DOCSLIB.ORG

The Films of Clint Eastwood Fall 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Films of Clint Eastwood Fall 2016 RTF 370 Film Analysis and Criticism Topic: The Films of Clint Eastwood Fall 2016 Instructor: Professor Thomas Schatz (CMA 6.128B; [email protected]) Office hours: Mon 3:00 – 5:00 pm; Thurs 4:00 – 5:00pm (or by appointment) Assistant: Lucia Palmer (CMA 6.156; [email protected]) Office hours: Wed 2:30 – 4:30 pm (or by appointment) Requirements: • Attendance and class participation [20% of grade] • Weekly online discussions [10% of grade] – assignment on separate handout • Two 4-5 page critiques [20% of grade] – assignment on separate handout o due dates: September 22; October 20 • Research paper (10-12 pages) [25% of grade] – assignment on separate handout o abstract due November 3; paper due on December 1 (last class day) • Final essay exam [20% of grade] – on Wednesday, December 14, 2:00 - 5:00 pm Readings: Books (available at the University Coop): • Clint Eastwood: Interviews, revised and updated ed., Robert E. Kapsis, Kathie Coblentz, eds. (Univ. of Mississippi Press, 2013) • Clint Eastwood, Actor and Director: New Perspecitves, Leonard Engel, ed. (Univ. of Utah Press, 2007) • Clint Eastwood’s America, Sam B. Girgus (Polity, 2014) Reading Packet (available at Jenn’s on 26th and Guadalupe) • Additional required readings are included in a reading packet Other miscellaneous readings, etc., will be posted online. Weekly online discussion: Each week, you will engage in an online conversation about the films, readings, and topics of the week with your fellow classmates. The discussion will be hosted on Canvas, and you will be expected to reply both to a guiding prompt question and to the responses of your classmates. Your responses should demonstrate that you are completing the assigned readings, participating in class, and thinking critically about the films. Screenings: • Required screenings in CMA 3.116 on Mondays at 7:30 pm. • Recommended screenings: There are a number of recommended screenings (generally one per week) through most of the semester. While these films are not required, they will be 2 referred to in lectures. All are readily available via Netflix, Amazon, iTunes, etc. You are encouraged to screen these (and other) films on your own. Course description: This course examines the career of Clint Eastwood, from his rise to stardom in Sergio Leone's "spaghetti Westerns" in the 1960s and the iconic Dirty Harry films in the 1970s; through his steady development as an important filmmaker in his own right (as a “hyphenate” producer- director-star) in the 1970s and ’80s; to his eventual stature since the early 1990s as a bona fide American auteur with films like Unforgiven, Mystic River, Million Dollar Baby, Letters from Iwo Jima, et al. While the structure of the course will be historical (and chronological), the main thrust will be critical and analytical, combining a wide range of approaches – principally star, genre, and auteur analysis; narrative and textual analysis; theories of gender and sexuality; and ideological and ethical analysis. We also will consider Eastwood's career as both star and filmmaker in the context of the Hollywood movie industry since the late 1960s, particularly his role as an independent producer (via his company, Malpaso Productions, launched in 1967). This is writing “flag” course, in which the brunt of your work will involve critical writing, including several online posts, two critiques, a research paper and a final essay exam. There will be a moderate amount of reading for the course as well (roughly 20-40 pages per class meeting), along with weekly required and recommended screenings. You are expected to attend all class meetings and required screenings, to keep up with the readings, and to demonstrate your command of these materials (and the lectures) in our class discussions as well as your writing. ---------------------------------------------------------------------- Schedule of class meetings, reading assignments, and screenings: Thurs (8/25) Intro course ------------------ Mon (8/29) screening (7:30 pm, CMA 3.116): A Fistful of Dollars (Leone, 1964/67) [recommended: The Good, the Bad and the Ugly (Leone, 1968)] Tues (8/30) A Fistful of Dollars: first glimpse of an American icon Read: Engel, Clint Eastwood, Actor and Director, “Introduction” Frayling, “Sergio Leone and the Western” [in