Posts Tagged “Clint Eastwood”

1992

Netflix Blu-Ray
USA
English
131 Minutes — August 7, 1992
Drama / Western
Clint Eastwood [Play Misty For Me; The Outlaw Josey Wales; Sudden Impact; Heartbreak Ridge; Bird; White Hunter, Black Heart; The Rookie; The Bridges Of Madison County; Mystic River; Million Dollar Baby; Flags Of Our Fathers; Letters From Iwo Jima; Changeling; Gran Torino; Invictus]

#217 They Shoot Pictures Don’t They Top 1000 Films Of All Time

A former hired killer turned unsuccessful farmer, together with a young would-be gunfighter and an old friend, set out to collect a thousand-dollar reward for killing the cowboys who slashed the face of a prostitute.

“Harsh Western of revenge and needless slaughter that re-invents and revives the genre to spectacular effect.” — **** — Halliwell’s.

“Solo Filmschool” movies are those on the big list of the 1000 best films of all time, which the crew over at TSPDT keeps track of and updates from time to time. The current version is from January 2010. My plan is to work my way down the list, watching all of them on DVD (if available), regardless of how slow-moving, or out of date they might appear at first. If a highly-regarded and serious film class is not available where you live, you could do a lot worse than using this list as a jumping off point.

Clint Eastwood…Bill Munny
Gene Hackman…Little Bill Daggett
Morgan Freeman…Ned Logan
Richard Harris…English Bob

Oscar Wins for Picture, Director, Hackman, and Editing.

Clint Eastwood’s 1992 film, UNFORGIVEN, has a special place in my heart. But not because I liked it. I remember it being the first critically acclaimed film that I ever hated. Ever since I saw PLATOON and realized that movies meant something, I’ve generally agreed with the critical consensus on films large and small. UNFORGIVEN was universally heralded as a monumental piece of film that reinvented the western and made us forget everything we ever knew about gunfighter movies.

Um, no. 19 years ago, I couldn’t understand the big deal at all. It seemed pretty ordinary to me. So obviously the problem was mine, not the general feeling of the movie-going public. So, I’ve wanted to revisit this film for awhile, to see what in the world was wrong with me when I saw it the first time. I popped in the Blu-Ray.

And it turns out, the problem wasn’t with me back in 1992, and it isn’t with me in 2011. This is the most overrated film I’ve probably ever seen. I joke with friends that I can’t get through 2001: A SPACE ODYSSEY without falling asleep, but that doesn’t mean I don’t think it has value.

But UNFORGIVEN is simplistic on every level. Our “hero” Bill Munny isn’t just down on his luck, when we first see him, he’s literally being dragged through the mud by one of the pigs he raises. In fact, so afraid is Director Eastwood that we won’t get the point, that he repeats this scene again, just in case we didn’t get it the first time. Eastwood’s character doesn’t just tell us he used to be a bad guy, but he tells us over and over again. He also repeats that “I ain’t that guy anymore” several dozen times. Because his “dear departed wife turned me away from wickedness and drink.”

The character of “The Schofield Kid” is not only a stupid, blind, schoolyard bully braggart, but he’s a ridiculous braggart. “I’ve killed five men.” “I could have killed you right there.” “You ain’t much.” I mean over and over. We get it. The guy hasn’t done anything, can’t shoot anything, is a little boy trying to be tough. But my god, how about some subtlety? This guy made me want to scream. And I semi-blame the actor. I get that Munny needs money (get it?) and will put up with the kid just to get paid, but come on.

On to Morgan Freeman. “We ain’t those guys no more, we’re farmers.” The scene where Munny visits Logan is like that “one last score” scene from every bank robbery movie. First Logan’s against it, then he stands directly beneath his rifle and says “how long you expect to be gone, Bill?” There’s a scene where the kid is shooting at Munny and Logan and Morgan’s eyes are minstrel-show-wide as he crawls around wondering who’s shooting at them.

