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GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 15)

EPISODE 15: SADDLE UP

A shot of the prairie landscape with a lonely rider intruding on the serene space is the best way to start this. For it will ultimately be the way we recollect the memory of Eastwood for better or for worse. And one does have to wonder if that recollection is too closely held to heart as this lionized genres impact continues in different shapes and forms.

In a film career that spans 62 years at minimum, Clint’s image is solidly planted in the mythos of the old west and the stories they behold within. Its an image that in many ways disrupts tradition for this genre and has defined its approach up to and probably beyond the present. The Western is the oldest form of storytelling film has realistically. This came out of practicality in the early days of Hollywood, where the then widely undisturbed landscape of California was suitable and cheap for Westerns to dominate the film output over any multitude of genres that required more complicated sets and controlled environments. As it progressed through the earliest parts of the 20th Century, the Western stamp was firmly defined by traditional heroics that now seem either cheesy or completely outdated. If there was a world where Clints Westerns were not around; we’d probably still have grown beyond the Ford/Wayne image, but it would have taken time. The Ford/Wayne image of the west defined lines of good and bad with a strict line down the middle, not too mention relied heavily on severely outdated notions of gender roles and race relations. It’s an image that sadly still persists in the memory of some as the definitive Western mythos.

It would be a fools errand to suggest that Clint’s Westerns solved the aforementioned issue with the Old Western tropes. The films that are at hand here are very much of a time and place culturally that several things will make you cringe within the current sphere. Undeniably though, what Clints films in the Western genre do accomplish are the breaking of many barriers from aesthetic on down to characterization. Gone are the clean cut, only slightly dirty, noble hero ethics. No, these Westerns are dirty. They inherently ask a loyal fan base to question their love of a genre that had inherently never understood the reality of their backdrop. An unrelenting free for all where everything could and probably would happen. The randomness of life and death, the amoral selfishness, and the lack of control are what define the Western atmosphere. It frankly wasnt until Clints films that we actually saw what the west was (barring some exceptions prior).

So going forward, we are tackling the stories of Clint saddling up to adventures unknown on the lone prairie. The best place to kick it off is with the Westerns he made with Universal. The three films at hand today each show a unique aspect to how Clint, whether as actor or director, handled the west in the late 60’s and early 70’s. Each shows a great desire to break convention, and in their own way they do just that.

So lets get along little doggies, as we discuss a drunk gunslinger, a mercenary with mules, and a vengeful spirit.

JOE KIDD
3 OUTTA 4 BAR SANDWICHES

With a script by the legendary Elmore Leonard, JOE KIDD is the closest to to traditional western in regards to it’s approach. In the town of Sinola, former bounty hunter Joe Kidd (Eastwood) is arrested for drunk and disorderly by the Sheriff and about to serve 10 days rather than pay his ten dollar fine. His sentence is interrupted by the disruption of a Mexican Revolutionary named Luis Chama (weirdly played by John Saxon), who becomes the target of the villainous and land hungry Frank Harlan (Robert Duvall). Harlan hires Kidd to dispose of Chama so that his acquisition of Native land will remain undisturbed by legal claim, thus pushing our reluctant gunslinger to a pulpy adventure where all is made right by Kidd refusing to go along with his employers scheme. Joe Kidd is a quick 87 minutes that gets in and out with enough action and tension to satiate, yet it revels in its desire to be anything but a fun ride. It’s glossing over of key thematic potential is almost necessary to it’s function as a good guys vs bad guys story. Clint is fun in the film, clearly having the time of his life sticking it to authority and going his own way, even if there is little depth in the process. It’s a performance that has all the Clint tropes without thematic baggage, and in a way is closer to the icon of Clint rather than the reality. Nevertheless, it’s complete fun watching his character swing into action and his final shootout with Robert Duvall is Pulp Gold.

