force. To all appearances, Clint Eastwood never had any.

• This article was amended on 26 April 2010. The original named one Clint Eastwood film as A World Apart. This has been corrected
[/tscii:5f2f5b265e]

Avadi to America

28th April 2010, 10:15 PM

Grouch, Can you explain the end of the movie "UNFORGIVEN"?

Can we concludet the movie, Unforgiven as evil triumphs over good?

Or in which scene in the movie gene hackman was shown as bad guy?

does the movie as eny moral like any regular movie?

Avadi to America

28th April 2010, 10:16 PM

Thamks A2A for reminding 'Unforgiven'. Need to revisit it. for me, Unforgiven is the 2nd best Western movie ever made..

WHAT IS THE FIRST one?

Avadi to America

28th April 2010, 10:38 PM

Eastwood in Hang 'Em High. The 1967 film became studio United Artists' biggest opening in history, exceeding all of the Bond films at that time

http://www.guardian.co.uk/film/gallery/2010/apr/26/clint-eastwood-80?picture=361563840

Eastwood plays the victim in The Beguiled, 1971. The film was largely unsuccessful, which Eastwood blamed on his fans not warming to his emasculated role

http://www.guardian.co.uk/film/gallery/2010/apr/26/clint-eastwood-80?picture=361563932

Eastwood gets back to action in Dirty Harry, 1971, starring as a tough San Francisco cop. This was the first of five Harry Callahan movies, making it Eastwood's signature role

http://www.guardian.co.uk/film/gallery/2010/apr/26/clint-eastwood-80?picture=361615314

His most famous lines: "But, being as this is a .44 Magnum, the most powerful handgun in the world and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?"

http://www.guardian.co.uk/film/gallery/2010/apr/26/clint-eastwood-80?picture=361563838

Released in 1971, Dirty Harry was a phenonemal success. The film has been credited with inventing the loose-cannon cop genre imitated to this day

http://www.guardian.co.uk/film/gallery/2010/apr/26/clint-eastwood-80?picture=361615151

groucho070

29th April 2010, 10:22 AM

Grouch, Can you explain the end of the movie "UNFORGIVEN"?There is something about Talaivar in showing his characters end. Here, he just disappears like the other two westerns, Hang 'em High, and Pale Rider. If he dies, he lets it linger like in The Beguiled.

But the ending is about hypocrisy of preaching on violence I guess. He is just saying, yeah, preach all you will, but what happens happens. Sometimes you just have to pick a bone with bone (direct translation from Tamil).

Can we concludet the movie, Unforgiven as evil triumphs over good?Nope. Evil stays, hangs around, chill at Starbucks and pore over laptop or something. That's what I felt watching it.

Or in which scene in the movie gene hackman was shown as bad guy? Talaivar said, actually Hackman's character was a decent guy, who is just doing his job, a bit overzealous, but is just as corrupt as any other being. Plus he was building his house, which is a regular thing at that time.

does the movie as eny moral like any regular movie?Movie-ku ethu brother moral-lu? Athu enna Bhuddist terrorist-a illa Muslim monk-a?

By the way, better persons to discuss this would be the hub panditharkal,

and I would especially like to know Thilak's comment.

groucho070

29th April 2010, 10:23 AM

By the way, A2A, notice ample of topless pix in that collection? The compiler is definitely gay :P

kid-glove

29th April 2010, 10:42 AM

By the way, A2A, notice ample of topless pix in that collection?

Tbh, Clint was world renowned for that, unlike his other peers. (hint hint - O'Toole in LoA) :lol:

groucho070

29th April 2010, 11:23 AM

:lol: What is your take on A2A's questions?

kid-glove

29th April 2010, 11:39 AM

Will see if I could add anything, later..

Avadi to America

30th April 2010, 08:32 PM

Nope. Evil stays, hangs around, chill at Starbucks and pore over laptop or something. That's what I felt watching it.

it seems like the age of the evil is about 80 and did not like to wear shirt when it was young..... :lol:

Avadi to America

30th April 2010, 08:34 PM

By the way, better persons to discuss this would be the hub panditharkal,

HUB pandithargal intha area pakkam varathulla BOSS........i am seriously thniking about marketing this thead..... :think: pora pokula, i would be next "honestraj" as far as concerning this thread....

groucho070

31st May 2010, 06:51 AM

Wishing my talaivar, idol, role-model, mentor, guruji, swamiji a Happy Birthday. 80 years old and going strong. Talaivaa :bluejump: :redjump:

Avadi to America

10th June 2010, 09:14 PM

Belated happy birth day thalivaaaaa.....

Avadi to America

10th June 2010, 09:29 PM

http://www.the-dirtiest.com/dirty.htm

He doesn't break murder cases.
He smashes them.

Plot

Directed/Produced by Don Siegel
Screenplay by Harry Julian Fink,
Rita M. Fink and Dean Riesner
Dirty Harry
(1971)

"Well I'm all broken up about that man's rights."

San Francisco is threatened by Scorpio, a killer who has vowed to kill a person a day until his demands have been met by the city. After escaping a trap that the police set for him, Scorpio decides to raise the stakes.

He kidnaps a young girl and buries her alive, forcing the city into a race against time before the girl's oxygen supply runs out. After the mayor agrees to his terms, Harry Callahan is assigned the task of bagman. But Harry has his own ideas about what to take to Scorpio, and he'll see he delivers it- even if he has to make the case personal.

Trivia

Dead Right
The script, Dead Right, was written by the husband-and-wife writing team of Harry and Rita Fink. The storyline centered around an aging, New York cop named Harry Callahan who became obsessed with catching a sniper- even at the expense of his own career.

The Finks had just finished working with John Wayne on Big Jake, and initially had him in mind when attempting to sell the script. They presented it to Wayne's production company, but he declined over the film's graphic violence. Wayne later regretted the decision, which is one reason why he chose to star in 1974's urban cop thriller, McQ. (Ironically, the latter was set in Seattle- a city which was also an early contender for Dirty Harry.)

