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Clint Eastwood

‘Cry Macho’ Review: Hanging With Grandpa Clint Is a Charming Delight

I feel a little bad for Clint Eastwood. What do you do after you become a legend? Post-Unforgiven, a film in which Eastwood wrestles with his own legacy and the western genre as a whole, his directing career has become divided between prestige pictures like Mystic River, J. Edgar, and American Sniper, films that seemed designed to just pass the time like Sully, Hereafter, and Changeling, and then there are the films that wrestle with legacy and old age, and in these films, Eastwood seems the most at home and personal. Movies like Million Dollar Baby and Gran Torino may not be perfect, but they show Eastwood grappling with his own image and what he will pass on to a future generation, and it’s in this vein that he directs one of his best films since Unforgiven, Cry Macho. The plot is barely there, but it doesn’t matter, because it’s not a plot-driven film. It’s a movie where Eastwood gives up the grit and gravel-voice tough guy for something quieter. It’s an embrace of the domestic, and it’s here that Eastwood brings an unexpected warmth to the picture that makes Cry Macho a surprisingly lovely experience.

Set in 1980, Michael Milo (Eastwood) is a broken-down old cowboy. He used to be a rodeo star with a knack for training horses, but that was a long time ago. His old employer Howard (Dwight Yoakam) comes to Milo asking the old guy to go down to Mexico and retrieve Howard’s estranged teenage son Rafo (Eduardo Minett), with whom Howard would like to restore their relationship. Milo at first refuses, but Howard reminds Milo that he floated the old cowboy through tough times and will continue to do so if Milo does him this favor. So Milo heads down to Mexico, finds the boy in the streets cockfighting with his rooster Macho, and convinces the kid to come back with him to Texas. However, along the way, they both find that a better life may be waiting for them away from America.

I feel a little bad for Clint Eastwood. What do you do after you become a legend? Post-Unforgiven, a film in which Eastwood wrestles with his own legacy and the western genre as a whole, his directing career has become divided between prestige pictures like Mystic River, J. Edgar, and American Sniper, films that seemed designed to just pass the time like Sully, Hereafter, and Changeling, and then there are the films that wrestle with legacy and old age, and in these films, Eastwood seems the most at home and personal. Movies like Million Dollar Baby and Gran Torino may not be perfect, but they show Eastwood grappling with his own image and what he will pass on to a future generation, and it’s in this vein that he directs one of his best films since Unforgiven, Cry Macho. The plot is barely there, but it doesn’t matter, because it’s not a plot-driven film. It’s a movie where Eastwood gives up the grit and gravel-voice tough guy for something quieter. It’s an embrace of the domestic, and it’s here that Eastwood brings an unexpected warmth to the picture that makes Cry Macho a surprisingly lovely experience.

Set in 1980, Michael Milo (Eastwood) is a broken-down old cowboy. He used to be a rodeo star with a knack for training horses, but that was a long time ago. His old employer Howard (Dwight Yoakam) comes to Milo asking the old guy to go down to Mexico and retrieve Howard’s estranged teenage son Rafo (Eduardo Minett), with whom Howard would like to restore their relationship. Milo at first refuses, but Howard reminds Milo that he floated the old cowboy through tough times and will continue to do so if Milo does him this favor. So Milo heads down to Mexico, finds the boy in the streets cockfighting with his rooster Macho, and convinces the kid to come back with him to Texas. However, along the way, they both find that a better life may be waiting for them away from America.

For its first act, you’re not really sure what Cry Macho is trying to do or where it’s going. But when you pull back and look at the full picture, you see that Eastwood is reframing his thoughts on his masculinity. You have to remember that when it comes to “macho” Hollywood guys, Eastwood helped defined the role with his work in westerns as well as the Dirty Harry franchise. Unforgiven turns all of that on its head in a compelling, thoughtful way, but what do you do after you create one of the greatest westerns of all time? What do you do after that kind of statement? Eastwood has been trying to figure that out for a couple decades now, and perhaps the answer lies in something as quiet and elegant as Cry Macho.

Once you get past the first act where Rafo’s mother (Fernanda Urrejola) tries (and fails) to seduce Michael and Michael and Rafo start to bond, the film coheres when their car breaks down in a small town and they find the possibility of peace and settling down. While I wouldn’t call Cry Macho a story of “redemption”—neither Michael nor Rafo have done anything particularly wrong—it is a story about finding peace, and that the way of conflict isn’t to be invited or conquered. From its opening, beautiful shots from cinematographer Ben Davis, you can tell that Eastwood is going for something more pastoral and somber. This isn’t the grizzled veteran telling a young man how to be a man by emulating his violent virtues (something Eastwood touched on with Gran Torino), but rather letting it all go to try and settle down.

