CLINT EASTWOOD III / THE EIGHTIES: HIGHS AND LOWS

With the dawn of the new decade Clint went back to directing with BRONCO BILLY (1980), a very likeable movie about a traveling, Wild West-themed circus that he also starred in (playing BRONCO BILLY MCCOY), along with some usuals like Locke, Lewis or McKinney. A minor entry in his filmography, no doubt, but I find it funny and accomplished. It's your run of the mill, after dinner movie, with almost no ambitions in which action, comedy and some drama merge. Eastwood himself went so far as to name it one of the most satisfying films of his career, because, despite not doing very well at the box office, the filming was very smooth (saving time and money, as usual) and it conveyed quite well things he had always wanted to say as a filmmaker. He also sang on the soundtrack.

Eastwood and Locke, one more time

Unlike some other times, the commercial success was scarce, but the reviews were quite good, focusing on Eastwood's ability to join the american west's past and present, and also on the self references to be found in the main character.

Many years later, in 2019, a stage musical based on this movie was created.

*Eastwood's spanish dubbing was not handled by Constantino Romero.

Eastwood and the movie poster

That same year 1980, and on time to be premiered in Christmas and obliterate the box office (and breaking some records in the process), arrived the sequel of Any Which Way But Loose, called ANY WHICH WAY YOU CAN and directed by BUDDY VAN HORN, with whom Eastwood would work again in the future. The cast of peculiar misfits is pretty much the same as in the first film, featuring Clyde once again, this time played by two different orangutans, BUDDHA and C.J. (Clyde Jumior), for Manid had grown too big, and once these animals reach a certain age stop being that docile. There was also Cholla (together with his embarrasing Black Widows), besides the new character played by WILLIAM SMITH (who portrayed JACK WILSON, Beddoe's antagonist and the reason why he will come back to fist fighting).

Not much else to say, for the outcome was similar as that of the first movie: ravid success and little critical acclaim, although there was not so much fuss about it this time around. The critics talked about entertainment and that's it. Better than the first one and I agree. 

The song played by GLEN CAMPBELL, which was called like the film and appeared on the soundtrack, was a hit on the country charts. Eastwood sang on the album as well, and so did Sondra Locke.

Clyde, the third brother

There was trouble concerning the orangutans and the filming (although the whole thing does not seem to be clear), and famous zoologist JANE GOODALL (together with someone called DALE PETERSON) published in 1993 a book called VISIONS OF CALIBAN, on which was told that Buddha had died due to the abuse inflicted by his trainer, and C.J. had only shown up for publicity reasons, once the movie had been filmed, because of Buddha's death. At first it was believed that this information was about Manis and not Buddha, but no. As I've said, some members of the set denied all this and I'm not certain about what Eastwood had to say in this regard.

Strangely enough, Goodall and Clint seem to be very good friends and recently (on the last 24th of March) joined forces at an environmental event.

EASTWOOD & GOODALL

You just have to laugh

Goodall and Clint, together

For the first time since the beginning of the sixities, and almost since his career as a low life actor in the middle of the fifties had begun, a whole year (1981) went by without anything from Eastwood to be premiered. The waiting was over in 1982, when two new films of his got the spotlight: FIREFOX and HONKYTONK MAN, both quite removed from one another and starred in and directed by him.

Although its filming had ended before, Firefox was premiered after Honkytonk Man. It was based on a 1977 novel of the same name, written by CRAIG THOMAS, and Eastwood portrayed MITCHELL GRANT, a Vietnam veteran on a mission to steal the plane the movie is named after from the russians, amidst the Cold War.

Another over the top poster

I don't have much to say about this film, for it offers little despite its ballooned budget (at least by the standards of the day, and spent on new photography techniques and special effects instead of on improving the plot, aparently), the biggest one Clint had enjoyed so far. It doesn't even offer another relatively known or memorable cast member.

The reviews were not very good, and there's one I like because it encapsulates quite well the rest of them all: watch the trailer, read the book, play the game (there was one as well), just avoid the film. Or never before had the Eastwood director served the Eastwood actor so badly. A very long flick in which everything looks far fetched and yet, you know how is going to end. I remember it as a very dark film as well, kind of claustrophobic. And little less. No wonder this is the only Eastwood related project, since those from the fifties in which he barely appeared, to not reach a six mark on IMDB to date. Quite forgettable.