The script was then picked up by Universal, where Clint Eastwood was under contract. Eastwood was interested in starring, but Universal stalled and eventually lost the option.

Sinatra
Dead Right soon found its way to Warner Bros., where it was regarded as a potential vehicle for Frank Sinatra. This decision was primarily based on the success of Sinatra's The Detective a few years earlier.

Prior to meeting with Sinatra, Warner asked John Milius if he could do a quick rewrite of the script. He agreed, in exchange for $35,000 and a $2,000 Purdy shotgun.

Milius created a new opening for the film that was inspired by the opening sequence of Patton. It featured Harry Callahan giving a lecture to a roomful of cops, and demonstrating various firearms. It was in this same vein that the famous "Do I Feel Lucky?" speech originated.

Warner met with Sinatra and he agreed to star in the project. However, he had undergone wrist surgery a few months earlier, and the lingering injury would ultimately force him to back out prior to filming.

The first choice for director was between Irvin Kershner or Sidney Pollack. Kershner ended up being set to direct, only to be left out after Sinatra exited.

A New Star and Script
Warner then offered the role to Paul Newman, but he turned it down over concerns about the film's political message. Newman is said to have suggested Eastwood for the role, but Warner's next choice was Steve McQueen- who also passed.

Eastwood was finally approached by Warner and he made two requests: He wanted a rewrite for the script and Don Siegel as director.

During its long journey to a studio and star, Dead Right had undergone multiple drafts. Eastwood felt that its current state- which featured an overblown climax involving police snipers, a helicopter, and an airport hijacking- had lost the intent of the original. As a result, he wanted a return to the Fink's smaller, more personal conflict.

Siegel was under contract to Universal, and didn't think he would be able to direct. Eastwood personally asked Universal to let him hire Siegel for the project.

Eastwood approached Siegel with four drafts of the film- the original and three rewrites. (One of which was credited to Terrence Malick.)

The sniper villain in some of these early drafts was not a psychopath attempting to blackmail the city. Instead, he was a vigilante concerned with eliminating wealthy, influential criminals (ie. mafia; lawyers; etc.) that the police had been unable to prosecute. This idea would later provide the basis for the sequel, Magnum Force.

Dean Riesner was hired to rewrite the earlier drafts to suit Eastwood's younger portrayal. Don Siegel ended up finishing Riesner's draft by writing the showdown at the rock quarry himself.

Riesner's draft included a variation of Milius' "Do I Feel Lucky?" speech, and the famous scene also ended in a dramatically different way: Instead of firing at the wounded bank robber, Harry held the .44 to his own temple. After the click of the empty gun, Harry simply laughed and walked away.

Siegel wanted to change the film's New York setting, having already used the city for both Madigan and Coogan's Bluff. He briefly considered Seattle before choosing San Francisco. Both Eastwood and Siegel had watched the San Francisco 49er's last game at Kezar Stadium, and felt it would be a perfect place to film a dramatic showdown.

Scorpio
The character was based on the Zodiac Killer, who terrorized San Francisco in the late sixties and was never caught. He once sent the city a note threatening to hijack and kill a busload of schoolchildren, which is where the inspiration for Scorpio's similar feat originated.

Audie Murphy was first approached to play Scorpio. He was killed in a plane crash in 1971, before his decision on the role was known.

James Caan was also an early consideration, while Sinatra was still attached.

Eastwood and Siegel discovered Andrew Robinson performing in a live production of Fyodor Dostoevsky's The Idiot. Robinson was a pacifist and required a week of intensive firearm training just to be able to handle a gun realistically. When Robinson later asked Don Siegel why he had been chosen for the role, Siegel replied, "Because you have the face of a choir boy".

Andrew Robinson was apparently a little too convincing as the mad killer, Scorpio. He received death threats after the film's release and eventually had to get an unlisted phone number. He also found trouble getting in to auditions- many producers really thought he was crazy.

Look carefully at Scorpio's outfit, and you'll notice a peace symbol belt buckle. While the press had their own interpretation of this, Siegel's explanation of it was simply, "It reminds us that no matter how vicious a person is, when he looks in the mirror he is still blind to what he truly is."

Cameos
Character actor Albert Popwell had a total of four roles throughout the series:
Dirty Harry- The bank robber who doesn't feel lucky.
Magnum Force- J.J. Wilson the pimp
The Enforcer- Big Ed Mustapha
Sudden Impact- Horace King

Director Don Siegel can be seen walking by Harry's car, as Harry and Chico return to headquarters. Siegel's son, Kristoffer Tabori, also appears briefly as a hippie. The two previously shared a scene with Eastwood in the Siegel-directed Coogan's Bluff. (They had cameos as passengers on the escalator.)

After the sequence where Harry disrupts a bank robbery- by four black men- Siegel wanted to suggest a more tolerant side of the character. He devised a follow-up scene where Harry's injuries are treated by a black intern that appears to be an old friend of Harry's. When the studio refused to okay the short scene, Siegel was forced to film it quickly, using Second Assistant Director Charles Washburn as the intern.

Two actresses were used to portray Anne Mary Deacon. The photographs that are sent to the mayor feature Melody Thomas Scott, who had previously appeared with Eastwood in The Beguiled. However, the body that Harry witnesses being lifted out of the ground was played by Debralee Scott, (no relation).

The role was Debralee Scott's acting debut, and was filmed shortly before her 18th birthday. Scott later became a familiar face on television, in shows such as "Mary Hartman, Mary Hartman", "Welcome Back, Kotter", and "Match Game".

Harry drives a 1968 Ford Galaxie 500.

The opening scenes in the Mayor's office were filmed in then-Mayor Alioto's office.

A section of the Philippine police force requested a print of the movie for use as a training film!

Quotes

"It's not about a man who stands for violence, it's about a man who can't understand society tolerating violence." -Clint Eastwood

office.wav
Mayor: Alright, let's have it.
Harry: Have what?
Mayor: Your report, what have you been doing?
Harry: Oh, well, for the past three-quarters of an hour I've been sitting on my ass in your outer office, waiting on you.