packet] Thurs (9/1) Leone's spaghetti Westerns and the formation of Eastwood's star persona Read: Girgus, Clint Eastwood’s America, “Introduction” Frayling, “The Leone Legacy” [in packet] – skim ------------------ 3 Mon (9/5) screening: Dirty Harry (Siegel, 1971) [recommended: Coogan’s Bluff (Siegel, 1968)] Tues (9/6) Eastwood in Hollywood: Recasting the Leone antihero Read: Bingham, “Introduction: ‘I’m Not Really a Man, But I Play One in the Movies’” and “Men with No Names” [in packet] Britton, “Stars and Genre” [in packet] Reed, “No tumbleweed Ties for Clint” [Eastwood Interviews] Thurs (9/8) Dirty Harry, franchise star Read: Bingham, “Authority of One: The Dirty Harry Films” [in packet] Matt Wanat, “Irony as Absolution” [ch 3 in Engel] Kaminsky, “Eastwood on Eastwood” [Eastwood Interviews] ----------------- Mon (9/12) screening: The Outlaw Josey Wales (Eastwood, 1976) [recommended screening: High Plains Drifter (Eastwood, 1973)] Tues (9/13) The Outlaw Josey Wales: first glimpse of an auteur Read: Knapp, “Clint Eastwood, ‘Starteur’” [in packet] Thompson and Hunter, “Eastwood Direction” [Eastwood Interviews] Thurs (9/15) Irony, parody, and genre subversion Read: Westbrook, “Feminism and the Limits of Genre…” [ch 1 in Engel] Knapp, “The Outlaw Josey Wales” [in packet] ------------------ Mon (9/19) screening: Every Which Way But Loose (James Fargo, 1978) [recommended screening: Bronco Billy (Eastwood, 1980)] Tues (9/20) Letting loose Read: Leger Grindon, “Mocking Success in Every Which Way But Loose” [ch 5 in Engel] Dyer, “Introduction” to Heavenly Bodies [in packet] Champlin, “Eastwood: An Auteur to Reckon With” [Eastwood Interviews] Thurs (9/22) Going soft Read: Gentry, “Director Clint Eastwood: Attention to Detail…” [Eastwood Interviews] Wilson, “‘Whether I Succeed or Fail…,’” [Eastwood Interviews] ***first critique due*** ----------------- 4 Mon (9/26) screening: Tightrope (Tuggle [& Eastwood], 1984) [recommended screening: Sudden Impact (Eastwood, 1983)] Tues (9/27) Back to basics – with a dark twist Read: Thomson, “Cop on a Hot Tightrope” [Eastwood Interviews] Cahill, “The Rolling Stone Interview” [Eastwood Interviews] Thurs (9/29) Surviving the 1980s: a "supply-side star" in a blockbuster era Read: Cremean, “A Fistful of Anarchy…” [ch 2 in Engel] ------------------ Mon (10/3) screening: Pale Rider (Eastwood, 1985) [recommended screening: Shane (George Stevens, 1953)] Tues (10/4) Revisiting the West, reviving the genre Read: McVeigh, “Subverting Shane: Ambiguities in Eastwood’s Politics…” [ch 6 in Engel] Cornell, ch 1, “Writing the Showdown” – read the High Plains Drifter and Pale Rider sections [in packet] Frayling, “Eastwood on Eastwood” [Eastwood Interviews] – skim Thurs (10/6) Eastwood at mid-career Read: Girgus, ch 1, “The First Twenty Years” – read “A Western State of Mind” section and skim the rest Erisman, “Clint Eastwood’s Western Films and the Evolving Mythic Hero” [ch 9 in Engel] ------------------ Mon (10/10) screening: White Hunter, Black Heart (Eastwood, 1990) [recommended screening: Bird (Eastwood, 1988) Tues (10/11) New directions Read: Hentoff, “Flight of Fancy” [Eastwood Interviews] Ciment, “Interview with Clint Eastwood” [Eastwood Interviews] Biskind, “Any Which Way He Can” [Eastwood Interviews] Thurs (10/13) Eastwood’s ‘mature’ period Read: Cornell, “Introduction: Shooting Eastwood” [packet] Kapsis, “Clint Eastwood’s Politics of Reputation” [in packet] Girgus, “Introduction” – review/skim 5 ------------------ Mon (10/17) screening: Unforgiven (Eastwood 1992) [recommended: A Perfect World (Eastwood, 1993) Tues (10/18) Revision, regeneration and reversion Read: Cornell, ch 1. “Writing the Showdown” – read the Unforgiven sections [in packet] Plantinga, “Spectacles of Death…” [in packet] Bingham, “‘Deserves Got Nothin’ to Do with It’ or Men with No Names II” [packet] Thurs (10/20) The prospect of redemption for Eastwood's Westerner Read: Girgus, ch 2. “Unforgiven: The Search for Redemption” ***second critique due*** ------------------ Mon (10/24) screening: The Bridges of Madison County (Eastwood, 1995) [recommended screening: In the Line of Fire (Petersen, 1993) Tues (10/25) Madison County: recasting a maudlin best-seller Read: Cornell, Ch 3, “Ties That Bind: The Legacy of a Mother’s Love” [in packet] Metz, “Another being we have created called ‘us’…” [in packet] Foery, “Narrative Pacing and the Eye of the Other…” [ch 10 in Engel] Thurs (10/27) ‘One for them, one for me’: star turns and serious films Read: Metz, “The Old Man and the C: Masculinity and Age…” [ch 11 in Engel] Hampton, “Sympathy for the Devil” [in packet] Cornell, ch 2. “Dancing with the Double…” [in packet] – skim ------------------ Mon (10/31) screening: Mystic River (Eastwood, 2003) [recommended screening: Space Cowboys (Eastwood, 2000)] Tues (11/1) Lost boys and haunted men Read: Cornell & Berkowitz, “Parables of Revenge and Masculinity…” [in packet] Rothermel, “Mystical Moral Miasma in Mystic River” [ch 12 in Engel] Rose, “A Conversation with Clint Eastwood about Mystic River” [Eastwood Interviews] Groves, “‘We all have it coming, Kid’: Clint Eastwood and the Dying of the Light” [in packet] - skim 6 Thurs (11/3) Personal ethics and vigilante justice Read: Girgus, ch 4, “Cries from Mystic River:
Load more

Recommended publications
  • List of Animated Films and Matched Comparisons [Posted As Supplied by Author]
    Appendix : List of animated films and matched comparisons [posted as supplied by author] Animated Film Rating Release Match 1 Rating Match 2 Rating Date Snow White and the G 1937 Saratoga ‘Passed’ Stella Dallas G Seven Dwarfs Pinocchio G 1940 The Great Dictator G The Grapes of Wrath unrated Bambi G 1942 Mrs. Miniver G Yankee Doodle Dandy G Cinderella G 1950 Sunset Blvd. unrated All About Eve PG Peter Pan G 1953 The Robe unrated From Here to Eternity PG Lady and the Tramp G 1955 Mister Roberts unrated Rebel Without a Cause PG-13 Sleeping Beauty G 1959 Imitation of Life unrated Suddenly Last Summer unrated 101 Dalmatians G 1961 West Side Story unrated King of Kings PG-13 The Jungle Book G 1967 The Graduate G Guess Who’s Coming to Dinner unrated The Little Mermaid G 1989 Driving Miss Daisy PG Parenthood PG-13 Beauty and the Beast G 1991 Fried Green Tomatoes PG-13 Sleeping with the Enemy R Aladdin G 1992 The Bodyguard R A Few Good Men R The Lion King G 1994 Forrest Gump PG-13 Pulp Fiction R Pocahontas G 1995 While You Were PG Bridges of Madison County PG-13 Sleeping The Hunchback of Notre G 1996 Jerry Maguire R A Time to Kill R Dame Hercules G 1997 Titanic PG-13 As Good as it Gets PG-13 Animated Film Rating Release Match 1 Rating Match 2 Rating Date A Bug’s Life G 1998 Patch Adams PG-13 The Truman Show PG Mulan G 1998 You’ve Got Mail PG Shakespeare in Love R The Prince of Egypt PG 1998 Stepmom PG-13 City of Angels PG-13 Tarzan G 1999 The Sixth Sense PG-13 The Green Mile R Dinosaur PG 2000 What Lies Beneath PG-13 Erin Brockovich R Monsters,
    [Show full text]
  • Million Dollar Baby"
    2020 International Conference on Economics, Education and Social Research (ICEESR 2020) Appreciate the Shaping of Female Images in Sports Films Based on the "Million Dollar Baby" Du Huanran Macau University of Science and Technology, Faculty of Humanities and Arts Macau 999078 China Keywords: Sports film; "Million Dollar Baby"; Female images; Shaping Abstract: Typical characters are indispensable aesthetic elements in film and television texts. The persistent and tough-girl image makes the movie "Million Dollar Baby" win the 77th Academy Award for Best Picture. The warm story between Maggie and Frankie is different from the general sports film, but interprets a new type of teacher-student relationship. As the director of the film said, "This is not a real boxing story, but a story about love. An old man, devastated by the loss of his father-daughter relationship, finds a young girl who makes him feel like a father again". Maggie's appearance broke the perfect female image in the traditional American film and overturned the weak appearance of women. The confidence and persistence revealed between Maggie's words and deeds won the unanimous praise of the audience, thus making an excellent sports film. 1. Introduction The Oscar-winning movie, "Million Dollar Baby", has been labelled "sports film", "violence", "inspirational", "love" and "chasing dreams". The film expresses multi-level and multi-faceted contents, including sports competition, belief, dignity, dream, family affection, friendship and other diversified contents. The main line of the story tells the story of Maggie, a young female boxer in her early 30s, who overcomes many difficulties and obstacles, realizes her boxing dream with the careful guidance of the coach Frankie and her own talent and continuous efforts, but finally chooses the euthanasia due to the serious injury [1].