TWO MULES FOR SISTER SARA
3.5 OUTTA 4 “NUNS”

TWO MULES FOR SISTER SARA is an interesting beast because it dares to balance comedy with tense action in a way that many viewers may think is closest to a Tarantino film than anything else they can recall. Directed by Clint mainstay Don Siegel, Clint plays a mercenary for hire who saves a nun, Sister Sara (Shirley MacClaine) from four undesirables in the desert. He then teams up with Sister Sara to help Mexican Revolutionaries in their struggle against French Soldiers during the French intervention of Mexico, and along the way develop feelings for each other. SISTER SARA’S strength in the film is putting Shirley MacClaine on almost equal footing with Eastwood in terms of grit, ability, and wit. To be honest, it is astounding that they didnt do more films together, as they are almost a match made in heaven, with their squabbling debates on religion and morals providing for some excellent character moments. In a scene where he is instructing MacClaine on how to remove an arrow from his shoulder, we see him get progressively drunk and numb while she attempts to follow steps. It’s a prolonged sequence that is worth every frame. For Clint’s part, it’s a delight to watch the character develop with the help of his co-star, and provides for some memorable moments and one liners. He definitely shows us why we would follow him for so long beyond the silent drifter. In addition, Don Siegels direction is unsurprisingly masterful, with the climatic battle at the French Army camp being an exhilarating and bombastic watch. Plus, if you ever wanted to see Shirley MacClaine eat a rattlesnake and declare it good grub, this is your movie.

HIGH PLAINS DRIFTER
4 OUTTA 4 BUCKETS OF RED PAINT

Clint Eastwood should have made a truly traditional horror film. I think he would have done fantastic with the genre. Previously we discussed PLAY MISTY FOR ME, and how it operates as a supreme slasher film worthy of that distinction. With HIGH PLAINS DRIFTER, Clint makes a Horror Western that operates on a similar level to the art house horror films we gobble up like candy today. A stranger (Eastwood) enters the seemingly timid town of Lago and from that point forward, raises hell. Despite a very disturbing first impression, the townsfolk ask The Stranger for assistance with gunning down three killers who are due to be released from prison and will undoubtedly return to the town. It is truly best, if you havent seen the film, to not go beyond this point plot wise. While the fact of it being a scary ghost story has already been spoiled, the story as it develops and plays out is much more spoiler- filled from and aesthetic and thematic sense. HIGH PLAINS DRIFTER is a brutal and unrelenting film supremely directed by Eastwood who utilizes his standard dark and shadowy imagery to full effect. It’s beats hit hard and by the end you have gone on a dizzying yet endlessly fascinating and effective horror ride. Clints performance as The Stranger, for that matter, is a horror performance that is nearly iconic and should not go unnoticed. The same praise goes to the ensemble cast, particularly the recently passed Verna Bloom and the always amazing Geoffrey Lewis. I would love to do a whole podcast episode on HIGH PLAINS DRIFTER at this point. Revisiting it for this series left me speechless in a way I never acknowledged the first time I saw it years ago.

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All right, we’re gonna stop and camp here for the night. Next time we arise and head out on the trail, we shall visit more of Clint’s journeys on the wild frontier.

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GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (PART 14)

Episode 14: The Final “Clint Catch Up” Roundup

Alrighty folks, I’m a massive liar… well, I guess it’s only massive in the scheme of this Filmography Breakdown.

We are going to get to the Westerns and the final articles in the series, but in going through the list of Clint’s massive (and I mean, Massive) filmography, there are two films that I neglected to put on other respective entries in the analysis. Human error has been frequent as of late in regards to this 3 years running series of dissection. It’s not unlike the errors in some of Clint’s characters. The best laid plans usually falter, leaving only reflection and regret regardless of tiny victories.

The final two films of “Clint Catch Up” definitely mirror those sentiments, as they show very unique looks at Clints range in acting. The two films on their own could not be further apart if you drive them to different planets in a rocket ship, yet their commonality lies in how whether you are a good guy in the military or a bank robber on the lamb, the specter of regret and frustration lingers.

All right, enough introspection, lets dive into the final “Clint Catch Up” as we watch a Marine learn to use his words and Jeff Bridges in a dress.