Harry: Wait a minute, do I get this right? You're gonna play this creep's game? Why don't you let me meet with the son of a bitch?

policy.wav
Mayor: I don't want any more trouble like you had last year in the Fillmore district. Understand? That's my policy.
Harry: Yeah, well, when an adult male is chasing a female with intent to commit rape, I shoot the bastard. That's my policy.
Mayor: Intent? How did you establish that?
Harry: Well a naked man is chasing a woman through an alley with a butcher's knife and a hard-on, I figure he isn't out collecting for the Red Cross!

lucky.wav
Harry: Ah Ah, I know what you're thinking. Did he fire six shots or only five? Well, to tell you the truth, in all this excitement, I've kinda lost track myself. But being as this is a .44 Magnum, the most powerful handgun in the world, and would blow your head clean off, you've got to ask yourself one question: 'Do I feel lucky?' Well, do ya punk?

Harry: You know she's dead, don't you?

Cast
Harry Callahan: Clint Eastwood
Lt. Bressler: Harry Guardino
Chico: Reni Santoni
The Mayor: John Vernon
Scorpio: Andrew Robinson
Chief: John Larch
DeGeorgio: John Mitchum
Mrs. Russell: Mae Mercer
Norma: Lyn Edgington
Bus Driver: Ruth Kobart
Mr. Jaffe: Woodrow Parfrey
Hot Mary: Lois Foraker
Rothko: Josef Sommer
Bannerman: William Patterson
Liquor Proprietor: James Nolan
Sid Kleinman: Maurice Argent
Miss Willis: Jo De Winter
Reineke: Craig Kelly
Bank Robber: Albert Popwell
Underwear Chick: Cathy Harper

Avadi to America

10th June 2010, 09:35 PM

there is an interesting discussion forum....

http://www.clinteastwood.org/forums/index.php

bingleguy

10th June 2010, 10:00 PM

am watching his Letters from Iwo Jima ...... rendu naalaa paathukittu irukken :) hopefully must complete it today ....

great

10th June 2010, 10:03 PM

am watching his Letters from Iwo Jima ...... rendu naalaa paathukittu irukken :) hopefully must complete it today ....

:lol: Hopefully its due to time constrain right, BG !!!

ajithfederer

10th June 2010, 10:11 PM

:twisted: :evil: :)

Its a very good film-nga BG. The entire film is taken in japanese and it is shown in the POV of Japanese soldiers. Battle scenes are on par with Saving Private Ryan or in fact more. The mental preparation for most of the soldiers who are drafted into the war unwillingly is brought out well. Some would be willing to surrender even before fighting :lol:. The Japanese General in that film (Ken Watanabe) had acted very well and he is in Inception.

am watching his Letters from Iwo Jima ...... rendu naalaa paathukittu irukken :) hopefully must complete it today ....

groucho070

11th June 2010, 11:48 AM

there is an interesting discussion forum....

http://www.clinteastwood.org/forums/index.phpAm a member, same username as here. But hardly go there.

Avadi to America

16th June 2010, 01:08 AM

http://www.getthebigpicture.net/blog/2009/1/14/is-clint-eastwood-the-longest-running-movie-star-ever.html

Is Clint Eastwood the Longest-Running Movie Star Ever?
TUESDAY, JANUARY 13, 2009 AT 6:19PM
With Clint Eastwood's return to the top of the box office courtesy of Gran Torino, I thought it might be revealing to see what movie star had the most box office clout the longest. In order to determine a winner, we're relying heavily on end-of-the-year box office numbers, and then digging a little deeper beyond that.

This is not a list of who's made the most money. That's a completely different argument, especially because the industry has changed so much in just the past 20 years in terms of what actors get paid. We want to know which actor or actress most consistently produced big hits the over the longest period of time.
Keep in mind that Tom Hanks hasn't even been a top ten draw for 25 years and you begin to see how difficult this list is to crack. Realistically, Harrison Ford can qualify, thanks to the success of the last Indiana Jones. But that still only puts him at 35 years, thanks to American Graffiti. Nicholson's a real possibility, and we'll explore his credentials in a bit.
Clearly, Eastwood has to be near the top of the list. After all, his first film to crack an annual top ten list was, somewhat embarrassingly, Paint Your Wagon, the western musical in which both Eastwood and Lee Marvin sing showtunes. They call the wind Mariah, indeed. It may not seem like much, but 40 years ago, $14 million was a lot of money at the box office. Paint Your Wagon was the seventh-highest grossing film that year, and only three movies made over $20 million.
While Eastwood's new movie probably won't wind up in the top ten of 2009, we're counting it for the sake of argument because it inspired this whole thing. Million Dollar Baby was a $100 million movie in 2004, good enough for 24th that year. And that's the sort of thing that makes this list so tough to break into. Eastwood has a 40-year run as a major box office star. The 70s, 80s, and 90s all feature films that hit number one for multiple weeks, and he's had plenty of top ten annual finishes, too. So in that respect, the sheer number of times he's managed to do so well has to account for something.
But there are a few other candidates with career longevity we should look at, although not too many. Jimmy Stewart spanned almost exactly the same number of years, from 1938's You Can't Take it With You to Airport '77. Like Torino, the Airport sequel made a lot of money but wasn't a top ten film, however Stewart was a major star for several decades, well into the 1960s, and the Airport thing is kind of a one-off.
I think we can excuse The Duke at this point; John Wayne was a big star, but his first top ten finish wasn't until he was 42, in The Sands of Iwo Jima from 1949. Considering his last film was in 1976, and his last major hit was about a decade before that (True Grit), we'll put him in the ring of honor, but he's not winning this debate.
Paul Newman began his film career in the late 1950s, and Cat on a Hot Tin Roof landed at the number four spot for 1958. Now, we're going to absolutely count his supporting role in Road to Perdition in our list; he did get an Oscar nomination, after all. Like Eastwood's Million Dollar Baby, that film was the 24th-highest grossing movie that year. We could also cheat and throw Cars into the mix and give Newman 48 years of huge success. I don't like to consider animated movies for actors' bankability, but if you want to, you could. Without it, you'd have to go way back from Road to Perdition to the 1980s to find a Newman film that qualifies, with The Color of Money, The Verdict, and Absence of Malice all finishing in the top 20 in their respective years. He's certainly a top three candidate.
As for Jack Nicholson, he's definitely a contender for the title, and you could easily make the case that he's the pick. After all, The Departed and Anger Management were both in the top 20 in their respective years, he had two top ten finishes in the 1990s (As Good As It Gets and A Few Good Men), three of them in the 1980s (Batman, Terms of Endearment, and The Witches of Eastwick), as well as two more in the 1970s (Cuckoo's Nest and Carnal Knowledge), kicking it all off in 1969 with Easy Rider. Hard to knock the achievement, as well as all those Oscar nominations, and if he keeps it up for another five years or so, there won't be any doubt that eventually, this is Nicholson's list.
But in the meantime, our winner is Henry Fonda. Like everyone else on the list, Fonda obviously had a very long and successful career, capped by On Golden Pond, a Best Picture winner, a personal Oscar win for Best Actor, and a top-three box office finish in 1981. You'd have to go back to 1939 to find his first big commercial successs, Jesse James. He also gained plenty of attention in The Young Abraham Lincoln that year, and followed it up with an Oscar nomination in 1940 for The Grapes of Wrath. A steady performer for nearly 30 years, Fonda had back-to-back top ten finishes in 1962 and 1963, thanks to The Longest Day and How the West Was Won. He even had a top ten finish in 1968 with the original Yours, Mine, and Ours.
You could argue for Katharine Hepburn, since her first top ten finisher was 1933's Little Women and her last was also On Golden Pond, giving her a 48-year track record, however, she wasn't able to stay on top throughout those 48 years. Hepburn wouldn't have another top ten finisher until The African Queen in 1951, and not again after that until Guess Who's Coming To Dinner in 1967. So, she really only made a year-end top ten four times.
What really keeps Fonda at the top of this list, in my mind, is the consistency. He's the only actor to place in the top ten at least one year in at least five decades, with Jesse James, Mr. Roberts, any one of three films from the 1960s (plus three others in the top 20), Midway in 1976, and On Golden Pond.

