“Clint” highlights the artistic modernity of the old school man
Clint Eastwood is a personal film director like a modern Hollywood show. What makes his personal films is their ideas more, their attitudes and tones more than anything than Eastwood. So I did not expect Sean Levy’s new biography, “Clint: Man and movies(Mariner), it will add a lot to the familiar view of the legend of filmmaking, which is now ninety-five.
Eastwood was born in 1930, in San Francisco, Clinton and Ruth Eastwood. His father was the sales of stocks and the bond in Auckland. When the work dried up in the wake of the stock market incident in 1929, Clinton moved the family to the top of the Pacific-Sacramento, Los Angeles-to find work. Levi Eastwood quotes: “I must go to ten different schools within ten years”-the civil world version of the army of the army surrounding the army that learned many future actors in the arts of chameleon. But Eastwood, instead of change to suit her, remained firmly. He said: “After you moved and did not get to know many people, he said:“ You spend a lot of time alone. ”However, this isolation (alongside his skill as jazz player) has proven very attractive to those who faced them. A friend of a high school named Fritz Manz on the“ natural charisma ”in Eastwood and“ secret magnetic ”.
The power of this portable isolation, in terms of business, is translated into a word considered a pillar of the fiber image: independence. Young Eastwood was a tall man and outdoor muscles. He watched a lot of films as a teenager, traveled up and down on the coast for handicrafts. This was during his time in the army – he was formulated during the Korean war but remained in the United States – that he made the actors friends, including David Yansen, who encouraged him to test water. A friend said: “You must be an actor, you can make it, because people notice you.” “Even when we go in a restaurant, people turn and look at you.” On the basis of physical fitness and appearance, it was signed in 1954 by Universal and gave parts of bit while attending the acting seasons there. The lessons were not taken at the beginning: the method was controlling there at the time, and he was facing difficulty in emotional removal. This penetration came when he presented a prosecutor, Jack Koslin, the principle that Eastwood was often transmitted: “Don’t just do anything; Stand there!“
However, this wonderful, non -moving stillness provided doubtful horizons. His global contract was not renewed, and frustrated tests and embarrassing roles B, while his wife, Maggie, who married her in 1953, supported the family. However, actor James Garner pointed out, “You can take one look at him and know that he would be a star. He had an aura about him.” The beginnings of his fame and prosperity came with a joint role in the TV series “Rawhide”, which lasted from 1959 to 1965 and was a great success at the time. However, he stood away from work literally: He and Magy bought a house in Carmel more than three hundred miles from Hollywood.
His Eastwood’s television career drew the attention of an unknown Italian director named Sergio Leon, who planned to make a Western Italian style, in Spain, in 1964. They made three of them in a quick sequence-a “handful of dollars”, “for a few other dollars”, and “goodness, bad and xpeneous”. Thanks to this trilogy, Eastwood became a celebrity in Italy before he was a movie star in the United States; American fame appeared only when the films were released here, in 1967. Levy wrote that during the filming of the third movie, Eastwood told his co -star Elie Walsh, “This will be the last Western pasta. I will return to California, and I will form my production company, and I will work and face my own films.” He did not lose any time in implementing his vision, and the establishment of a production company, Malpaso-the name came from Khor near his home but also a gag (in the Spanish language, and this means “bad step”)-to make the first post-Lyon movie, “Hang ‘High”, who played the starring role but was not directed. Eastwood instant stardom milk (his standard fees and one million dollars) and also benefited from it in a guideline. A child of depression, with great caution in the wolf at the door, saw that, at least partially, as a hedge against the possibility of popularity to diminish as an actor, but it was also a natural outlet for his innate curiosity and creative energy. “It is a logical place for the actor to move, unless he is satisfied with sitting in his estate between the shots and not doing anything else,” Levi Eastwood quotes. “I was never satisfied with doing this.”
Eastwood Malpaso ran on a monochromatic principle-to make films that he will shoot, directly, or both-and a deal with UNIVERSAL to finance and distribute. In 1970, three years after your first choice in the text program for “Play Misty for Me”, he directed it – immediately, with a budget slightly more than one million dollars. He was filmed near his hometown of Carmel, strictly on the site, with no studio groups, and had a practical meaning to keep the shooting away from Hollywood for the studio heads or their dependencies to maintain the tabs on production. Somehow, the true Levy story begins here. He also noted, “Misty for Me” (in which Eastwood also appeared), in 1971, at a time when many other actors began guidance: Eileen May, Alan Arkin, Peter Fonda, Jack Limon, Jack Nicholson. But Eastwood has emerged, better than they did, and how to continue. It was not only the issue of his popularity or even the success of a specific movie; It was also a method of method, and this means the (financial and practical) economy.
The Eastwood plan also included his progress in acting. After making “Play Misty For Me”, he worked again with the director Don Siegel (repeated and teacher) in the movie that prompted him to an individual form of art stars – “Dirty Harry”. It was released shortly after “Play Misty For Me”, in December 1971, the movie did more than wealth. As Levy notes, the general Eastwood image has finally changed, and in fact, his profile. The three Eastwood team made the youth champion, a symbolic cinematic rebel. But he wakes up in a movie that made him a hero for the so -called silent majority, and his statements on this topic only strengthens that image. He was not immediately an anti -culture hero, but rather a major conservative violent Vigilante. He responded with indignation, declaring himself “registered democratic”; Eastwood, who was already in 1968, was part of a group unofficially known as Nixon’s celebrities, unrecognized nothing“
The political definition of East Eastwood was deceitful, as Levy admitted, describing it as “the liberal of the capital” that was “repeatedly and repeated over the years of government infiltration in the private life of citizens.” Levi adds that Eastwood “was undoubtedly a right -wing policy. Throughout his career, Eastwood translated his belief in personal responsibility and personal freedom – which is ideal for independence – into art. He did this in essence and in form, but above all, in the way, and thus, helped redefine modern cinema. The work entered at a time when studios were in a crisis. It was the beginning of the era in which the great director’s definition begins with an original idea about production, as the methods of the director, the administrative structure, the time and money approach are largely determined.
Despite the success of “Dirty Harry” and awareness that his career was safe, Eastwood continued to produce films about relatively strengthening budgets, in exchange for an exceptional degree of artistic freedom, including the final reduction. In 1975, after the first four features were directed to Universal (with varying degrees of conflict), he left for Warner Bros. , Which was providing him with more freedom of other types, as well, such as approval of advertising, distribution and use of company private aircraft. Eastwood quickly, and settled himself on the ability to reduce the photos of the minimal photography, and do a small number of those who take. Levy is quoted by a Warner Bros CEO, “It’s more cautious about our money we They are “written that Eastwood” is determined to work quickly and to save so much that he was declaring that he was happy to take or even even ProofsHe sometimes photographed without actors who knew that the cameras were rolling. “
The main effect of Eastwood is artistic. Levy Meryl Streep, Eastwood star participating in his 1995 movie, “The Bridges of Madison County”, regarding the amazing results of his methods: