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Clint Eastwood

Every Clint Eastwood Movie Death

Here’s every time Clint Eastwood has died in a movie. The Dollars trilogy came to define Eastwood’s screen persona, as the Man with No Name had little in the way of dialogue and often let his revolver do the talking. Eastwood would refine and build on this persona with later movies like the Dirty Harry films or The Outlaw Josey Wales, and while he played characters with vulnerabilities, he almost always came out on top. That’s also reflected in the fact that despite the number of movies he’s appeared during his career, he’s rarely died onscreen.

This is true of movie stars from just about every era, from John Wayne to Tom Cruise. There’s a commonly held belief among studios that audiences hate to see their main characters die, especially when it comes to major stars. Eastwood has mostly held to this rule, and even in thrillers like Blood Work where he technically dies of a heart attack in the opening, he’s later brought back to life.

On rare occasions though, the star hasn’t always made it to the end credits. Here’s every Clint Eastwood movie death.

The Beguiled (1971)

The Beguiled reteamed Eastwood – who turned down Superman ’78 – with Dirty Harry director Don Siegel, with the film being a big departure for both. The film is a dark, gothic drama where Eastwood’s wounded Union soldier takes shelter in an all-girls boarding school, where his arrival stirs up trouble and sexual tension. Clint’s Corporal McBurney suffers for his misdeeds, however, with his leg being sawed off following an accident and he’s later poisoned and killed by the staff and students.

Escape From Alcatraz (1979)

The next Clint Eastwood movie death is somewhat debatable, given the real-life event it depicts. Escape From Alcatraz was the fifth and final collaboration between Eastwood and Siegel and details the real 1962 Alcatraz escape attempt by three convicts, including Frank Morris. Eastwood (who was almost replaced by Charles Bronson in The Good, The Bad And The Ugly) plays the latter, and in the finale – as in reality – it’s strongly suggested Morris and his companions drowned in San Francisco Bay after their escape attempt. However, their bodies were never recovered, so there’s a slim chance they made good their escape.

Honkytonk Man (1982)

One of Eastwood’s lesser-known movies (which he also directed) is the Depression-era set Honkytonk Man. Clint’s real son Kyle co-stars, and the story follows a Western singer named Red suffering from tuberculosis. After attempting to fulfill his musical dreams, he succumbs to his condition in the movie’s bittersweet finale.

The Bridges Of Madison County (1995)

Another Eastwood movie death comes in a project that is, yet again, a big change of pace for his screen persona. The movie is based on the romantic novel of the same name and follows Eastwood’s National Geographic photographer as he romances a married woman named Francesca (played by Don’t Look Up’s Meryl Streep) while on assignment. The two characters weren’t meant to be, however, and Francesca reveals that years later she learned Robert had died and left his possessions to her.

Gran Torino (2008)

Clint Eastwood’s final movie death is his most dramatic. Gran Torino sees Eastwood’s grouchy war veteran Walt reluctantly befriend a Hmong American teenager named Thao who lives next door. The ending sees Walt – who is dying of cancer – sacrifice himself by deliberately provoking the local gang who have repeatedly attacked Thao and his family. At the height of their argument, he suddenly reaches into his pocket for a lighter, which they believe is a gun and they riddle him with bullets. With plenty of witnesses having seen them kill an unarmed man, the gang is arrested.

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Clint Eastwood

Film Trailer for Ennio Morricone Documentary Features Interviews with Clint Eastwood, Quentin Tarantino, & Bruce Springsteen