groucho070

16th June 2010, 09:22 AM

Paint Your Wagon, high-grossing film-ah :shock: I thought it was a flop, it was the reason why Eastwood wowed to do only small films with smaller budget!

raghavendran

17th June 2010, 08:20 AM

this cowboy hero is actually the most stylish hero of hollywood...avare parthu namme aalunge neraya copy adichirkange :lol:

Avadi to America

14th July 2010, 11:05 PM

bump

Avadi to America

23rd October 2010, 12:33 AM

Anyone has seen the movie hereafter?

kid-glove

23rd October 2010, 01:00 AM

this cowboy hero is actually the most stylish hero of hollywood...avare parthu namme aalunge neraya copy adichirkange :lol:

avar kuda thaan Mifune-A parthu slightA copy adichaaru. Inspiration/Copy nalladhu thaan, provided it's naturally imbibed and rendered with some originality, creating its own allure. :)

groucho070

25th October 2010, 08:01 AM

Avadi to America

25th October 2010, 10:33 PM

Definitely inspired there. A mix I would say. In the Making Of (extras in TGTBTU DVD) they show Yojimbo, where Mifune says (paraphrasing), "My mistake, four coffins", and same scene in AFOD, you do see some difference. Mifure a bit stiff, but cool nevertheless, where else our man was languid, more Cooper-ish.

Though i watched yojimbo, i did not closely watch the scene. i guess AFOD was taken without the concerns of akira kurasova....When he saw the movie, he simply said it is my movie... something like that.....

kid-glove

25th October 2010, 10:38 PM

Definitely inspired there. A mix I would say. In the Making Of (extras in TGTBTU DVD) they show Yojimbo, where Mifune says (paraphrasing), "My mistake, four coffins", and same scene in AFOD, you do see some difference. Mifure a bit stiff, but cool nevertheless, where else our man was languid, more Cooper-ish.
Gary Cooper-ish? Sort of, yeah, I could see too! But you see a lot of Mifunisms in Clint's gestures in other places. But they don't stick out, in fact, they feel organic. That's where the trick lies I suppose. :)

groucho070

26th October 2010, 06:53 AM

A2A, he immediately knew it was Yojimbo when he read the script. Leone do owe Kurosawa some credit, script wise.

Thilak, yeah Gary. I haven't seen the flick for ages and haven't seen much of other Mifunes, so I can't quite place the gestures you meant. But I am sure Thalaivar picked it up and made it its own. That's the trick, yes :)

Avadi to America

13th December 2010, 08:42 PM

After spending sizable money on 46' LED TV, Home theater with receiver and Bluray player :bluejump: :redjump: (wife's reaction...:hammer: ), Planning to watch dollar triology and leone movies this week.
The(GOOD, bad, ugly) released in bluray... looking for OuATIW also in bluray....

Avadi to America

21st December 2010, 11:30 PM

bought The(GOOD, bad, ugly) bluray and watched little bit.... the print quality is pretty good....

ajithfederer

27th January 2011, 12:15 PM

Some good news for Groucho :P.

Clint Eastwood is directing DiCaprio for a bio-graphical film of former FBI Director J.Edgar Hoover. Interesting combo. Billy Crudup played this role briefly in Public Enemies.

http://en.wikipedia.org/wiki/J._Edgar

groucho070

28th January 2011, 11:02 AM

Nooooooo....not DiCaprio....but then, he worked with Mat Damon, and Hillary Swank. I guess its okay then.

I liked Bob Hoskins take as the homosexual Hoover in JFK.