HEARTBREAK RIDGE

3 outta 4 Members of Recon Platoon

Heartbreak Ridge, at its most audacious, must be seen within the context of the time it was made and released. Centering on Sgt. Highway (Clint) and his attempts to mold the minds of the young Marines in the Reconnaissance Platoon, the film unfolds in an Old Fashioned “Rising to the Occasion” fashion that does remain an interesting watch. The film’s only real crutch may honestly lie in its final moments, recreating the invasion of Greneda. It is not to say it is an error on a technical level by any means, but it plays out (especially today) as a Pro-Regan hurrah. The finale aside, the film as a whole does a wonderfully tight job of creating characters you want to follow and care about. The Sgt. Highway character is most interesting when he is attempting to reconcile with the wife he neglected (a strong and confident Marsha Mason ) and watching him fumble through the attempts at getting in touch with his “feminine side” (which the way this films figures is severely outmoded thinking). It is a film very much of its time, but expertly made enough to be worth a glance, especially if you have an interest in war films.

THUNDERBOLT AND LIGHTFOOT
4 outta 4 Cars Stolen

Without THUNDERBOLT AND LIGHTFOOT, you dont have THE DEER HUNTER or HEAVENS GATE (the latter of which can be amongst yourselves to debate about). Michael Cimon’s feature directorial debut is one that gets oft under looked by the noteworthy entries previously mentioned, primarily because it does not demand attention from you whether you’re a film scholar or a casual movie buff. Set in and around Montana, the film follows Clint as “The Thunderbolt”, a bank robber on the run from a gang that thinks he betrayed them. He encounters Lightfoot (the always astounding Jeff Bridges) and the two set off on a search to find the hidden loot Thunderbolt claims to not have squealed about. What follows is a rather reflective film around male bonds and the decisive divide of the reliable past and the ever evolving present. The film has a cycle to it and takes delight in humiliating its two leads along with Thunderbolts bandit compatriots (George Kennedy and Geoffrey Lewis). Its almost omniscient of the films Clint himself would later direct. The film is low key despite having a steady supply of action and a 20mm Cannon being shot at a bank wall, an incredible feat that is entirely thanks to Ciminos script and direction. Clints performance is more subtle than most of this era, and takes on a mentor mentality that feels more in line from something you really notice come the time of Unforgiven. It’s almost as if he was already drawing out in his mind how he would like to be remembered: Cool and tough but also sad and wise. In addition, you cannot leave this film without loving Jeff Bridges. Even this early, Bridges is full of the charm and lively energy that counts among the reasons we still enjoy seeing him in films today.

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Good, it’s finished… no more catch up. Stay tuned Clints western material (Fucking Finally) .

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GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (Part 10)

Clint

EPISODE 10: BOO, PUNK!

Welcome back to Clint-ville eager readers.

Last month we got to dive into Clints musical side, and boy could he play a tune.

As it has been exhausted in this series, the fact remains that Mr. Eastwood can run the gamut with efficiency. And as we learn today, sometimes that even means exploring the weird alleys many “prestigious” men dare not tread.

I’ll be frank, the three films examined for this article are the closest Clint has gone towards the science fiction and horror realm. It is certainly not what you expect from him. Yet in watching them we get to see a part of him that is honestly his most admirable. In an interview, Clint once proclaimed his eagerness to keep learning even in his later years. He boasts rightfully that it allows him to try new things, and while the three films today are not among his mainstream classics, they prove his willingness to say “Fuck it” and move with full force.

So join us as we delve into tales of obsession, the supernatural, and elderly regret in the stars.

PLAY MISTY FOR ME

4 outta 4 Slashers

PLAY MISTY FOR ME is an important picture for Clint, as it marks his directorial debut… and what a debut. MISTY is a straight forward horror film. Many will put this into the thriller barrel to save face (Horror is a dirty word in Hollywood despite it bringing in so much money for them), but I know a horror film when I see one and this is definitely one. The film centers around Clint’s disc jockey character, Dave Garver, who’s one night stand with die hard fan Evelyn (Jessica Walter) turns into a nightmare when Evelyns obsession with him turns downright deadly for him and those around him. The main selling points on this being a horror film are Jessica Walter’s amazing performance as the deranged Evelyn, whose actions move into some of the creepiest slasher sequences I’ve seen from a film that early in the 70’s, and it plays with the dark so well. Clint and DP Bruce Surtees paint a dark portrait in this film, making Carvel, CA almost the sister to Antonio Bay in THE FOG. Its a superb triumph for any first time filmmaker to handle tension so well, and frankly suggests that Clint could’ve been an effective horror director going forward if the cowboy/cop thing ever collapsed.