Apart from the videogame thing, it has to be said as trivia, that the action takes place during the Cold War and the movie was filmed while said war was still on, so it could not be shot in Russia, as expected, and Austria was chosen instead, when it came to east Europe.

This film marked Eastwood's debut as a credited producer.

*Eastwood's spanish dubbing was not handled by Constantino Romero.

Mitchell Grant

Much better, although far from belonging among his best works, was Honkytonk Man, a film much more in vein with Eastwood's usual self in front of the screen, for as much as he could be mostly considered as an action movies actor so far, those movies used to had their feet firmly on the ground (and I'm not talking about the fact that he was flying a plane in the previous one, but about its futuristic and sci-fi vibe). In that sense, the role of RED STOVALL, a sour and ill singer (loosely basde on musician JIMMIE RODGERS) who wanders the american west (again) in search of  his big chance, fits Eastwood like a hand in a glove. As if he was a modern day cowboy (the plot takes place in the thirties, during THE GREAT DEPRESSION) playing a guitar instead of firing a gun. He is joint by his nephew, played by his own, real life son KYLE (a renowned jazz musician and film score composer), and it also stands out VERNA BLOOM's presence, who had already been seen in High Plains Drifter.

This film was based on another book, called the same way as the movie, written by CLANCY CARLILE and published in 1980.

Stovall before the microphone

A good, low profile flick, with some amusing moments and the distress that comes with knowing the inevitable. It had little success, being the movie that made the least money during its first weekend in all Eastwood's career, and overall his least commercially successful movie in more than a decade. In return, the critics have been good to it, and for some strange reason it was very well received in France (as it had happened with The Beguiled), being compared to THE GRAPES OF WRATH (1940), by JOHN FORD. I haven't seen that movie yet and I guess I will have to so I can find out about that comparison, although I guess is all about both plots time in history and some subjects, but not about the whole thing, for that film is deemed as one of the greatest movies ever made, a status quite removed from the much more modest one that Eastwood's flick enjoys.

Clint sang in the film and also on the soundtrack.

There was also a role for the young and promising actress ALEXA KENIN, who unfortunately died soon after. The famed teenager film PRETTY IN PINK (1986), directed by HOWARD DEUTCH and prototypical of the teenager's cinema of the eighties, was one of her last roles and was posthumously dedicated to her. 

*Eastwood's spanish dubbing was not handled by Constantino Romero.

Clint together with son Kyle. I think the girl on the right
is Alison, his daugther and Kyle's younger sister,
 and Alexa Kenin is on the left

In 1983 SUDDEN IMPACT, fourth installment in the Harry Callahan saga (and the only one directed by Clint), saw the light of day. It would also mark the last time when Locke and him shared the screen and her last film to be premiered in theatres. The film tells the story of the vengeance that one woman exacts after having been gang raped years before, and this story had born as an idea for a movie starred by Sondra Locke, with nothing to do with this saga.

Another blockbuster, more little enthusiastic reviews, which stated that this fourth chaper was far from being the best of the saga and I, for one, don't know what to say. I should see all five films again to have a more focused opinion. I do remember it as a film which gives every Callahan fan without having a great knowledge about cinema and without being as ridiculous and pretentious as some critics are, all they are expecting, meaning action, violence (maybe the most violent one) and those little things here and there that will make people chat about for years on end.

Mixed feelings in the end. Good Eastwood chops at directing in a film which is sub par when compared to his directorial skills, a villain as great as Scorpio was is still missing, lack of coherence when telling the story (for it has too many leaps), Callahan always seems to be in the right place at the right time and, to make some room for controversy, the film was accused of racism as well, given that Harry has a black partner and said partner has little screen time. On the other hand, there was praise from, of all things, the feminism movement (I wasn't expecting something like this, to be honest), thanks to the study the film does on the aftermath of a rape. Clint Eastwood, and even more, Harry Callahan, being praised by feminists. What's not to like?

Someone is asking for a hole in the head

It's also funny to witness the clash between Harry, a cop who even though is not against the law (obviously), does not hesitate to make use of it no matter how, even if that means violating some civil rights (something that has earned the saga the usual epithet of fascist), and someone who does pretty much the same as him but without being allowed to. Callahan is not allowed to either, of course, because he happens to be an enforcer of the law and not an avenger, but you know how things work with him.

Sondra Locke, a woman who looked much younger than she actually was, could portray women younger than her, and that led to several anecdotes in this film, because she was older than some characters who were older than her in the plot. There was an scene in which some man even treated her as a child when that actor was only seven years older than her in the real life.