Avadi to America

27th February 2012, 07:15 AM

http://www.imdb.com/media/rm2377092864/nm2207222

damn his son looks like thala...

groucho070

27th February 2012, 07:32 AM

First time when he was in Gran Torino I didn't know it was him. But damn, he sure looks a lot more like Talaivar than the other feller (Kyle).

ajithfederer

4th March 2012, 01:53 PM

Thakkalllii :clap:. The boy is 25 and Dad is 81. :whistle: Reminds me of a quote from "You've got Mail" from Hanks. Annabelle is my aunt(grandfather's daughter) and Matt is my father's son. We are one American family 8-)

Indha oorula dhan 23 la velaikku po 25 la kalyanam 30 -la kolandha kuttinnu Naasnssensssssss :fatigue:

Avadi to America

31st August 2012, 10:42 PM

I had followed republican National convention past four days. It was surprising to see Clint on the stage and he went on mocking OBAMA. Audience was thrilled when the giant picture of him showed in big screen. His speech was very straight and simple as his movie. People from the crowd asked him to deliver the dialogue "Go ahead! Make my day". Though he initially reluctant to do... At the end, he did it. The dialogue was quite popular in America especially among republicans as it was once used by president Regan against people from congress who wants to increase TAX. Clint's appearance was kept secret throughout the convention.

raagadevan

1st September 2012, 07:39 AM

Clint Eastwood mocked online for odd, rambling speech at Republican National Convention

http://www.washingtonpost.com/national/clint-eastwood-whips-up-convention-crowd-before-gop-nominees-acceptance-speech/2012/08/30/f55170dc-f312-11e1-b74c-84ed55e0300b_story.html

selvakumar

1st September 2012, 09:48 AM

I saw Gran Torino in UK. My english landlord was quite formal and always prefers really good movies. Thanks to him. I saw this movie.

kid-glove

1st September 2012, 02:56 PM

Embarrassing speech.

Obama SHOULD say 'a man like him should just shut his face'.

ajithfederer

1st September 2012, 05:59 PM

Yeah heard about it. :face palm:. Even in the Superbowl 2012 there was an ad backing Obama if i am not wrong.

groucho070

3rd September 2012, 02:02 PM

Just saw the video. He shouldn't have done it, but he put his points from his point of view, and some part was funny. But Talaivar should stay outta politics, as should all the actors and actresses.

Avadi to America

4th September 2012, 10:19 PM

Just saw the video. He shouldn't have done it, but he put his points from his point of view, and some part was funny. But Talaivar should stay outta politics, as should all the actors and actresses.

his empty chair talk was quite popular lastweek and looK forward to see democrats's reply.

he is always in the politics and expressed his views and cencerns time to time. As we know, he was a nonpartisian mayor from california back in 80s.
An interesting political article,
http://abcnews.go.com/blogs/politics/2011/10/clint-eastwood-as-vp-george-h-w-bush-considered-it/

Clint eastwood as James bond and Superman
http://www.dailymail.co.uk/tvshowbiz/article-1310235/Clint-Eastwood-Why-I-turned-offers-play-James-Bond-AND-Superman.html

groucho070

13th September 2012, 12:38 PM

Crikey, talaivar still acting (http://www.imdb.com/title/tt2083383/). Gran Torino would have been a nice goodbye. Acting bug vidamAttingguthu pola

groucho070

13th September 2012, 01:36 PM

http://www.youtube.com/watch?v=UdJPvXLemVs

Looks very cliched, same performance in the last few grumpy old man movies he acted. But nostalgic award committee is definitely going to nominate him.

groucho070

13th September 2012, 01:44 PM

http://japandailypress.com/ken-watanabe-to-star-in-samurai-remake-of-clint-eastwoods-unforgiven-209574

Unforgiven, the 1992 western film masterfully directed by Clint Eastwood, is set to be remade as a Japanese Samurai film, with none other than Japanese star Ken Watanabe taking Eastwood’s role as the main character. Titled Yurusarezaru mono (the Japanese translation for “Unforgiven”), will be directed by South Korea’s Lee Sang-il, of Villain, and will also include Akira Emoto and Koichi Sato in its cast. Filming is scheduled to begin this fall in Hokkaido, Japan’s northern island, and will be released around the same time in 2013.

Similar to the U.S. film, the story takes place in 1880, and instead of taking place in a small western town on the fringes of the frontier, it will be set in Hokkaido, at a time when the native Ainu people are being displaced by Japanese settlers. Just as Clint Eastwood was a former outlaw, Watanabe will play a samurai with a violent and fearsome past who tried to move on and live in retirement with his Ainu wife. A violent crime and a large bounty are what prompt his return to a life he tried to leave behind.

It’s interesting that it’s taken this long for a U.S.-made western movie to be remade with samurai in Japan, as it was Akira Kurosawa’s classic Yojimbo that was remade into A Fistful of Dollars, starring none other than Eastwood (and helping to launch his career), as well as Seven Samurai (also by Kurosawa) that became The Magnificent Seven. Unforgiven won the 1992 Oscar for Best Picture, among several others, and with its play on the formula of classic westerns, and its meditation on violence, it’s one of my favorite Eastwood movies. While I’m not familiar with the director, Watanabe’s performance is well-known, so I’m really hoping this doesn’t disappoint.

Avadi to America

17th September 2012, 12:23 AM

when i was in washington DC airport this weekend, i happened to see the magazine. here's the article about him.

http://www.esquire.com/blogs/politics/clint-eastwood-interview-1012?click=mid

Avadi to America

17th September 2012, 12:27 AM

http://www.youtube.com/watch?v=UdJPvXLemVs

Looks very cliched, same performance in the last few grumpy old man movies he acted. But nostalgic award committee is definitely going to nominate him.
i'll watch it opening weekend. it looks this movie releasing this weekend here. I still remeber the audiance response for Gran Tarino..... hope this one is also good.

groucho070

18th September 2012, 03:12 PM

Thanks A2A for the links. As for his new movie, fans only, and nostalgic fellers movie. EthO Odumnu nenekiren. Here's something I never caught:

http://www.youtube.com/watch?v=YtmZSUbCma8&feature=related

Avadi to America

18th September 2012, 09:27 PM

http://en.wikipedia.org/wiki/Malpaso_Productions

Movies produced by Clint eastwood through his production company Malpaso.