It’s nice to see Eastwood embrace this vision of life. Nothing is going to erase The Man with No Name Trilogy or the Dirty Harry movies. That legacy is secure. But Eastwood knows he’s not that guy anymore, and it would be foolish to try. So instead it’s better to be grizzled, slow-moving Eastwood, and riding around with him and Rafo is like spending time with your Grandpa Clint. Sure, he may be a little ornery, but he’s also full of wisdom and he’s got a good heart. He’s suffered and he’s barely figured life out, but at least he knows it. He’s no longer carrying around anger, and any attempts to be macho at this time just look silly, which is why “macho” is personified by a literal cock. Not only that, but twice in the film when it looks like the only way out of a situation is through violence, Macho comes flying out, attacks the attacker, and the rooster, Rafo, and Michael are able to get away. In this way, Macho becomes a spirit animal of sorts, channeling the violence that Eastwood no longer wishes to perform or embrace. It’s also legitimately funny to watch some guy get owned multiple times by a rooster.

I don’t know what the grace note looks like on Clint Eastwood’s career, and I think something he’s struggled with is that he doesn’t know either. At times, it seems like filmmaking is merely a hobby for him. He makes relatively low-cost pictures for one studio (Warner Bros.), his prestige is enough to secure the financing and distribution, and he gets his films in on time and under budget. While this has led to some deeply underwhelming affairs and at times maddening efforts (hello, Jersey Boys), you try telling a 91-year-old Hollywood legend that it’s time to hang it up. You can’t force a grace note, but Cry Macho is as graceful as Eastwood has been in a long time.

Clint Eastwood

“He was too expensive”: Clint Eastwood Starred in ‘Dollars Trilogy’ After Director Couldn’t Afford Another Oscar Winning Actor With $15000 Salary

In today’s day and age, Clint Eastwood’s name is one that echoes with terms such as legendary and brilliant. His ability to be expressive as an actor without having to say too many dialogues was one admired by many. Not only his skills as an actor, but being a talented director helped build his reputation in the best way possible.
Clint Eastwood in The Good, the Bad, and the Ugly (1966)

Clint Eastwood in The Good, the Bad, and the Ugly (1966)
During his days as an actor, there were many films offered to him. Some he let go of, others he grabbed as soon as he could. One of his most iconic works is the Dollars Trilogy with director Sergio Leone. Despite the massive amount of fame that he got from it, there was an unfortunate yet slight chance that Eastwood would have lost out on the role because Leone wanted another actor altogether.
Sergio Leone’s Initial Choice for His Trilogy was not Clint Eastwood
One of Clint Eastwood’s biggest movie trilogies, the Dollars trilogy was something that came along his career, giving him a boost the actor never knew he needed. The year 1964 saw a rise in his fame from then on. However, as per BBC (via Farout Magazine), Eastwood was not Sergio Leone’s first choice for the film.
James Coburn
“I really wanted James Coburn, but he was too expensive,” Leone stated. “The Italian cinema is very poor. We got Clint for $15,000, Coburn wanted $25,000.”
The director revealed that because of the budgetary limitations that they had, there was no way possible for him to get James Coburn for the role. The actor wanted $10,000 more than what Eastwood had settled on, making it an absolutely impossible choice for them to hire Coburn. He elaborated on how being in the Italian cinema at that time did not give him flexibility with the budget. Due to this, Eastwood became his ideal choice and that in turn benefitted his career.
Clint Eastwood Almost did not Join Sergio Leone
Clint Eastwood’s career has been a rising climb for decades now. One of the reasons for this is his credible fame because of the Dollars trilogy. However, there was a slight chance that the actor would have given up on the role. According to a BBC documentary (via Farout Magazine), the actor was hesitant about saying yes.
Clint EastwoodClint Eastwood
 “I was doing Rawhide, and I was coming to a hiatus,” Eastwood remembered. “I took three months off, usually around February, March and April every year, and my agent in Los Angeles called me up and asked me if I’d like to go to Europe and make an Italian, German, Spanish co-production of a remake of a Japanese film [Yojimbo] in the plains of Spain.”
The actor/director stated that he was asked to make a film in a rather peculiar setting right after he was coming back from a three-month-long break. His reply to the same had been a rejection. In the end, he warmed up to the idea.