Hackman’s character is given more to work with and Richard Harris as a foppish English assassin is pretty cool. But what about the fat deputy? “Would you rather be killed in hot or cold weather?” the semi-retarded character says to the (no joke) one-armed fellow deputy.

Munny is shown unable to mount his horse, not once, not twice, but three times, while Freeman is forced to say “Jesus, Bill”. The guy who runs the billiard hall all but twirls his mustache as he calls the hookers “bitches”.

It wasn’t all bad. I get the whole “trying to outrun your past” and “can bad men really change” parts. I like the last 30 minutes or so when talk of killing changes into actual killing. I like that Morgan Freeman’s race is never mentioned and Hackman likes having a writer follow him around to publicize his legend. There are no poetic or beautiful deaths. Some important deaths happen off screen and some simply silence the characters. But these little pieces of insight amounted to about 20 minutes of a long 131-minute film.

I think what may have ruined me for this film (the second time I watched it) is HBO’s DEADWOOD. The canceled too early western epic, where every character was created in shades of grey. The bumbling hotel manager wasn’t a complete idiot. The boss of the town was cruel in ways that Hackman and the pimp in UNFORGIVEN have never thought of. The sheriff wasn’t perfect, the women had personalities and demanded justice. The nuances that DEADWOOD was full of put it head and shoulders above something like UNFORGIVEN.

I can’t believe how disappointed I was a second time. I look forward to comments defending it.

One note on the picture quality of the Blu-Ray: I’m not really one of those guys who checks the bitrate of the DVD data and figures out how clear the picture is and whatnot. However, though I haven’t seen very many Blu-Rays in my life, this one was absolutely crystal clear. Even the stuff in the far away background. It just looked magnificent. But that doesn’t mean I like it.

8.2 Metacritic
8.3 IMDB (Number 96 All Time)

UNFORGIVEN

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2008

January 11, 2009
Campbell CA — Camera 7
USA
English / Hmong
116 Minutes — January 9, 2009
Crime / Drama / Thriller
Clint Eastwood [Per Qualche Dollaro In Piu; Il Buono, Il Brutto, Il Cattivo; Play Misty For Me; Dirty Harry; High Plains Drifter; Magnum Force; Thunderbolt and Lightfoot; The Eiger Sanction; The Outlaw Josey Wales; The Enforcer; The Gauntlet; Every Which Way But Loose; Escape From Alcatraz; Bronco Billy; Firefox; Sudden Impact; Heartbreak Ridge; Bird; The Dead Pool; Pink Cadillac; White Hunter Black Heart; The Rookie; Unforgiven; In The Line Of Fire; A Perfect World; The Bridges Of Madison County; Absolute Power; Midnight In The Garden Of Good And Evil; Mystic River; Million Dollar Baby; Flags Of Our Fathers; Letters From Iwo Jima; Changeling]

MichaelVox Twitter Review in 160:
Gran Torino (08 Eastwood C) Clint as Catskills comic–A Don Rickles Capt. Amer–inhabited by stereotypes, not characters–Get Off My Lawn!

I’ve listed all 33 movies that I’ve seen where Clint Eastwood appeared as an actor or as director. That is a lot of baggage and Hollywood history to overcome when you need to take on a new film role. Which is the fatal flaw of GRAN TORINO. We’ve seen Mr. Eastwood for too many years. While watching GRAN TORINO, it borders on the impossible to “forget” Dirty Harry or The Man With No Name, or more specifically for this story, the hot-headed drill sergeant he played in Heartbreak Ridge.

Eastwood plays a grumpy widower who has just buried his wife and is now free to complain about how his Michigan neighborhood and the country at large has changed for the worse. We are hit over the head with this belief of his when, at the very funeral itself, the first scene, one of his grandkids shows up in a Lions jersey and another in a belly shirt, navel ring glinting. Then we see a woman in the back text someone something. At this point, it’s okay to agree with him. We really have become a nation of ugly Americans. But that agreement will end shortly. Eastwood will turn into a jokester Archie Bunker–one who carries a gun and uses language that Television doesn’t allow.