Avadi to America

18th September 2012, 10:01 PM

Review: Old pro scores with another hit up middle

LOS ANGELES — Clint Eastwood's first film as an actor for a director other than himself since "In the Line of Fire" in 1993, "Trouble With the Curve" is a corny, conventional and quite enjoyable father-daughter reconciliation story set mostly in the minor league baseball world of the South.

Playing a sort of PG-13-rated version of his ornery coot in "Gran Torino," Eastwood is vastly entertaining as an old-fashioned scout who disdains computers and fancy statistical charts in favor of his own time-tested instincts. Making his directorial debut, Eastwood's longtime producer Rob Lorenz knows just how to pitch the story to take advantage of the humorous side of his star's obstinate crankiness, and Amy Adams makes a good match as the career-driven daughter with festering resentments.

As in "Gran Torino" four years ago, Eastwood does not hesitate to spotlight the debilitations of old age, in fact doing so right off the bat as his Gus Lobel patiently coaxes out a morning pee, struggles with vision problems and stumbles into a coffee table at his modest home. A legendary baseball scout responsible for discovering some major stars in his day, Gus is one of the last of the cigar-chompers, a guy who relies on what he sees, hears and intuits but, with just three months left on his contract with the Atlanta Braves, "may be ready for pasture." Anybody who's seen "Moneyball" will know which side of the table he sits on.

His only kid, conspicuously named Mickey (Amy Adams), is a high-powered young Atlanta lawyer on the verge of becoming a partner at her firm. Still stewing over having been palmed off on relatives when her mother died young so Gus could continue to troll the minors for talent, Mickey has commitment issues with men and the last thing this workaholic could imagine is accompanying her dad through southern backwaters on what could be his final swing. But her old man's pal (John Goodman) talks her into it, suggesting that it could be a last chance to patch things up.

First-time screenwriter Randy Brown puts his players on base and then comes through with what feels like a solid hit through the infield that scores a couple of runs. When Mickey joins her dad in North Carolina, their nearly every exchange almost immediately turns into an argument that ends with her stomping out and him telling her to go home. But good sense and some interesting developments keep her around: A former recruit of Gus's, Johnny Flanagan (Justin Timberlake), who made it to the bigs, then threw his arm out and is now a Red Sox scout, starts hound-dogging Mickey. She has great baseball sense herself and, alongside Gus, evaluates the season's top prospect, Bo Gentry (Joe Massingill), a beefy slugger who hits it out nearly every time he comes up to the plate.

Filming in a charming old minor league park and peppering the stands with veteran baseball guys provides nice echoes of the game the way it used to be, and it feels good when director Lorenz also brings his star back to the sort of working class settings – Southern honkytonks, pool halls, cheap motels, cut-rate sports facilities – where his characters used to spend a good deal of time. In a modest, appealing way, "Trouble With the Curve" is another last-stand-of-the-old-timers movie, which might include "Gran Torino," "Space Cowboys" and "In the Line of Fire," with Eastwood as actor and sometimes director, in which experience, intuition and character get to carry the day against technology, numbers and other newfangled developments.

Even though he's still in the minors, the outsized Gentry amusingly carries on as if he already knows he's the new century's Babe Ruth, refusing to low-five his third base coach when he hits homers and boasting of glories to come. But despite his deteriorating vision, Gus has suspicions, as suggested by the film's title, that Gentry has a fatal weakness. It's a conviction he shares with Mickey, who herself contributes to her father's cause in a surprising, if somewhat far-fetched, way.

Having begun with Eastwood as a second assistant director on "The Bridges of Madison County" in 1995 and working as a producer or executive producer on his films since 2002, Lorenz knows well his collaborator's strengths as an actor and doesn't stray far from the style and tone customary at Malpaso, Eastwood's production company. This is a handsomely directed film; there's a nice crispness to the pacing and images, as Lorenz keeps things moving briskly and has had house cinematographer Tom Stern move away from his recent darker, more subdued look to a brighter, fuller palette, which suits the vibrant characters and settings.

Adams scores as the career woman who's a tomboy at heart and discovers some new horizons by breaking with her routine. Timberlake is energetic but too puppy-doggish as her eager suitor; given Johnny's background as a failed would-be baseball player, some shades of regret and disappointment would have deepened the characterization. Distinctive character actors such as Goodman; Matthew Lillard, playing a Braves scouting executive contemptuous of Gus's antiquated ways; and Robert Patrick, as the team's hardnosed GM, are hardly tested but lend weight to the supporting cast.

But, of course, the show belongs to Eastwood. Still physically fit enough to pitch to his daughter for fun, Gus may be an anachronism but, like the actor who plays him, he remains a force to contend with. And despite his hard-headedness, he's also able to see that it's never too late to open up to Mickey. His medical issues are unrealistically shoved aside at the end, which might have benefited from a melancholy undercurrent, but the result is satisfying in an old-fashioned way, which also might be part of the point.

"Trouble With the Curve," a Warner Bros. release, is rated PG-13 for language, sexual references, some thematic material and smoking. Running time: 110 minutes.

Motion Picture Association of America rating definition for PG-13: Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.

LOOKS LIKE THE MOVIE WOULD BE ANOTHER GRAN TORINO....

groucho070

19th September 2012, 07:13 AM

They are just being nice to him. Eastwood ahaaohoo-nu-,baingga.

Avadi to America

20th September 2012, 10:36 PM

another review from NYdaily news.....he is the darling of media...

http://www.nydailynews.com/entertainment/tv-movies/movie-review-trouble-curve-article-1.1163650

Movie review: ‘Trouble With the Curve’
Baseball film doesn't hit it out of the park, but Clint Eastwood's still worth catching
NEW YORK DAILY NEWS

Thursday, September 20, 2012, 12:51 PM
..Print Print.Comment...