    [Show full text]
  • Movie List Please Dial 0 to Request
    Movie List Please dial 0 to request. 200 10 Cloverfield Lane - PG13 38 Cold Pursuit - R 219 13 Hours: The Secret Soldiers of Benghazi - R 46 Colette - R 202 5th Wave, The - PG13 75 Collateral Beauty - PG13 11 A Bad Mom’s Christmas - R 28 Commuter, The-PG13 62 A Christmas Story - PG 16 Concussion - PG13 48 A Dog’s Way Home - PG 83 Crazy Rich Asians - PG13 220 A Star is Born - R 20 Creed - PG13 32 A Walk Among the Tombstones - R 21 Creed 2 - PG13 4 Accountant, The - R 61 Criminal - R 19 Age of Adaline, The - PG13 17 Daddy’s Home - PG13 40 Aladdin - PG 33 Dark Tower, The - PG13 7 Alien:Covenant - R 67 Darkest Hour-PG13 2 All is Lost - PG13 52 Deadpool - R 9 Allied - R 53 Deadpool 2 - R (Uncut) 54 ALPHA - PG13 160 Death of a Nation - PG13 22 American Assassin - R 68 Den of Thieves-R (Unrated) 37 American Heist - R 34 Detroit - R 1 American Made - R 128 Disaster Artist, The - R 51 American Sniper - R 201 Do You Believe - PG13 76 Annihilation - R 94 Dr. Suess’ How the Grinch Stole Christmas - PG 5 Apollo 11 - G 233 Dracula Untold - PG13 23 Arctic - PG13 113 Drop, The - R 36 Assassin’s Creed - PG13 166 Dunkirk - PG13 39 Assignment, The - R 137 Edge of Seventeen, The - R 64 At First Light - NR 88 Elf - PG 110 Avengers:Infinity War - PG13 81 Everest - PG13 49 Batman Vs. Superman:Dawn of Justice - R 222 Everybody Wants Some!! - R 18 Before I Go To Sleep - R 101 Everything, Everything - PG13 59 Best of Me, The - PG13 55 Ex Machina - R 3 Big Short, The - R 26 Exodus Gods and Kings - PG13 50 Billy Lynn’s Long Halftime Walk - R 232 Eye In the Sky -
    [Show full text]
  • Stirling Silliphant Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/tf2f59n87r No online items Finding Aid for the Stirling Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Finding aid prepared by Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] Online finding aid last updated 14 August 2017 Finding Aid for the Stirling PASC.0134 1 Silliphant Papers, ca. 1950-ca. 1985 PASC.0134 Title: Stirling Silliphant papers Identifier/Call Number: PASC.0134 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 27.0 linear feet65 boxes. Date (inclusive): ca. 1950-ca. 1985 Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UC Regents. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Preferred Citation [Identification of item], Stirling Silliphant Papers (Collection Number PASC 134).