His next-door-neighbors are Hmong. Grandma, mother, daughter, and weak teenage son. We know that every time we hear Eastwood use another all-asians-are-the-same racist remark, he’ll make up for it at the end by respecting and helping and realizing that the world is one great big melting pot. Or something. There are the scenes where he is indoctrinated into the customs of the Hmong; where he tells his drinking buddy the one about the jew, the mexican, and the colored fellow who walk into a bar (punchline: The bartender says “get the hell out of my bar”); where he will flashback to his days during the Korean War, where he’ll have a racist-off with his buddy the barber. Many of these scenes work. None of these scenes are unique or surprising.

The first hour of the film is like watching Eastwood the Catskills comedian. He even narrates his own life. “Why does that grandma hate me so much?” he says to his trusty golden retriever. Eastwood is playing a stereotype, not a character. And unfortunately, so do the other characters. We have the wigger, the three tough black guys, the sassy asian girl, the Hmong gang who sound like they’ve listened to too much T.I., the veterans, the construction supervisor, the shaman, the catholic priest who even has red hair, the money-grubbing daughter-in-law, the selfish grandkids. Everyone who comes on screen is playing a genre, not a person.

But can I say something here? The crowd I was with loved it. They wanted to hear Eastwood say “Get Off My Lawn!” while holding a rifle. They wanted to see him squint and say with his gravely 79-year-old voice “I’m the guy you don’t want to f**k with.” They laughed when he called his neighbors zipperheads and slopes, his barber a dago half-jew, and the young man next-door a pussy. He was like Don Rickles trying to be Captain America. It didn’t work. Eastwood is supposed to be so taken with the son-next-door that he teaches him a trade, gets him a job, protects his honor and even gets him a date. And this was after the boy tried to steal his beloved car.

I’m under the impression that the Hmong cast was non-professional and while it made it a bit more realistic, it also made the film a bit harder to decipher. With Eastwood grumbling and the Hmong speaking too quickly and with inconsistent accents, I’m not entirely sure about half of the dialogue. Sometimes you want realism and sometimes you want people to be able to act. I wanted actors this time. The ending is exactly what you’d expect, but what will stay with you is the dumbed-down script. Way overrated.

7.2 Metacritic
8.4 IMDB #125 All Time
7.1 Critical Consensus

Gran Torino @ Amazon

GRAN TORINO

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2008

November 5, 2008
Campbell CA — Camera 7
USA
English
141 Minutes — October 31, 2008
Crime / Drama / Mystery
Clint Eastwood [Play Misty For Me; Dirty Harry; Magnum Force; The Outlaw Josey Wales; The Enforcer; Escape From Alcatraz; Sudden Impact; Heartbreak Ridge; Bird; The Rookie; Unforgiven; In The Line Of Fire; The Bridges Of Madison County; Absolute Power; Midnight In The Garden Of Good And Evil; Mystic River; Million Dollar Baby; Flags Of Our Fathers; Letters From Iwo Jima]
Angelina Jolie [Gia; Pushing Tin; The Bone Collector; Girl, Interrupted; Gone In Sixty Seconds; Mr. & Mrs. Smith]

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CHANGELING is the subject of Cinebanter Podcast Number 63. After you’ve seen the movie, listen to the spoiler-filled review by Tassoula and I by clicking the play button right here:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Show Description:

• 00:00 Intro
• 00:32 CHANGELING Discussion – Part 1
• Break
• 16:12 CHANGELING Discussion – Part 2
• Break
• 33:12 To Sum It Up
• Break
• 33:58 The Last Five®
• 1:03:16 Credits and Outtake

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6.3 Metacritic
6.3 40 Critical Consensus
8.1 IMDB

Changeling @ Amazon

CHANGELING

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Written by Michael W. Cummins