But anything that could be said about this film pales when compared to the fact that this is the film within the saga (I have to point this out because people tend to believe this happened in Dirty Harry and that is not correct) in which Callahan uttered, early in the plot, the legendary line Go ahead, make my day, attributed to the aforementioned John Milius (uncredited in this movie), CHARLES B. PIERCE (who wrote the story) and JOSEPH STINSON (screenwriter), without being clear who of the three exactly came up with the idea. This happens during a robbery which takes place at Harry's usual diner. Once three of the four robbers (all of them black, by the way) have been mercilessly shot down, the fourth and unfortunate thief shields himself behind a waitress. Callahan could not care less, and he aims at him while daring him to do something stupid, because he will be more than happy to make him end up as the other three, even if the place is already surrounded by the police. Callahan says something similar later in the film.

ALÉGRAME EL DÍA

GO AHEAD, MAKE MY DAY

Callahan, right after saying the sixth most famous line in all american cinema's history

Eastwood, or rather his character, has his fair share of great lines in this saga, but this one in particular trascended the seventh art big time. In 2005 a ceremony was hosted in which the AMERICAN FILM INSTITUTE unveiled a list with the hundred most famous lines in all american cinema, taking their legacy and impact in popular culture, and this one was ranked sixth. If that ranking wasn't enough to picture the gigantic dimension of the sentence, let's say that something as completely legendary and well known as Bond, James Bond was ranked twenty second. In fact, another very famous one from 007, related to how the secret agent likes his Martini was ranked ninetieth. There's another one by Eastwood (also Callahan's), the already talked about Do I Feel Lucky?, which was listed as fifty first.

Just in case someone's interested, the first one was the Frankly, my dear, I don't give a damn which CLARK GABLE, playing RHETT BUTLER, said to VIVIAN LEIGH (SCARLETT O'HARA) in GONE WITH THE WIND (1939), directed by VICTOR FLEMING.

100 MOVIE QUOTES

100 AÑOS, 100 FRASES

And even more. It's been used in songs and music albums have been named after it, and it's been heard in more films and TV shows (let alone some other situations of everyday's life). But even RONALD REAGAN himself, then president of the United States, used during a speech concerning I don't know which taxes, in 1985. And Eastwood promoted his run to ´mayor's office in Carmel using stickers which read Go ahead, make me major.

MAKE MY DAY / T.G. SHEPPARD & CLINT EASTWOOD

*Eastwood's spanish dubbing was not handled by Constantino Romero, depriving us of the chance to listen to the legendary catchphrase with his voice, but Harry's spanish dubbing was taken over by HÉCTOR CANTOLLA, most likely Eastwood's second most usual voice in Spain.

Cinema's icon

TIGHTROPE was one of the two movies which were premiered in 1984. Clint played WES BLOCK, a cop who chases a crazy killer and rapist with sadomasochistic tendencies. RICHARD TUGGLE, who had worked in Escape From Alcatraz, was credited as director, but truth is, this film is listed on IMDB among Eastwood's works as such, although uncredited. Apparently, Clint did much of the work, unhappy as he was with how Tuggle was handling things. Clint's daughter ALISON (who had also been in Bronco Billy and Any Which Way You Can, with no credit to her name either) is in the movie, as well as the very young actress JENNY BECK (she and Alison play Block's daughters) and canadian actress GENEVIÈVE BUJOLD. There's also some screen time for the famous actor DAN HEDAYA.

The plot takes place in that very peculiar city which New Orleans is (it seems like the script was based on some written pieces about an elusive rapist who terrorized San Francisco's bay, but the action was taken somewhere else to prevent this film from being compared to the Callahan saga) and I have memories of a very dark film with some twisted scenes, given the nature of the crimes and due to a great deal of the investigation being conducted at brothels and, of course, by night. Hence the R rating which adorned the film, the second highest rate when it comes to explicit content, only second to adults only. A good and entertaining thriller, even more if some of the movies Eastwood was related to during this decade are to be taken into consideration. It was successful and the critics liked it, deeming it more ambitious than the Callahan flicks. They even ranked it close to the top of his directorial achievements. The standpoint on the abuses perpetrated to women was stood out, and also the fact that a tough guy like Block knew how to treat and respect a lady (as if both things could not go hand in hand although, truth is, some of Clint's previous works had not been the most uplifting thing in that sense). It has to be noted that Block is divorced and lives with his daughters, to begin with.