HEREAFTER

2.5 outta 4 Ghosts you shouldn’t be afraid of…

This film is without a doubt the strangest beast in Clints filmography. It’s also one of his most ambitious in many ways. The film surrounds how the supernatural affects the lives of three different sets of people, including Matt Damon as a former clairvoyant who no longer wishes to speak to the dead. The three interchanging stories don’t balance out as well as one would hope, with the only truly fascinating story being about a French newswoman (Cecile de France) who deals with the aftermath of having survived a tsunami. The other two series are sadly… just kinda there. The star of the film is honestly the cinematography and the extent in which Clint plays a role in it. The three stories are separated out by three distally different color palettes which makes the film more fun to examine and dissect on a purely academic level. Its a shame too because all the pieces are there for Clint to tell a grown up ghost story.

SPACE COWBOYS

3 outta 4 Cowboys, but in SPACE!

The first Clint Eastwood film I ever saw in a theater is also the strangest. Its also Clints only real dip into Science Fiction, even if that dip is extremely shallow on defining its genre (It involves science and is a fictional story. Math). Truth is, this is much more of a comedic Geezer-sploitation film that has a surprising amount of heart. The story revolves around 4 Air Force pilots who in their waning years finally get their shot at going to space when a Russian satellite is about to crash to Earth. Clint shows off his usual swagger and leaves plenty of room for Tommy Lee Jones, Donald Sutherland, and James Garner to show off their comic chops. Its certainly not a perfect space movie or even a perfect Geezer-sploitation film, as it tails off into heavy handed revelations a bit late in the over 2 hour game. Still, its probably the closest Clint will ever come to playing a Space Cop, so I say enjoy.

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Well boils and ghouls, that was what happens when Clint goes creepy or beyond the stars. Tune in next month when we will dig into the second part of Tender Clint.

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GROWLS AND ‘SWELLS’: A CLINT EASTWOOD ANALYSIS (Part 9)

clint

EPISODE 9: I LOVE TO SING-A!

Welcome back to… JESUS, I HAVEN’T WRITTEN AN ARTICLE SINCE APRIL OF 2016?!?!?!

Yes dear readers, I’m afraid I was away for a while. But I have a good explanation …

You see, after the last article I decided to take a journey to a big city, one with many bridges. I just needed to get away. Well no sooner did I arrive in that big city that I went to one of their many banks to cash a travelers check when a gang of masked clowns burst through the door and robbed it, with one of them escaping on a school bus after killing all his fellow clown robbers and revealing under his mask that he was an even scarier clown. Well I got out of there quickly and got to my hotel and after a few days of watching more Clint movies for this series, I decided to take a barge ride to another part of the city. Wouldn’t you know it though, that same scary clown came over the boat intercom and revealed that if we didn’t turn a switch and blow up another boat, we would be blown up. Thankfully, A big giant bat suited man stopped him and I was whisked off to the police station to write a statement. As I left though I was shaken as I learned that the “Bat” man that saved us was then outlawed. I decided to not rest until he was vindicated… so I started a grassroots campaign to clear his name. Turns out he didn’t need my help, cause he vindicated himself a few months later by stopping a guy in a breathing mask and carrying away a nuclear bomb to a safe distance. The body was never found near the wreckage of his inexplicably high tech plane, so who knows. Maybe he got to safety and is hanging out in a outdoor cafe with the girl from The Princess Diaries…

With that, I packed my bags and came back home, forever changed by this “Bat” man….

Sigh….

Anyway…… CLINT GOES MUSICAL!

Clint though has been very vocal in his appreciation for music. His scores for his own films have been an important part of his legacy. The Warner Brothers even named one of their musical studio buildings after him.

