In the strange mega-career of Clint Eastwood, no matter what your overall opinion of the guy is, it can’t be argued that his choices have been fascinating. Before becoming the acclaimed and active old-man director of middle-of-the-road bores he is today, he was a huge super-duper action actor and in his heyday made some interesting zigs and zags (all from 1969-1973 when he made ten films).
Fresh off of Sergio Leone’s Spaghetti Westerns, giving him international box office clout, he made the bizarre musical Paint Your Wagon (1969) with Lee Marvin. The same year Dirty Harry cemented him as America’s premier tough guy, he directed the female stalker thriller Play Misty For Me (1971). He followed that up directing the completely awkward Breezy (1973) about a romance between senior citizen William Holden and a teenage flower child. Also in 1973 High Plains Drifter, which may be his greatest directing accomplishment, was released. Eastwood plays a drifter in the old west and the film opens with him raping a woman (of course, she ended up falling for him). Right in the middle of those crazy four years he made the oddest and maybe most psycosexual film of his career, The Beguiled, a sorta Gothic Civil War almost-ghosty story (in the sense that people are haunted by memories), about female lust. It’s as if Louisa May Alcott’s Little Women went on a Picnic at Hanging Rock.Continue Reading
Thunderbolt and Lightfoot
Clint Eastwood hit the big time with his trio of Sergio Leone-directed genre-bending spaghetti westerns and then propelled to superstardom with the vigilante-cop Dirty Harry flicks. But even while playing the mega-star in commercial fare he still managed to make a number of unusual flicks you wouldn’t expect from an actor riding such a glorious wave. Films like the gothic, civil war, teen lust thriller The Beguiled or playing a sociopathic rapist gunmen in the western High Plains Drifter (both great flicks) matched by what could only be called a homoerotic, action, road, buddy-dramady called Thunderbolt and Lightfoot, it’s like Midnight Cowboy but with fast cars and guns. The other thing that makes the movie so unique in Eastwood’s filmography; it was the only time in the era that he was paired with a co-star with so much measurable talent. In his best performance after his debate in The Last Picture Show, Jeff Bridges gives a fascinating performance and shows why he would also eventually reach iconic status (he also got well-deserved Oscar nominations for both films). Thunderbolt and Lightfoot provides Eastwood fans with the expected muscle, but also an odd dose of heart.
After the syrupy theme song by Paul Williams called “Where Do I Go From Here?” Eastwood first appears on screen as a minister giving a sermon in a church. When an assassin tries to shoot him, clearing the church, he takes off on foot and is saved when an ecc...