The trailer for Giuseppe Tornatore’s documentary on the famed Italian film composer Ennio Morricone has been released ahead of its opening in select US theaters on February 9th, 2024. Watch it below.
Titled Ennio, the film traces Morricone’s career from his early work with Sergio Leone to his first Academy Award for Quentin Tarantino’s 2016 movie The Hateful Eight, including The Good, the Bad and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; and The Untouchables. It also offered the late composer, who died in 2020, an opportunity to tell his own story and break down his artistic process.
Adding to the portrait of Morricone are interviews with several of his collaborators and contemporaries, including Clint Eastwood, Quentin Tarantino, and Bruce Springsteen. Ennio also features appearances from Oliver Stone, Hans Zimmer, John Williams, Bernardo Bertolucci, Marco Bellocchio, Giuliano Montaldo, Dario Argento, Joan Baez, and more.
Morricone and Tornatore shared a long collaborative history, beginning with 1988’s Cinema Paradiso. From there, Morricone went on to write the music for all of Tornatore’s subsequent films, including his Golden Globe-winning score for 1998’s Legend of 1900.
Ennio premiered at the Venice Film Festival in July 2021 before Music Box Films acquired the US distribution rights in November of this year.
See where Morricone’s work landed on our list of the best film scores of the 2010s.
https://www.youtube.com/watch?v=q5WBbULw_0U

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Clint Eastwood

Clint Eastwood, Quentin Tarantino and Bruce Springsteen appear in new Ennio Morricone documentary trailer

Titled Ennio, the movie explores Morricone’s illustrious career, from his early collaborations with Sergio Leone to his Academy Award-winning score for Quentin Tarantino’s The Hateful Eight in 2016.
The documentary delves into some of Morricone’s most iconic compositions, including those for The Good, the Bad and the Ugly, Once Upon a Time in America, Days of Heaven, The Mission, and The Untouchables.
Released posthumously, the movie allows Morricone, who passed away in 2020 at 91, to finally reveal his own life story and expose the nuances of his artistic process.
In addition to Morricone’s personal insights, Ennio features interviews with famous collaborators, including Clint Eastwood, Quentin Tarantino, and Bruce Springsteen.
The documentary weaves a comprehensive tapestry of Morricone’s singular impact on the world of film scoring, with further contributions from the likes of Oliver Stone, Hans Zimmer, John Williams, Bernardo Bertolucci, Marco Bellocchio, Dario Argento, Joan Baez, and more.
Tornatore, famed for titles such as Malèna and Ennio, has a history with Morricone stretching back to 1988, when they collaborated on the former’s hit movie Cinema Paradiso. Morricone went on to write music for each of Tornatore’s subsequent movies, including his Golden Globe-winning score for Legend of 1900 in 1998.
Watch the trailer for Ennio below. See Far Out‘s recent review of the movie here.

https://www.youtube.com/watch?v=q5WBbULw_0U

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Clint Eastwood

Despite his tough characters, Clint Eastwood was surprisingly tender

All of this considered you might be surprised that the Rawhide star is actually not so hard-hearted as his characters may have led you to believe. One Eastwood anecdote in The Toronto Star exemplifies this, and comes from his script editor Sonia Chernus, who called Eastwood “the gentlest person I know.” She explained, “He can’t bear to kill anything, including a moth which I asked him to get rid of in my apartment.”
In fact, while he’s usually one of the best shots in the West in many of his productions, Eastwood isn’t too keen on violence and killing. He said of hunting, “I never liked killing things. Some people are taken by it. Maybe it’s the form of masculine expression. I don’t know. I’d be interested in speaking to a psychologist about that.”
Even more confusingly, Eastwood, now known as the quintessential Western man, almost refused to act in his series Rawhide when the opportunity presented itself to him. His reasoning? Because it was a Western, of course.
Eastwood said, “I didn’t want to do a western – westerns were dead.” He said of Rawhide, “But then I recognized Yojimbo in it, and you could feel a lot of the black humor. And I thought, nobody’d ever have the nerve to do this in America.”
But while Eastwood doesn’t seem to agree with violence to extreme measures, he now understands the appeal of a good old-fashioned revenge plotline in a Western. He said, “Everybody has a dream about how they’d like to handle certain situations, every boy from nine to one hundred would like to take vengeance into his own hands…’The vengeance is mine.’ People need to see that.”

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