Perhaps its not such a great idea for me to state a case for Clint Eastwood, for Eastwood has long been a favorite of mine, practically all of my life. I am biased, you see. Critics and movie watchers alike will probably disagree with me on just what part of Eastwood's career to laud and where to identify a certain amount of genius film making. There are moments, in my opinion, throughout Eastwood's career that I would defend as great, if not genius. Eastwood has always been pretty much about high quality with only a few missteps here and there.
Eastwood has been both actor and director throughout his stellar career, but his acting, especially in the early years, could be spotty at times. The most important character Eastwood created in the late sixties, with the help of Sergio Leone, was the "Man With No Name", an antihero gunfighter who usually starts out the film as a mercenary, but turns out heroic by the end of the film. Eastwood was usually gruff and stoic as the "Man" which was perfect for the western genre, largely being a visual storytelling genre and perfect for Leone who was a master director of largely visual westerns. The poncho, sweaty slouch hat, stovepipe jeans, and of course, the gnarly cigar stump, created a perfect counter culture answer to the heroic pose of the 1950's John Wayne.
Interestingly enough, the "Man With No Name" actually did have names in all the Leone Westerns. In "A Fistful of Dollars", he was called Joe. In "For a Few Dollars More", he was called Manco. In "The Good, the Bad, and the Ugly", he was called Blondie.
What has always been compelling for me with this character and also the Dirty Harry character which Eastwood began in the late sixties, was this sense of a hero that is always in control, even in the worst of situations. This was gratifying for me as a kid who spent most of his time in daydreams and in books, never fully sure of anything in a largely introverted life. I could be like Eastwood, or like my dad in my dreams, seemingly never questioning myself, always in control. This afforded me some emotional security regardless of how starry eyed I was.
As I grew up, I began to revise this opinion, or at the least begin to see heroes of another stripe, courage of another, more subtle kind. The hero who moves forward to confront evil or injustice, despite his questioning himself, became more of a hero for me as I encountered these situations in real life. While still nostalgic about the hero in control, it did not speak to me as profoundly as before. But the great thing about Eastwood was that he grew up as an actor and director, just as I was growing up.
And actually, Unforgiven would pave the way for one of Eastwood's very best, regardless of genre, Million Dollar Baby. Eastwood's hero questions himself and his motives constantly as he is called upon to decide the end of life process for a young woman he has come to love as a daughter. Million Dollar Baby is a film I would have never expected from Eastwood back in the 1970's or 80's. Eastwood's artistic edge has grown considerably as he has grown older, and this is why he has retained his significance and relevance in an industry he has dominated at different times for over fifty years. This film nut thanks him!
Eastwood has been both actor and director throughout his stellar career, but his acting, especially in the early years, could be spotty at times. The most important character Eastwood created in the late sixties, with the help of Sergio Leone, was the "Man With No Name", an antihero gunfighter who usually starts out the film as a mercenary, but turns out heroic by the end of the film. Eastwood was usually gruff and stoic as the "Man" which was perfect for the western genre, largely being a visual storytelling genre and perfect for Leone who was a master director of largely visual westerns. The poncho, sweaty slouch hat, stovepipe jeans, and of course, the gnarly cigar stump, created a perfect counter culture answer to the heroic pose of the 1950's John Wayne.
Interestingly enough, the "Man With No Name" actually did have names in all the Leone Westerns. In "A Fistful of Dollars", he was called Joe. In "For a Few Dollars More", he was called Manco. In "The Good, the Bad, and the Ugly", he was called Blondie.
What has always been compelling for me with this character and also the Dirty Harry character which Eastwood began in the late sixties, was this sense of a hero that is always in control, even in the worst of situations. This was gratifying for me as a kid who spent most of his time in daydreams and in books, never fully sure of anything in a largely introverted life. I could be like Eastwood, or like my dad in my dreams, seemingly never questioning myself, always in control. This afforded me some emotional security regardless of how starry eyed I was.
As I grew up, I began to revise this opinion, or at the least begin to see heroes of another stripe, courage of another, more subtle kind. The hero who moves forward to confront evil or injustice, despite his questioning himself, became more of a hero for me as I encountered these situations in real life. While still nostalgic about the hero in control, it did not speak to me as profoundly as before. But the great thing about Eastwood was that he grew up as an actor and director, just as I was growing up.
Thus, the "Man With No Name" very intentionally received a name and a soul, a hero for a new age of reflection about what truly makes a hero. Eastwood did this in 1976's "The Outlaw Josey Wales". The "Man" was now Josey Wales and here was an antihero who questioned his own motives, longed for a different way of life, whose motivations were more subtle and complex than any Western or Action hero Eastwood had ever portrayed before. Wales was a complex character who begins his adventures in a revenge quest, certainly a recognizable western theme. But by the end of the film, Wales has drawn a community of misfits and loners to himself, who long for a better, more peaceful life. Wales begins life as a prototypical Western hero, but gains a soul in becoming a greater hero fighting for more life giving causes.
As good as Josey Wales was, an even better western was waiting for Eastwood to direct and to star in the mid-1990's. Unforgiven would take the elements of Josey Wales and tell a more human story of Eastwood as a gunfighter turned poor dirt farmer who decides to kill a man for money to turn his no-where life around. Eastwood had moved beyond the classic ideal of what heroes could be to what heroes often are...normal everyday people thrust into extraordinary circumstances and asked to make decisons of life transforming importance. Unforgiven may have been Eastwood's ultimate western swan song, and if it is, I would be happy with that.
And actually, Unforgiven would pave the way for one of Eastwood's very best, regardless of genre, Million Dollar Baby. Eastwood's hero questions himself and his motives constantly as he is called upon to decide the end of life process for a young woman he has come to love as a daughter. Million Dollar Baby is a film I would have never expected from Eastwood back in the 1970's or 80's. Eastwood's artistic edge has grown considerably as he has grown older, and this is why he has retained his significance and relevance in an industry he has dominated at different times for over fifty years. This film nut thanks him!
1 comment:
Hey, Tom... great post on Clint! The guy is awesome no matter the era he works in. Saw that you had a blog from a NF note and decide to check it out! Good stuff... keep up the good work! Frank
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