Keith Bernstein
Clint Eastwood plays a baseball scout who has 'Trouble' connecting with his daughter (Amy Adams).
Title: 'Trouble With the Curve'.
Film Info: With Clint Eastwood, Amy Adams, Justin Timberlake. An aged baseball scout and his adult daughter reconnect. Director: Robert Lorenz (1:51). PG-13; Language. Area theaters. .
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. .Forget about Clint Eastwood talking to a chair. In “Trouble With the Curve,” the octegenarian icon uses his gravelly rasp to talk directly to an audience who’ll respond to mainstream, old-fashioned moviemaking.

Which isn’t to say that this admittedly schmaltzy, sometimes aggravatingly slow film turns its lack of originality into a benefit. But the team behind “Curve,” directed by Eastwood’s production partner Robert Lorenz (who clearly honors his mentor’s no-frills style), knows that those who want to see Eastwood go with expectations. So the movie hits a line drive right to where it should be.

Eastwood is Gus Lobel, a longtime scout for the Atlanta Braves who scoffs at the computer programs used by a pompous co-worker (Matthew Lillard, in a good smug-jerk turn). Gus, like his veteran scout pals, does it the classic way — from the stands, from which he gauges high school players’ prospects. He studies everything from their grip on the bat to the sound of a fly ball.

But Gus is gettin’ up there and is in danger of being let go. His pal (John Goodman) enlists Gus’ lawyer-daughter, Mickey (Amy Adams) – named for Mickey Mantle — to play chaperone. Along the way, the squabbling pair are joined by a formerly hot rookie (Justin Timberlake), who connects on his own with Mickey.

But her bigger play is getting the taciturn Gus to communicate with her after a quarter-century of stats and facts. Now 33 and filled with a love of baseball, she wants know why they never connected.

“Trouble With the Curve” is easily digestible in chunks – if it were a CBS show, it’d be called “Postseason With Morrie” — and it has an affectionate view of grubby motels, greasy diners and small-town scoreboards. Randy Brown’s script is filled with old-guy wisdom and jokes that feel like they fell from Bob Uecker’s pocket. (“What’s the state bird of New Jersey?” “That’s a trick question. There are no birds in New Jersey.”)

It’d be more boring if the company weren’t so agreeable. Adams, the three-time Oscar nominee who’s great whether she’s being sweet (“Enchanted”), scrappy (“The Fighter”) or stoic (“Doubt,” “The Master”), seems to be having fun just letting her red hair down.

Timberlake’s character really has no reason for being here, but the singer-actor is an affable presence and a generous performer. Like Greg Kinnear, he makes lightness an asset.

And Eastwood, well, is Eastwood. In filmmaking, at least, he’s sure of what he’s doing. As a director, he remains challenging; merely acting in “Curve,” he knows what the crowd wants, from threats to punks to soliloquies muttered through clenched teeth.

Even as a third-act revelation weighs the film down with an overwrought confession, the movie’s star hits the ball and trots on, no trouble at all.

Read more: http://www.nydailynews.com/entertainment/tv-movies/movie-review-trouble-curve-article-1.1163650#ixzz271xZgCjq

Avadi to America

20th September 2012, 10:38 PM

Wholly predictable yet serenely enjoyable, "Trouble With the Curve" opens with Gus, the aging Atlanta Braves baseball scout played by Clint Eastwood, standing at the toilet, wondering how long it'll take this time.

It's an amusing bit, acknowledging the character's late-autumn locale along life's urological timeline. In addition to the usual aggravations, Gus' eyes are failing, and he's dealing with it by not dealing with it, or telling any of his colleagues. His scouting contract expires in three months. He's sent to Asheville, N.C., to check out an alleged phenom the Braves front office is hot to sign.

Amy Adams, who is getting better, more versatile and more valuable by the movie, plays Gus' workaholic lawyer daughter, Mickey (named after Mantle), who has struggled with abandonment issues her entire life. Years ago Gus shunted her aside after the death of his wife; relations between daughter and father have since been distant at best.

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XTop 50 superhero movies of the last 10 years Ads by Google"Trouble With the Curve" lays each conflict and chapter out neatly, no surprises, as Mickey joins Gus in North Carolina and attracts the eye of a Red Sox scout and former pitcher once scouted by Gus, played by Justin Timberlake.

These three are extremely pleasant screen company. Eastwood growls his way through a variation on the rugged individualist and part-time vigilante audiences adored in "Gran Torino." Here, though, the material's lighter and more easygoing. This is the first time since "In the Line of Fire" 19 years ago that Eastwood has acted in a movie he didn't direct. But "Trouble With the Curve" is a family affair, with Eastwood's longtime producer Robert Lorenz making his feature directorial debut with newcomer Randy Brown's screenplay. Eastwood's usual cinematographer, Tom Stern, returns for duty (with fewer chalky-white/inky-black contrasts than usual, befitting this largely open-air tale), as do editors Gary D. Roach and Joel Cox. The conspicuous newcomer to Eastwood's team, composer Marco Beltrami, turns in a good, low-key score, in keeping with the aspirations and qualities of the film.

"Scouts, good scouts, are the heart of this game," Gus says defiantly at one point. "Moneyball" be damned! In clear contrast to that film, which was sympathetic to the low-budget team-assembly concept of sabermetrics and computer-crunched analysis of baseball, "Trouble With the Curve" throws its lot in with the intuitive old-timers, here played by Eastwood, Ed Lauter and others — the actual, rumpled humans on the road, sussing out pitchers or hitters or fielders worth a shot.