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Clint Eastwood

“I got to take her, and I still remember that”: Clint Eastwood Had A Personal Reason To Cherish His Oscar Win Despite His Anti-Semitic Comments Against Academy

Clint Eastwood is a legendary figure in Hollywood, not only because of acting prowess but also because he is a brilliant storyteller. From countless nominations to multiple wins, the Dirty Harry star has had enough accolades to his name, proving that he is every bit deserving of the fame he has received all these years. However, despite his immense fame, the actor has said some very concerning things in the past.
Clint Eastwood

Clint Eastwood
Years ago he had made some alleged antisemitic remarks about the Academy Awards committee but when he won his first Oscar, the actor-director accepted and enjoyed the experience for a very personal reason.
Clint Eastwood’s Reason For Cherishing His First Oscar
eastwood with his late motherEastwood with his late mother
Also Read:  “He was too expensive”: Clint Eastwood Starred in ‘Dollars Trilogy’ After Director Couldn’t Afford Another Oscar-Winning Actor With $15000 Salary
It has been decades since Clint Eastwood made his debut in Hollywood and ever since then he has been unstoppable. A recipient of numerous accolades and maker of multiple successful movies, the actor-director once had expressed his reservations about Academy Awards, even before he won his first-ever nomination.
While certain people labeled him as anti-semitic because of his Academy-related comments, he went on to get his first-ever nomination just sometime later at the age of 62. It was his movie Unforgiven that gave him an Oscar each for Best Picture and Best Director and a nomination for Best Actor.
Despite his earlier comments, the actor enjoyed his first nomination and win for a very personal reason which was being able to take his mother Ruth Wood to the ceremony (via Parade).
“It was nice, I guess. The nicest thing was that I got to take my mother to the Oscars. I’d been successful as a movie director and actor but not as successful in that kind of hoopla. So that was fun. I got to take her, and I still remember that. The trophies are tucked away in the house somewhere.”
Stated the director when asked if he even cared at that point about awards like the Oscars for he was already a pretty successful filmmaker at that point.
What Alleged Anti-Semitic Comments Did Clint Eastwood Make?
Clint Eastwood in UnforgivenClint Eastwood in Unforgiven
Clint Eastwood was 62 when he received his first Oscar nomination. Even though he lacked an Academy Award before, he was already a successful filmmaker and actor, having acted and directed several fan-loved movies.
However, before he ever won or was nominated for an Oscar, the actor was said to have stated in the book Clint: The Life and Legend of Clint Eastwood, a biography of his life written by Patrick McGilligan,
“I will never win an Oscar and do you know why? First of all, because I’m not Jewish. Secondly, because I make too much money for those old farts in the Academy. Thirdly, and most importantly, because I don’t give a f**k.”
His comments were understood by many as anti-semitic. However, things began to change for soon he went on to earn multiple Oscar nominations in the subsequent years after his first win with Unforgiven.
Unforgiven can be streamed on HBO Max.

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Clint Eastwood

It’s a Clint Eastwood – Hot News

Tarantino’s films, beyond the taste of each person, doses of violence and references to other titles, are in their scripts and dialogues which, in some cases, like Pulp Fiction, are more than the film itself. In the almost endless list of the best phrases in the history of cinema, Tarantino has his favorite. And this one is uttered by an expert in giving us many phrases in his films: Clint Eastwood.
This can be one of the best lines from the Dirty Harry movies, like his famous “come on, make my day” (Sudden Impact), or Clint Eastwood’s lines of dialogue in the Dirty Harry scene where he said: “I know what. you’re thinking. Did I fire all six bullets or just five. The truth is that in all this fuss and confusion I also lost count. But this is a 44 Magnum, the best revolver in the world, capable of blowing your brains out with one shot, don’t you think you’re lucky?
Or something from Unforgiven, like “when you kill someone you not only take everything they have, but also everything they can be”; When it comes to Tarantino, it’s harder for him to choose a sentimental or romantic phrase from The Bridges of Madison like “I don’t want to need you because I can’t have you.” But no.
Tarantino’s favorite phrase in the history of film belongs to the movie The Good, the Bad and the Ugly and was uttered by Clint Eastwood: “The world is divided into two categories: those with loaded guns and those who dig.” You dig.”

Tarantino has never hidden his weakness for The Good, the Bad and the Ugly. In addition to recently including the film directed by Sergio Leone in his list of the 10 best westerns in history, in 2020 he chose The Good, the Bad and the Ugly among his 12 favorite films in history movie theater

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