    [Show full text]
  • Clint Eastwood's Unforgiven, the "Alternative" Western, and the American Romance Tradition
    Journal X Volume 7 Number 1 Autumn 2002 Article 5 2020 Clint Eastwood's Unforgiven, the "Alternative" Western, and the American Romance Tradition Steven Frye California State University, Bakersfield Follow this and additional works at: https://egrove.olemiss.edu/jx Part of the American Film Studies Commons Recommended Citation Frye, Steven (2020) "Clint Eastwood's Unforgiven, the "Alternative" Western, and the American Romance Tradition," Journal X: Vol. 7 : No. 1 , Article 5. Available at: https://egrove.olemiss.edu/jx/vol7/iss1/5 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Journal X by an authorized editor of eGrove. For more information, please contact [email protected]. Frye: Clint Eastwood's Unforgiven, the "Alternative" Western, and the A Clint Eastwood's Unforgiven, the "Alternative" Western, and the American Romance Tradition Steven Frye Steven Frye is Asso­ Much criticism of Clint Eastwood's Unforgiven ciate Professor of focuses on the way the film dismantles or decon­ English at structs traditional western myths. Maurice California State Yacowar argues that Unforgiven is a myth "disre- University, Bakers­ membered and rebuilt, to express a contempo­ field, and author of Historiography rary understanding of what the west and the and Narrative Western now mean" (247). Len Engel explores Design in the the film's mythopoetic nature, stating that direc­ American tor Eastwood and scriptwriter David Webb Peo­ Romance: A Study ples "undermine traditional myths" in a tale of Four Authors that evokes Calvinist undertones of predestina­ (2001). tion (261). Leighton Grist suggests that the film "problematizes the familiar ideological assump­ tions of the genre" (294).
    [Show full text]
  • And American Sniper (2014) Representation, Reflectionism and Politics
    UFR Langues, Littératures et Civilisations Étrangères Département Études du Monde Anglophone Master 2 Recherche, Études Anglophones The Figure of the Soldier in Green Zone (2010) and American Sniper (2014) Representation, Reflectionism and Politics Mémoire présenté et soutenu par Lucie Pebay Sous la direction de Zachary Baqué et David Roche Assesseur: Aurélie Guillain Septembre 2016 1 The Figure of the Soldier in Green Zone (2010) and American Sniper (2014) Representation, Reflectionism and Politics. 2 I would like to express my gratitude to all those who have made this thesis possible. I would like to thank Zachary Baqué and David Roche, for the all the help, patience, guidance, and advice they have provided me throughout the year. I have been extremely lucky to have supervisors who cared so much about my work, and who responded to my questions and queries so promptly. I would also like to acknowledge friends and family who were a constant support. 3 Table of Content Introduction..........................................................................................................................................5 I- Screening the Military....................................................................................................................12 1. Institutions.................................................................................................................................12 a. The Army, a Heterotopia.......................................................................................................12 b.
    [Show full text]
  • Feature Films
    NOMINATIONS AND AWARDS IN OTHER CATEGORIES FOR FOREIGN LANGUAGE (NON-ENGLISH) FEATURE FILMS [Updated thru 88th Awards (2/16)] [* indicates win] [FLF = Foreign Language Film category] NOTE: This document compiles statistics for foreign language (non-English) feature films (including documentaries) with nominations and awards in categories other than Foreign Language Film. A film's eligibility for and/or nomination in the Foreign Language Film category is not required for inclusion here. Award Category Noms Awards Actor – Leading Role ......................... 9 ........................... 1 Actress – Leading Role .................... 17 ........................... 2 Actress – Supporting Role .................. 1 ........................... 0 Animated Feature Film ....................... 8 ........................... 0 Art Direction .................................... 19 ........................... 3 Cinematography ............................... 19 ........................... 4 Costume Design ............................... 28 ........................... 6 Directing ........................................... 28 ........................... 0 Documentary (Feature) ..................... 30 ........................... 2 Film Editing ........................................ 7 ........................... 1 Makeup ............................................... 9 ........................... 3 Music – Scoring ............................... 16 ........................... 4 Music – Song ...................................... 6 ..........................