Eastwood with her daughters in the movie,
Jenny Beck and Alison, his real life daughter

A perfect gentleman

CITY HEAT, directed by RICHARD BENJAMIN, was also premiered in 1984, but it did not fare as well, despite having been written by the very famous BLAKE EDWARDS and the fact that Eastwood was joined by no less than BURT REYNOLDS. It tells the shenanigans of MIKE MURPHY (Reynolds), an ex cop turned privaye investigator, and lieutenant SPEER (Clint), in a nameless city (if I remember properly, although it could be Kansas City, if we keep the title of Edwards' original script in mind) during the Prohibition. There's a small role for actor JACK NANCE, DAVID LYNCH's usual collaborator, who had starred in the completely atrocious cult movie ERASERHEAD,by Lynch himself, back in 1977.

Reynolds needs no introduction, being (among other things) a former sex symbol who made a living for himself portraying charismatic and arrogant louts, in flicks which used to be comedies and/or action ones, and with lots of fame and commercial success. He had just had a couple of great triumphs with Smokey And The Bandit (1977) and THE CANNONBALL RUN (1981), both directed by Hal Needham. Pretty much in the vein of what Eastwood had done together with the orangutan a few years prior, and I guess the intention was putting two mega stars together to create something similar.

Former friends

But this film not only failed to live up to its own expectations (it again falls short of a six out of ten on IMDB, so people did not like it very much) but also failed to obtain the success at the box office which was expected, given the raw materials. It did not leave any of the main stars happy with it either. Edwards was supposed to direct, in principle, but was dismissed, and in spite of staying as the screenwriter, ended up disgusted by the final product. Reynolds summed all up stating that, if only the trailer could be watched, but not the movie itself, this would become the most succesful ever. He said he did not think Eastwood saw his role as Edwards did, although he explained Clint was hurt by Edwards dismissal as the director. To add insult to injury, Reynolds had an accident during the filming which led to bloated speculations from the media.

This movie was not something to write home about, as I recollect. I saw it not many years ago and I don't remember much, so I guess that speaks volumes of the little enjoyment I got. You would expect a dim witted but funny flick, but it did not achieve even that, despite having the two main men rivalling for the attention of the same woman within a comical environment and stuff like that.

Too much ado about nothing, although Eastwood played the piano on the soundtrack at least.

A bitter memory, mostly for a Burt Reynolds
 riddled by the critics

In 1985 Eastwood directed one episode of the TV anthology AMAZING STORIES, created and produced by a certain STEVEN SPIELBERG, being this, if I'm not mistaken, his one and only incursion into the direction of televised fiction. In said chapter, to which I'll go back later on with a list of all the Eastwood works I haven't been able to see yet, HARVEY KEITEL and Sondra Locke are the starring couple. Again, I haven't seen it so I won't say anything, although its 6,4 grade it has on IMDB comes across as surprisingly low, considering everything this episode could offer.

Also in 1985, Clint went back to his roots with another western, PALE RIDER, one of his best and most popular films from this decade. He directed and starred, and the plot focus on a mysterious rider who comes out of the blue to help some miners out, because they are being terrorized by a thug during the Gold Rush. It seems to be based on another western from the fifties, SHANE, directed by GEORGE STEVENS and premiered in 1953. As I gather some info, I read it is even considered as a new version of the same film, which I guess is the same as considering it a remake, but is not clear and I don't remember having seen Shane to give an opinion of my own.

This flick uses to be related, within Eastwood's filmography, to High Plains Drifter, not only because of its starting premise, but also due to its very own idea of justice and some supernatural and religious flair to it. Because Clint's role, known only as THE PREACHER, due to him wearing a clerical collar, comes out of thin air after one of the characters starts to pray for a miracle. No one knows about him and the ambiguity permeates certain matters, which are left to the audience's interpretation, same as in the previous mentioned film. The movie is named after one of THE FOUR HORSEMEN, who rides a pale horse and symbolizes death, and some biblical references can be found in the movie, starting with said sudden apparition of the main character.