Of course the movie is sentimental. A fairy tale? Yes, it's that too. Satisfying? Yep. The key, I think, is the restaurant scene between Adams and Eastwood where she confronts him about how she was, and wasn't, raised by Gus. It's played by both actors with minimal fuss and maximum honesty. I wish the film had the guts to leave Gus' failings be; the script takes an easier way out by hanging his actions on a long-ago incident, alluded to throughout, in eerie flashbacks recalling Eastwood's own "Mystic River" and "Changeling." Often a movie's attempt to rationalize a tough character ends up softening him in untruthful ways. That said, you don't go to "Trouble With the Curve" for a heavy dose of truth. You go for a little truth, and a little baseball, and the soothing reminder that things sometimes change for the better.

http://www.chicagotribune.com/entertainment/movies/sc-mov-0918-trouble-with-the-curve-20120920,0,7823923.column

Avadi to America

26th September 2012, 08:50 AM

At last, I watched the movie yesterday late night show with four more unknown people in the theater. The attendance was really poor comparing Gran Torino.... As groucho said, this movies is nostalgia for Clint east wood’s fans. The plot and scenes are very predictable but still enjoyable. As usual all Clint’s one liners are great. One could see the old Clint east wood in a scene where he threatens a guy who forces his daughter to dance with him. A typical Clint east wood performance. Over all, i enjoyed whole movie.... it's definitely worth a watch. However i still prefer Gran Torino over this

groucho070

26th September 2012, 09:14 AM

Ah expected, right. Not a box office material, I doubt even on the awards, though the season has started.

kid-glove

26th September 2012, 01:39 PM

When the screener's out, I will be first to it..

PARAMASHIVAN

26th September 2012, 04:54 PM

C.E is one of the finest actors from Hollywood, yesterday I was watching a movie of his in the gym, couldn’t figure out the title! It had CE and a Chimp, thoroughly entertaining movie! Can some one pls tell me the name of this movie?

Ah Just figured out that Rajni in Kilamanjaro song resembled CE a bit

Avadi to America

26th September 2012, 10:43 PM

there are two movies way back in late 70s and early 80s.
1. Every Which Way but Loose
2. Any Which Way You Can

I'm not sure which one you watched....

groucho070

27th September 2012, 08:19 AM

Gymn must be the second one.

ErkanavE sollitten, Kilimanjaro Rajini, or Baba Rajini for that matter, looks like Talaivar (Watch Pale Rider).

PARAMASHIVAN

27th September 2012, 02:57 PM

there are two movies way back in late 70s and early 80s.
1. Every Which Way but Loose
2. Any Which Way You Can

I'm not sure which one you watched....

The story is something like he had a chimp as his mate, which was rescued by CE from a zoo, CE's mother does not approve of the monkey. I had to follow the subtitles (which was difficult) , because the sound was turned off in the gym. There were scenes like CE chasing some bikers with "Black widow" (spider) tattoo's on their arm.

Does this ring any bell ? :roll:

PARAMASHIVAN

27th September 2012, 03:00 PM

Got it, it was "Every Which Way but Loose"

http://en.wikipedia.org/wiki/Every_Which_Way_but_Loose_(film)

Avadi to America

27th September 2012, 10:31 PM

I came to know about clint eastwood probably not more than 7 or 8 years back. These below enlisted movies i watched so far.... But i watched only two movies in theatre Fran Torino and trouble with the curve. If i get chance to watch his movies in big screen especially his western or dirty harry sequel, i will definitely go and watch it. It could be possible that i exposed to clint eastwood/sergio leone type western before john wayne/john ford. Somehow duke never impressed me like eastwood.

A Fistful of Dollars
For a Few Dollars More
The Good, the Bad and the Ugly
Hang 'Em High
Paint Your Wagon
Two Mules for Sister Sara
The Beguiled
Play Misty for Me
Midnight in the Garden of Good and Evil
True Crime
Space Cowboys
Blood Work
Mystic River
Dirty Harry
Joe Kidd
High Plains Drifter
Magnum Force
Thunderbolt and Lightfoot
The Outlaw Josey Wales
The Enforcer
The Gauntlet
Every Which Way but Loose
Escape from Alcatraz
Any Which Way You Can
Sudden Impact
Pale Rider
Heartbreak Ridge
The Dead Pool
White Hunter Black Heart
Unforgiven
In the Line of Fire
The Bridges of Madison County
Absolute Power
Million Dollar Baby
Changeling
Gran Torino
Invictus
Trouble with the Curve

groucho070

28th September 2012, 07:12 AM

Unforgiven onwards watched on big screen (except the ones he didn't act). The earlier ones I may have watched with dad when I was a kid. Can't remember, but a lot on TV with him, which led to me becoming a fan.

Otherwise on TV/VCD/DVD watched all Leone, and post Leone work except The Witches (an episode with him).

Avadi to America

28th September 2012, 07:25 AM

Neither leone nor morricone speakenglish well but these two guys to gether made classic movies in Hollywood. in one of the leone's intervievvw from early 80s, he said morricone did music first and then shooting took place. i cann't even imagine how morricone conceived the music whithout seeing the visuals....Wow

groucho070

28th September 2012, 07:34 AM

Avadi to America

28th September 2012, 07:07 PM

The Dollars trilogy belongs to Leone and Morricone. Talaivar just lent his presence. It could have been anyone else, watch how Bronson and Fonda totally blew the screen away in Once Upon. I felt Eastwood would have still become a great star without Leone, thanks to his fame in Rawhide series, his own enthusiasm (directed an episode of the series, or was it more? Not sure). Remember, it was Paint Your Wagon that made him think, "f*** it, I will now command my own ship and not wreck it".

That's true.... clinet eastwood was skeptical about the movie because people from hollywood had bad impression on western made by other than hollywood producers. often americans mocked at them.... But leone is exceptional and he shut their holes.... I somehow like OUTIW more than dollar triology..... Leone wanted clint, eli wallah and van cliff to act in the opening scene of OUTIW where three thugs waiting at train station to kill branson....

Avadi to America

17th October 2012, 02:05 AM

Last week, I revisited the movie Per un pugno di dollari & Per qualche dollaro in più and for nth time...the movie is still entertaining.... i felt the the charecter of Gian Maria Volonté was highly inspired by amjad khan in sholay.

Then, i happened to be in italian film festival in newyork city. I was so curious to see the stills from movies. The topic was "golden era of italian movies (1960-1970)". I was expecting that i would end up seeing something from sergio movies.... damn, there is no information about him....it mostly showcased the work of "Sophia lauren, clausida cardinale & michel angelo"....i felt so bad....

Avadi to America

16th January 2015, 11:14 PM

American Sniper directed by clint eastwood is releasing today...