    [Show full text]
  • LETTERS from IWO JIMA Wettbewerb LETTERS from IWO JIMA Außer Konkurrenz LETTRES D’IWO JIMA Regie: Clint Eastwood
    Berlinale 2007 LETTERS FROM IWO JIMA Wettbewerb LETTERS FROM IWO JIMA Außer Konkurrenz LETTRES D’IWO JIMA Regie: Clint Eastwood USA 2006 Darsteller General Kuribayashi Ken Watanabe Länge 141 Min. Saigo Kazunari Ninomiya Format 35 mm, Baron Nishi Tsuyoshi Ihara Cinemascope Shimizu Ryo Kase Farbe Leutnant Ito Shidou Nakamura Leutnant Fujita Hiroshi Watanabe Stabliste Kapitän Tanida Takumi Bando Buch Iris Yamashita, nach Nozaki Yuki Matsuzaki einer Idee von Iris Kashiwara Takashi Yamaguchi Yamashita und Paul Leutnant Okubo Eijiro Ozaki Haggis sowie den Hanako Nae „Picture Letters“ von Admiral Ohsugi Nobumasa Sakagami Tadamichi Sam Lucas Elliot Kuribayashi Sanitäter Endo Sonny Seiichi Saito Kamera Tom Stern Oberst Oiso Hiro Abe Kameraführung Stephen S. Campanelli Kameraassistenz Bill Coe Schnitt Joel Cox Gary D. Roach Ken Kasai, Masashi Nagadoi, Hiroshi Watanabe, Ken Watanabe Schnittassistenz Michael Cipriano Blu Murray Ton Flash Deros LETTERS FROM IWO JIMA Mischung Walt Martin Vor 62 Jahren trafen die amerikanischen und japanischen Truppen auf Musik Kyle Eastwood Iwo Jima aufeinander. Jahrzehnte später fand man Hunderte von Briefen in Michael Stevens der Erde der kargen Insel. Durch diese Briefe bekommen die Männer, die Production Design Henry Bumstead dort unter Führung ihres außergewöhnlichen Generals gekämpft haben, James J. Murakami Ausstattung Gary Fettis Gesicht und Stimme. Spezialeffekte Michael Owens Als die japanischen Soldaten nach Iwo Jima geschickt werden, wissen sie, Kostüm Deborah Hopper dass sie aller Wahrscheinlichkeit nach nicht zurückkehren werden. Zu ihnen Maske Tania McComas gehört der Bäcker Saigo, der überleben möchte, um seine neugeborene Regieassistenz Donald Murphy Tochter sehen zu können. Baron Nishi, der 1936 als Reiter bei den Olym pi - Katie Carroll Casting Phyllis Huffman schen Spielen in Berlin siegte, gehört ebenso dazu wie der idealistische Ex- Produzenten Clint Eastwood Polizist Shimizu und der von der Sache überzeugte Leut nant Ito.
    [Show full text]
  • A Dollop of Clint Eastwood: Subjective Scores for 10 Random Movies
    A Dollop of Clint Eastwood: Subjective Scores for 10 Random Movies By Gary Heartsill May 1, 2021 1 The Mule (2018) Clint Eastwood acted, directed, and produced. (1:56:23) With Bradley Cooper, Laurence Fishburne, Michael Pena, Dianne Wiest, Andy Garcia. https://www.youtube.com/watch?v=yc5AWImplfE Score 9.2 Don't let the old man in, I wanna leave this alone1 Can't leave it up to him, he's knocking on my door And I knew all of my life, that someday it would end Get up and go outside, don't let the old man in Saw in the credits the name Jan Hartsell, who was the ‘Beauty School Admin’ and Iris was played by Alison Eastwood – for what that is worth. The Dykes on Bikes comment was great. This movie is done well, meaning it is enjoyable to watch especially with the apprehension of what is going to happen next. Course, the whole theme is in Toby’s song and I have heard Clint remark to someone when he was asked what the movie was about he said “Don’t let the old man in.” He finally figured out he would have to pay the price for doing all his driving. Am kinda glad we didn’t see too much of the bad guys doing what they do to folks who don’t deliver. And deliver he did. Everyone will have gone down the road with him singing his songs and celebrating when he opened the glove to get his keys and manilla envelope. For some it will be easy to see what this ole Mule really was doing.