Music themed films take a small yet important 4 film portion of his career. Two are only true musicals, the others are music centric.

So join me once again as we explore a legendary jazz musician, a uncle/nephew tale in the Great Depression, Lee Marvin singing, and THE FOUR SEASONS!!!

BIRD

3.5 outta 4 Saxaphones

When it comes to Jazz biopics, Clint certainly delivers one of the most interesting and compelling. BIRD recounts the story of saxophonist Charlie “Bird” Parker as he runs through the tragic mills of obscurity and drug addiction to make a name for himself in the world of Jazz. The films seemingly lowest quality is in its basic construction. The structure here is loose, even too loose for a film about jazz. As it jumps from moment to moment, it can be seen as directionless. I would challenge one however to view it as more of a exercise on the script and clients part to play the story with style and mood to draw out the right reactions. Its a gamble and it may not work for anyone who detests artsy fare. As usual, this films beautiful cinematography lines up with Clints established style of mood and noir, which gives Bird’s story a proper telling.

PAINT YOUR WAGON

2.5 outta 4 Wagons

Look… if you are like me, you first heard about this films existence from a hilarious bit on an episode of The Simpsons. And while I won’t say the film is as dreadful as Homer and Bart felt it was, I cannot say it holds up very well. Not even an adaptation from the legendary Paddy Chayefsky can make it as timeless as it aspires to be. Set in the Gold Rush days of California, and the hijinks that ensue, the film’s primary set piece of a mining camp has a tone of tongue in cheek that frankly was done better 5 years later by the town of Rock Ridge in Blazing Saddles. The humor sadly falls flat, leaving a plot that while time honored from melodrama, cannot compel. In terms of our hero (in co bill with Lee Marvin), Clint tries his very best in the role of Pardner, and delivers well on the song “I Still See Elisa” in the first moments of the film, but overall, you can tell he is not yet used to stretching beyond his gritty roots. While elaborately staged and technically spot on, it winds up a drag in time.

JERSEY BOYS

3.5 outta 4 References to Martin Scorsese

Now hear me out: this film is not the disappointment it was reported to be upon release in 2014. More to the point, it is actually a entertaining affair more than worth your time as you glide down the dark and strangely humorous slide that is the story of Frankie Valli and the Four Seasons. Lifting primarily from the hit stage show for it’s script, it falls on Clint to visually guide the audience. His choice is familiar in as much as his camera moves nearly point for point as an homage to Goodfellas. While this seems blasphemous, I will remind you that this is ultimately a story about A) a tragic spiral and B) gangsters (albeit somewhat ancillary). This choice does service in comparison to any alternative flat staging that a musical surrounded by pop songs could feasibly be. Added on to that, he grabs wonderful performances from the original broadway cast and a expertly casted Christopher Walkin. Is it perfect? No, but given that Clint stepped into this almost last minute (at least that how it seems given Jon Favreau was attached forever), I’d say, “job well done.”

HONKYTONK MAN

4 outta 4 People in a car headed for Nashville

What on the One Sheet Poster surface seems like shameless nepotism is actually a tender old fashioned melodrama centered around the dream to make it big. The story concerns Clint as a singer invited to audition for the Grand Ole Opry in the 1930’s. He drags along his young nephew (Played by Clint’s son Kyle Eastwood) and the film recounts their journey to reach Nashville. From the set up to the end, we are actually given a sadder story to contend with. Clint’s character is broken, both figuratively and literally as he pines and comes to terms with his life of bad decisions, surrounded mainly by his nephew who must come to terms with these awkward truths about a man he admires and adores. In a way, it’s one of the greatest performances Clint has ever given, one that easily could’ve snatched an Oscar were it not for the nepotism stigma. Said stigma, as it happens, is not warranted, as Kyle holds his own just as fine as any child actor in the late 70’s/ early 80’s. It is frankly a decent film that, while not necessarily aging well in terms of it’s content, surpasses the hurdle with a captivating performance.

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So there you have it folks, the Eastwood has awaken from it’s slumber, and will continue now once a month until the very end.