The Preacher

The western genre was far from being fashionable during the eighties, and light years away from its popularity during its heyday, besides being a genre deemed as doomed, after the enormous flop that HEAVEN'S GATE (1980), by Michael Cimino, was, but Eastwood's film meant a new lease on life for it and the movie became, most likely, the most successful western from the decade. The reviews were good and there were people who said that, while Clint seemed to have improved with time, the audience at large took very long to value his virtues as a filmmaker. This seems to be true if we take another reviewer into consideration, who went as far as saying that 1985 would be rememebered as the year in which Eastwood eventually won his respect as an artist. If you ask me about that assertion I have to say that many people seemed to be late to the party. You know, scholars stuff. The film critics are quite particular in this sense, for they devote themselves to dissect something they are supposed to love, at least in principle, but almost never seem to be happy with, not to mention the times when they completely butcher or treat it with disdain.

I'd like to see this movie one more time, now that I've read certain things, so I can appreciate it better. It is a highly esteemed movie but I don't remember to enjoy it as much as it seems to deserve. Mind you, what I remember the most about it (because I talked about it with some friends) is that it reminded me completely of the square one of any episode from the A TEAM, the very famous eighties TV show which had begun been aired in 1983, in the sense that someone with a mysterious and dark past, whom no one knows about, comes out pretty much of the blue to help someone who's being helplessly oppresed by some despot.

And it's time now to say a few words about LENNIE NIEHAUS, a jazz saxophonist whom Clint had known during the military service and who shared his musical preferences. He had already worked with Clint before, but Pale Rider marked his first time as the composer of the entire soundtrack of an Eastwood flick, a feat he will repeated several more times after, as well as taking part in some others, one way or another, winning quite a few awards in the process. Niehaus died in 2010.

God works in mysterious ways

1986 brought one of the roles Eastwood is best known for by the public at large, sergeant HIGHWAY, from HEARTBREAK RIDGE. Highway is a decorated and veteran marine who is in charge of a platoon of useless youngsters, whom he will have to get ready for one last mission during Granada's american invasion. The title refers to one battle in the Korean War after which Highway had been decorated, and Eastwood does his usual treble of directing, acting and producing. He was joined by MARSHA MASON and a young MARIO VAN PEEBLES, as one of the duffers of the platoon.

Before commenting trivia stuff I have to say that my memories of this film bring back a very funny movie during its first half, or at least during everything that takes place before the military conflict itself, but not as good  when it comes to that conflict. But who cares? Military, historical, you name it, inaccuracies aside, this flick is gold only because of the hilarious dialogues, with Clint Eastwood turned into a verbal machine gun bent on uttering one atrocity after another. It's classic Eastwood, with some lines destined to offend every possible group. Something quite difficult to replicate in this dat and age, as we all know, although anyone rational enough, willing to do some thinking and with enough analytical skills, might realize that, as much as many of Highway's lines (and not only his) can be reprehensible, their intention is not offending just for the sake of it, but this is about people of past generations and different values, expressing themselves without beating around the bush and within the proper context. All this is magnificently supported by Constantino Romero's spanish dubbing, with that voice of his which is one of a kind, always, but finds here the perfect symbiosis with the actor. How many times have been Eastwood movies talked about, only for people ending up saying something about the things he says in this flick? And I think that, as far as Spain is concerned, Highways' most vitriolic lines are even more popular than Callahan's. 

Let's judge for yourself:

EL SARGENTO DE HIERRO / HIGHWAY HACE SU PRESENTACIÓN

EL SARGENTO DE HIERRO / MEJORES FRASES

YOUR ASS IS MINE

Eastwood, closely followed by a suffering
 Mario Van Peebles

Clint got infatuated by one script which told the adeventures of a Korean War veteran who handed the baton over younger soldiers, and he asked the Army for permission to shoot in one of its premises (Fort Bragg). The Army said no, necause it did not like neither the profile, nor the methods of the main role, not to mention his language. It considered that old fashioned and not something it wanted to be related to. Clint insisted precisely because of that, the contast between generations and the fact that he believed there were values worthy of keeping in the way the american army from the forties and the fifties proceeded. The Marines supported the film, and that's why Highway's character becomes one of them, although a late one, for he had been before in the Army, which was the one that mainly took part in the battle the movie takes its name after, so contradictions could be avoided. Later on, the Marines rejected the film as well, and many of them who saw it quoted some inaccuracies (something similar happened with the Ministry Of Defense), but Eastwood carried on with the flick, and thanks mostly to a great deal of the filming having been done within premises belonging to the Marines on the west coast.