    [Show full text]
  • Recommend Me a Movie on Netflix
    Recommend Me A Movie On Netflix Sinkable and unblushing Carlin syphilized her proteolysis oba stylise and induing glamorously. Virge often brabble churlishly when glottic Teddy ironizes dependably and prefigures her shroffs. Disrespectful Gay symbolled some Montague after time-honoured Matthew separate piercingly. TV to find something clean that leaves you feeling inspired and entertained. What really resonates are forgettable comedies and try making them off attacks from me up like this glittering satire about a writer and then recommend me on a netflix movie! Make a married to. Aldous Snow, she had already become a recognizable face in American cinema. Sonic and using his immense powers for world domination. Clips are turning it on surfing, on a movie in its audience to. Or by his son embark on a movie on netflix recommend me of the actor, and outer boroughs, leslie odom jr. Where was the common cut off point for users? Urville Martin, and showing how wealth, gives the film its intended temperature and gravity so that Boseman and the rest of her band members can zip around like fireflies ambling in the summer heat. Do you want to play a game? Designing transparency into a recommendation interface can be advantageous in a few key ways. The Huffington Post, shitposts, the villain is Hannibal Lector! Matt Damon also stars as a detestable Texas ranger who tags along for the ride. She plays a woman battling depression who after being robbed finds purpose in her life. Netflix, created with unused footage from the previous film. Selena Gomez, where they were the two cool kids in their pretty square school, and what issues it could solve.
    [Show full text]
  • Eastwood Et Le Culte Des Morts Édouard Vergnon
    Document generated on 10/01/2021 6:34 a.m. 24 images --> See the erratum for this article Eastwood et le culte des morts Édouard Vergnon Clint Eastwood, le passeur Number 145, December 2009, January 2010 URI: https://id.erudit.org/iderudit/62730ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article Vergnon, É. (2009). Eastwood et le culte des morts. 24 images, (145), 24–25. Tous droits réservés © 24/30 I/S, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Eastwood et le culte des morts par Édouard Vergnon c hEz EaStwood pLuS quE chEz tout autrE cinéaStE, LES MortS finiSSEnt toujourS par habiter les vivants. Moins à la façon d’un souvenir qu’il serait permis parfois d’oublier qu’à celle d’une véritable hantise, c’est-à-dire un tourment qui devrait continuer d’agir jusqu’au dernier souffle de ceux qui leur survivent. car la mémoire a beau avoir une réalité différente – legs spirituel (Honkytonk Man, A Perfect World, Gran Torino), amour inoubliable (The Bridges of Madison County, Million Dollar Baby), ami sacrifié (Space Cowboys), cœur inconnu qui donne la vie (Blood Work), meurtres (Unforgiven, Mystic River) ou chasse obsédante (White Hunter, Black Heart) –, on voit arriver, dans le hors champ final de chaque film, le permanent retour de l’événement filmé.
    [Show full text]
  • Have Gun, Will Travel: the Myth of the Frontier in the Hollywood Western John Springhall
    Feature Have gun, will travel: The myth of the frontier in the Hollywood Western John Springhall Newspaper editor (bit player): ‘This is the West, sir. When the legend becomes fact, we print the legend’. The Man Who Shot Liberty Valance (dir. John Ford, 1962). Gil Westrum (Randolph Scott): ‘You know what’s on the back of a poor man when he dies? The clothes of pride. And they are not a bit warmer to him dead than they were when he was alive. Is that all you want, Steve?’ Steve Judd (Joel McCrea): ‘All I want is to enter my house justified’. Ride the High Country [a.k.a. Guns in the Afternoon] (dir. Sam Peckinpah, 1962)> J. W. Grant (Ralph Bellamy): ‘You bastard!’ Henry ‘Rico’ Fardan (Lee Marvin): ‘Yes, sir. In my case an accident of birth. But you, you’re a self-made man.’ The Professionals (dir. Richard Brooks, 1966).1 he Western movies that from Taround 1910 until the 1960s made up at least a fifth of all the American film titles on general release signified Lee Marvin, Lee Van Cleef, John Wayne and Strother Martin on the set of The Man Who Shot Liberty Valance escapist entertainment for British directed and produced by John Ford. audiences: an alluring vision of vast © Sunset Boulevard/Corbis open spaces, of cowboys on horseback outlined against an imposing landscape. For Americans themselves, the Western a schoolboy in the 1950s, the Western believed that the western frontier was signified their own turbulent frontier has an undeniable appeal, allowing the closing or had already closed – as the history west of the Mississippi in the cinemagoer to interrogate, from youth U.
    [Show full text]