Next month, we are gonna dive into films in Clint’s filmography that are on the more bizarre and unexpected side. Ones that make you simply say, “He did what now?”

Stay Tuned. Same Clint Time, Same Clint Channel.

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GROWLS AND ‘SWELLS’: AN ANALYSIS OF CLINT EASTWOOD (Part 6)

Dirty Harry

EPISODE 6: YOU FEELING FORTUNATE? WELL ARE YA SONNY?!?!

Welcome back to Clint-ville eager readers.

The long awaited return to Eastwoods filmography is finally here.

When we last left our hero, he had been on 21 adventres doing a multitude of things ranging from the serious to the seriously ridiculous. But you know, I do feel that the man should be given props for even the films already covered that weren’t so great. He explored his options in great stride throughout his career, and will continue to as his next film will tackle Captain Sully and the Hudson Landing. He’s earned the right, because let’s face it, he could have been shoehorned in the films we are about to explore today. Clint has two major identities: Silent Cowboy and Grizzled Cop on the edge.

The latter has populated his career thusly, but it really took off with a script by Harry Julian Fink and R.M Fink that almost went to Paul Newman. A script that ABC television did not want to touch so it was sold to Warner Brothers and rewritten by the legendary John Millius. A story that capitalized on the terror of the San Francisco area’s most notorious serial killer blended with the anxieties of crime ridden streets in America moving into the 1970’s.

It was the story of Inspector Harry Callahan from homicide. They called him DIRTY HARRY.

DIRTY HARRY challenged the action film convention by moving the Western mythos to the Bay Area, upset many different groups, and solidified Clint Eastwood as the go to action star for a generation.
4 more adventures followed Harry Callahan through his career consistencies of being kicked out of homicide for 5 minutes only to be brought back because shit gets VERY FUCKING REAL. He would dive daringly into third act climaxes where the solutions got crazy and sometimes sincere. And each and every last frame showed Harry walking away from it all for good… or at least until Warner Brothers green lit the next one.

So lets head to San Francisco where we will see Harry Callahan face off against Crazy Men with a penchant for the song ‘Row Row Row Your Boat’, a group of motorcycle cops with a grudge on crime, a hippie communes quest for city wide control, a woman on the road to revenge, and a man obsessed with knocking off celebrities like Jim Carrey.

Callahan: Go ahead… rate my day.

DIRTY HARRY

4 outta 4 .44 Magnums.

If we are going to talk about the impact of the film we are destined to be here all day. Let’s just focus on the film.

DIRTY HARRY is a film that wraps itself around a very central focus that , while not exactly as mirrored as our society today, does work on many levels. Callahan is a force of nature dealing with another force of nature with a very distinct western vibe. The story itself revolves around the true to life inspiration of the Zodiac murders in the form of Scorpio (Andy Robinson , who brings a perfect diabolical and natsy tone to the character) and the manhunt for him by Dirty Harry. Whats interesting to note is that this is a thriller more than anything, the action spread out in a graceful fashion that shows elegance amidst the raw reality.

Don Siegel directs a glorious symphony of the story of good vs. evil that the lines that blur provide apt thought and inspire conversation. Its the hallmark of any good film. And yes, Clint is superb in the film, as if it needed to be said. He brings a relatable quality to a grizzled angry man who rarely shows his heart. When he does, it is still safley guarded by 10 attack dogs and 3 land mines. Its a wonderful character.

MAGNUM FORCE

3.5 outta 4 Hal Holbrooks

John Millius’ script finds Callahan at the center of a police conspiracy for the second in the Dirty Harry franchise, and for the most part it proves just as perfect a situation as the first Dirty Harry film. Clint shines again in the famous tole with all the cynicism and attitude one expect from Inspector Callahan. Hal Holbrook also proves a formidable antithesis to Harrys way of doing things, but by the time his true nature is revealed, it feels like they wanted it rather than needed it. The twist at the end works, its just that you can tell that its a bit of a stretch when compared to more refined third act twists.