War hero

The public welcomed the movie and it was another triumph at the box office, besides having overall positive reviews (also for Eastwood's acting), and you could say this film has aged well in that department. Those reviews focused positively on the dialogues and the relationship between Highway and the young men he instructs. There were accusations of sexism though (how could not?), and also of imperialism, which stated that the film depicted the facts as another military win for the Unted States with no information about the historical or political context whatsoever.

I am gunnery sergeant Highway

Nothing to be reviewed in 1987, and once in 1988 along came Clint's final portray of Harry Callahan in THE DEAD POOL, directed by Buddy Van Horn. The title refers to some kind of game which consits in guessing when someone will die. That game seems to be conducted by a serial killer and it contemplates a few well known names from San Francisco's bay area, including Harry. The main cast is completed by some famed actors, such as Northern Ireland's LIAM NEESON, PATRICIA CLARKSON and a very young and then almost unknown JIM CARREY.

Eastwood said about this last installment that it was fun to play Callahan once again. Pretty much like being reunited with an old pal some time after. He made clear after the film that he was not interested in a sixth movie, and joked about a retired Harry who devotes himself to fishing and catches the bad guys with a walking frame.

Liam Neeson plays a film director

This last chapter not only is the shortest one, but also the least commercially successful one and the one which got the worst reviews, although there are some for every taste. On the con side it was said that it could not help looking like a mini film when compared to the legendary first movie, that it was for Callahan's die hards only and that it was not a fitting ending to the saga. On the pro side, there were some critics who put this film at the same level as the first flick, or at least only one step below.

As some other times before, I don't remember much about it, for I saw it when I was still at school. But, unlike with some others, I do remember I enjoyed it quite a lot. I saw it more than thirty years ago, because it was on the telly one day, during the time when the megafamous hard rock band from California, GUNS & ROSES, was at the absolute top of their game. They were ubiquitous back then, and the movie shows the very young musicians in some scenes (I won't talk about them so I don't spoil anything). I guess the main reason to give them some screen time was to take advantage of their appeal among the younger audience, because when the movie was premiered they were on their meteoric rise to stardom, one year after having released their APPETITE FOR DESTRUCTION (1987), which I think is (among some other feats) the most successful debut album in all music's history. Needless to say, the fact that they were in the movie was thorougly discussed the day after at school.

Axl Rose, Guns & Roses vocalist,
first on the left, top row

That's the most prominent fun fact to be told about the film, but there are some others. It stands out the fact that this was the flick where Callahan left another one of his most memorable lines: Opinions are like assholes, everybody has one.

OPINIONES

OPINIONS

The film also features some car chases through the very steep streets of San Francisco, much in the vein of what was seen in the famed BULLITT (PETER YATES, 1968), with Steve McQueen. Those scenes were quite difficult to shoot, with some streets whose traffic needed to be cut and, above all, jumps between distiricts which meant continuity flaws within the plot, although these are not easy to notice, due to the action's speed. Nothing that I knew of until now.

I have to mention as well that this is the only movie in the saga in which actor ALBERT POPWELL can't be seen, one way or another. Having the same actor (or several) in more than one film of the same saga, playing different roles, was nothing new (Eastwood and some others did it in Leone's films), so this information would not be even worthy of mention wasn't it for the fact this actor was the one who was lying on the ground in Dirty Harry while Callahan said the Do I feel lucky? line to him. Honourable mention to him, but I did not know anything about this either and right now I can't even picture him in any scene apart from that.

A very cool poster indeed

Also in 1988, Eastwood took a turn to the unexpected in his career, when he remained solely behind the camera (first time since Breezy, where he only did a cameo, and leaving that episode of Amazing Stories aside) to join cinema and his passion for jazz, and direct BIRD, which would become the first of  several biopics to be directed by him. Bird was starred by FOREST WHITAKER, portraying the very well known jazz musician CHARLIE (BIRD) PARKER, and depicts moments of Parker's life since his childhood to his untimely passing, besides focusing on important relationships in his life, like the one he had with his wife and some professional ones with fellow musicians.

Clint had been fascinated with Parker almost his entire existence, and he even saw him playing live in 1946, so he kept an ongoing fight for Warner to buy the rights of a script based on the memoirs of CHAN PARKER, Parker's widow, which had been written in the seventies by screenwriter and director JOEL OLIANSKY. When he got what he wanted, RICHARD PRYOR, the actor Oliansky had always had in mind, had gotten uninterested, and hence Whitaker's involvement, to whom this movie meant his discovery. Eastwood even asked Chan for her contribution, and she accepted, lending some private recordings. In order for that music to be suitable to be used in the movie, Parker's solos were electronically isolated and some renowned musicians were hired to play nd record the backing parts.

