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) .