The real weakness in this film is honestly the fact that its coming right after a very definite and defining moment at the end of the first film, which thematically sums up the thesis of the piece. Bringing Callahan back from this defining moment is not disrespectful, but it would have helped if they went into it a bit more and gave some context. In addition, the ultimate point of the film itself almost spits in the face of the rebellious stance the first film takes. Magnum Force seems to be the start of the “safer” Harry Callahan. Thats not wrong, but it is surprising.

As sequels go, it is a fine example of how to continue a character though, delving more into Harrys personal life and his off time. And as a piece of 70s action it is clearly beautiful action filmmaking with wonderful cinematography and music by series contributor Lalo Schifrin.

THE ENFORCER

2.5 outta 4 New Partners.

THE ENFORCER is a moment where people in the theater are still excited but they walk and go, “well, this has to be the last one.”

It’s a great film on its own, but it does the job of further extrapolating a character that doesnt need any further extrapolation. Clint is back as Harry Callahan, and this time he’s after a revolutionary cult that wants to hold the city hostage on Alcatraz. He is the usual slick cop with grit on his mind and grit in his teeth. This time around, he is partnered up with a feamle partner fresh out of the academy (played by Tyne Daly, who handles herself well amidst Callahan’s misguided notions).

This is where the formula of “Stereotype Harry” becomes full force. It has the dying partner in the first act, the new partner, the catchy one liners that were once cool. Everything here does what THE ROOKIE would eventually do as will The Simpsons with McBain.

Being that it’s an early arrival of this ilk, you have to give it props for not being extremely overwrought with cliche, and the direction by James Fargo is something new and exciting to the franchise with much quicker paced action and faster editing that keeps it on par with what the 80’s will bring 5 years later.

SUDDEN IMPACT

3 outta 4 Days Made

“Go Ahead.. Make My Day.”

Outside of asking a punk if he feels lucky, this is one of the biggest take aways from the Dirty Harry franchise in terms of dialogue. It is a line that entered the culture with such a bang, it’s sometimes hard to remember that outside of MAGNUM FORCE, Sudden Impact is one of the best sequels in the Dirty Harry Franchise.

With that though comes a weird tradeoff…. Callahan has many scenes with a stray dog that show his Buster Keaton like grace down a street.

Outside of the rare moments where the film goes to the dogs (HEY MA, I’M CLEVER!), Clint presents a Callahan that in theory is closer to his roots than the previous outing. Whats intriguing is his inner conflict with the upholding of the law vs victims rights as he hunts down a woman (Sondra Locke) who is killing off people who raped her and her now catatonic sister years back. Callahan knows what the law says, but he also knows what his morals say. And with Clint directing this time around, one deals with Callahan mainly in the shadows deciding the fate of the conflict with deep thought and pause. It is wonderful action/suspense filmmaking.

THE DEAD POOL

2 outta 4 Jim Carrey’s Singing Guns and Roses

Buddy Van Horn, a long time Eastwood compatriot has not been treated kindly on my list as of late. His films barely go beyond 2 stars, and I feel bad because the man was a stunt wizard in his prime. He coordinated Clints stunts throughout the years with careful diligence and style that can only find comparison to the legendary Hal Needham. Van Horn is not the best director outside of action pieces though, and Callahan used to be much MUCH more than action. By the time DEAD POOL comes around, we are just itching for the finale to go home.

Clint delivers, but it is clear he’s done with the character and wants to go home and prep Unforgiven. Even his one liners, while still amazing as anything said by the man, are weak and without any support.

I think the funniest thing we get out of this is Jim Carrey as a strung out rock star lip synching to Guns and Roses, and even that seems below Carrey… and no people, I like Carrey, unlike you Pet Detective hating fools.

One fun note though: the scene with a toy car packed with a bomb is a damn hilarious and inspired action scene that I will gladly remember forever.

What we can take away from Harry Callahan is a part of Clints legacy. It is the part of him that frankly will be the most remembered in his career outside of his western work with Sergio Leone.

Hey, what better way to be remembered than as “The Best Movie Cop Ever.”

Not a bad gig Clint… not bad at all.

26 down 31 to go. The marathon will continue next week with a special report on a 2008 film that serves as the eulogy to Dirty Harry.

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