Whitaker together with actor Samuel E. Wright,
who portrayed another one of jazz's music
greats, Dizzy Gillespie

Quite respected by the critic (and with some praising by the recently deceased CHARLIE WATTS, famed THE ROLLING STONES drummer and jazz aficionado, to boot), this flick even triumphed awards-wise, but failed commercially, becoming Eastwood's worst film in that regard since Breezy. Clint attributed it to an increasing indifference in jazz music by the black citizenship. I remember this film too long and dark, and not specially remarkable. I don't dislike jazz music (I know nothing at all about it) when it comes to hear it without actually paying attention to it, but I'm not into it as much as being the main reason to see a film like this one. I'm not this movie's best possible target, but I guess that people who dig jazz, and Parker in particular, will find it much more interesting. I saw it because it is Clint Eastwood who we are talking about, although I think it has been the penultimate film of his that I've seen, no less, and I did it not long ago, therefore Forest Whitaker had already become a very well regarded actor for many years now to become another incentive.

A good film for a different kind of audience, hence the good reviews which, on the other hand, were not shared by also actor and director SPIKE LEE, son to another jazz musician, who said that this film had not succeed in understanding neither the essence, nor Parker's sense of humour. I think he also wondered why a white man was involved in a movie like this (bullshit of the first oreder, if you ask me, and even more so coming from someone who is notorious because of his commitment against racism). Apparently there has been no love lost between him and Eastwood for many years now (I'm not sure about the hatchet being already buried or not), since Lee denounced the lack of black actors in a couple of war movies that Eastwood filmed in the current century (and which will be reviewed later on) and Clint told him to shut his mouth, that he wasn't going to play equality's game only for representation's sake, if that was going to lead to some historical inaccuracies. He also said that, had he had to do a movie with a high percentage of black people because that was what reality demanded, he would do it, as he had done in Bird. And this is when Clint unleashed another blow, when he said that he had been the one to film Bird because nobody else had, and he wondered why Lee, after all his babbling about Eastwood's ways, had not done it himself back in the day if he was so annoyed by someone like Clint doing it. Because he was worried with some other stuff. A bitter pill to swallow, Spike Lee.

Another controversial (unintentionally
 though) movie

Concerning the awards, the best thing to be told is that Whitaker won the best actor one in Cannes that year, besides earning a nomination to the Golden Globes as the best leading actor. Eastwood won said Golden Globe as best director and the movie won an Oscar in the best sound category.

Whitaker being instructed by Eastwood

Clint would wrap the eighties up with his acting in another Buddy Van Horn's flick (his third and last with him), PINK CADILLAC, an action movie premiered in 1989 and which is the very last Eastwood film that I've seen so far, thus coming full circle. I was aware of its scarce merits and that fact got confirmed after watching it, being not only one of his least appreciated movies (his worst on IMDB, in fact, after becoming a movie star, and tying only with one of those flicks from the fifties), but also, most likely, the worst one I remember having seen with him involved. He plays TOMMY NOWAK, a bounty hunter who chases a woman (LOU ANN MCGUINN, played by BERNADETTE PEERS), while facing a bunch of loony nazis. This far into his career it was difficult to stomach the fact that the leading role in this film was played by the same person behind things like Bird, Breezy or some of the already mentioned westerns, but taking into account the vast majority of the films Clint would take part from then on, this feels even more weird. I have no idea about Eastwood's motivations to be involved in some projects, but reading about some of the figures he earned for his films, it would be really shocking that those motivations were economical. Who knows? I guess sometimes is all about taking part in something funnier and less demanding.

Peers betting with Clint

The soundtrack of the movie was even more succesful than the movie itself, because the reviews were mostly bad (although there were some critics who praised Peers' job in making Clint's role more human) and the figures were not good either (it went straight to the videoclubs in the UK, with no showing in theatres whatsoever). One of Clint's career lowest points.

As fun facts I have to mention that Jim Carrey has again a very small role in this movie, and another canadian celebrity (not that much then), rocker BRYAN ADAMS, appears playing a gas station attendant. On the other side, this was Van Horn's last effort as a director and the last movie with the slightest comedy trait in which Eastwood would take part in.

With Bryan Adams

End of the third chapter