From Asghar Farhadi to Pedro Almodóvar: The triumphs and failures of filming in another language

From left to right, Fernando Trueba, Juan Pablo Urrego and Aida Folch on the set of 'Haunted Heart' in 2022.CLARA LEÓN

From Asghar Farhadi to Pedro Almodóvar: The triumphs and failures of filming in another language 

The release of ‘Haunted Heart’ and ‘The Room Next Door’ join a growing list of movies by filmmakers who have dared to try their hand at a foreign language

TOMMASO KOCH

Madrid - AUG 31, 2024 -

One person bought rice. Another bought a bottle of olive oil. Maybe someone picked up some biscuits. Nothing transcendental, nor particularly artistic. Just the usual stuff in a grocery store. However, while he helped his parents run their business, little Asghar Farhadi watched the customers and would daydream about their shopping carts, their looks or their characters.

Make her day / Sondra Locke, getting even with Clint Eastwood any which way she can

Sondra Locke

MAKE HER DAY

SONDRA LOCKE, GETTING EVEN WITH CLINT EASTWOOD ANY WHICH WAY SHE CAN

By Sharon Waxman

November 19, 1997 at 7:00 p.m. EST

LOS ANGELES -- Even now, in her moment of vengeance, Sondra Locke looks vulnerable. She is petite and delicate, like a small bird. Her double-breasted black suit is too big for her. The shoes, flats, are all wrong for a power lunch. Her hazel eyes are plaintive. She smiles gratefully at the waiter announcing the specials.

Sondra Locke / Clint Eastwood

 

Sondra Locke & Clint Eastwood

The Triumph and Tragedy of Sondra Locke

 

Sondra Locke

The Triumph and Tragedy of Sondra Locke

The Oscar-nominated actress had a long Hollywood career—and a turbulent relationship with Clint Eastwood, resulting in two acrimonious lawsuits.

Sondra Locke, the Oscar-nominated actress who starred in several movies with Clint Eastwood—a romantic partner-turned-litigious opponent—has died. She was 74. According to the Associated Press, Locke died on November 3 at her Los Angeles home of cardiac arrest stemming from bone and breast cancer.

Happy 94th birthday Clint Eastwood: his best films – ranked!

Happy 94th birthday Clint Eastwood: his best films – ranked!

As he reaches the momentous milestone – and ahead of new movie Juror No 2 – we rate the screen icon’s best performances, from playing a poncho-clad anti-hero to having squinty showdowns in cemeteries

ANNE BILLSON

30 MAY 2024

20. Every Which Way But Loose (1978)

Against all advice, Clint Eastwood switched direction with a knockabout comedy that would be one of his biggest hits. He plays a bare-knuckle fighter who falls for a country singer, though the real romantic chemistry is between him and Clyde the orangutan. Barroom brawls aplenty! Ruth Gordon (as “Ma”) v Nazi bikers!

19. Million Dollar Baby (2004)

In a role that fits him like a comfy old overcoat, Eastwood plays a curmudgeonly boxing trainer who reluctantly takes on a waitress and soon-to-be surrogate daughter (Hilary Swank). But disaster strikes ... Eastwood also directed, and the film won multiple Oscars, despite (or perhaps because of) its controversial ending.

Dirty Harry at 50 / Clint Eastwood’s seminal, troubling 70s antihero

Clint Eastwood

Dirty Harry at 50: Clint Eastwood’s seminal, troubling 70s antihero

This article is more than 2 years old

The off-the-leash cop archetype was cemented with Don Siegel’s taut, provocative thriller that neither condemns or condones extreme measures

Charles Bramesco

Thursday 23 December 2021

 

H

arry Callahan is the cop we’ve been warned about. Though this week marks fifty years since Don Siegel’s genre-defining thriller Dirty Harry busted into cinemas with Smith & Wessons blazing, the general profile of dangerous, off-the-leash law enforcement solidified over the last half-decade of public discourse sounds like it could’ve been traced from the film’s example. Played with a scowl of blanket disgust by Clint Eastwood – Paul Newman had passed on the role as “too right-wing” – San Francisco PD’s top inspector is more than your standard-issue misanthrope. He’s an equal-opportunity bigot, contemptuous of every ethnic group rattled off by a fellow officer in a laundry list of slurs. He’ll readily resort to violence in his work, not above a bit of crude torture to extract information from a perp with a bullet wound. And most hazardous of all, he believes himself unanswerable to anyone but God, who he’d probably just meet with the same glowering frown.

Portraits by Herb Ritts

Elizabeth Taylor

 

PORTRAITS

by Herb Ritts

Julia Roberts


Madonna

Interview / Clint Eastwood / The man who would be Huston

New Again: Clint Eastwood

By graham fuller and Emma Brown

September 5, 2012

MAKE MY PREY: CLINT EASTWOOD WITH TIMOTHY SPALL IN WHITE HUNTER, BLACK HEART 

(1990)

Clint Eastwood’s political leanings are no secret. The actor, director, scowling icon, and soon-to-be reality star has publicly supported the presidential campaigns of Republican Richard Nixon (although post-Watergate, Eastwood did criticize Nixon’s morals during an interview with Playboy), and was once mayor of Carmel in California (apparently his platform concerned the removal of a ban involving ice cream). Most recently, Eastwood gave a colorful speech endorsing Mitt Romney at the Republican National Convention. Eastwood is a rare Republican spokesperson in Hollywood—a town that, according to Eastwood’s speech, is perceived as “left of Lenin.”

The Good, the Bad and the Ugly

 

The Good, the Bad and the Ugly

The Good, the Bad and the Ugly / Review by Pauline Kael

The Good, the Bad and the Ugly

(1966)

Review by Pauline Kael

by Pauline Kael

The scale of the Italian-made Western The Good, the Bad and the Ugly is what most differentiates it from American-made Westerns. My guess is that everything is made vast because Europeans love the wide-open spaces in our Westerns and because Sergio Leone, the director, wanted to outdo the scenic effects in American Westerns. If a man crosses a street in Leone’s Santa Fe, the street looks half a mile wide; a farmer’s hut has rooms-opening into rooms into the distance, like the Metropolitan Museum; the hotel in a cowtown has a plush lobby big enough for a political convention. The movie is like High Noon and The Ox-Bow Incident and a dozen others all scrambled together and playing in a giant echo chamber. The bad men must then be enormously, preposterously evil — larger-than-life parodies, as in a Kurosawa film — and each wound inflicted is insanely garish. Yet, stupid as it all is, and gruesome, the change of scale is rather fascinating. This Italian Western, set in our Civil War period, looks more foreign to us than an ordinary Italian film — which gives rise to speculation about how we alter the scale, and hence the meaning, in our movie versions of foreign stories. Because, although this huge Italian Western (shot in Spain) imitates the externals of American Westerns, it makes those externals so much bigger that what the American Western hero stands for — everything that audiences are supposed to identify with — would look too small, and so it has simply been omitted. The result seems to be popular with American men, who go to relax and enjoy the action; they probably hardly notice — and wouldn’t care anyway — that the Western theme is missing.

The New Yorker, March 2, 1968

SCRAPSFROMTHELOFT

 

Clint Eastwood at the AFI Fest premiere of “Richard Jewell.”
(Jay L. Clendenin / Los Angeles Times)

Clint Eastwood’s ‘Richard Jewell’ earns an ovation as it enters awards race

BY GLENN WHIPP

ENTERTAINMENT COLUMNIST

NOV. 21, 2019 5:16 AM PT

Eastwood began shooting “Richard Jewell” in late June and wrapped in August, enabling Warner Bros. to get it in theaters on Dec. 13. The film could do well commercially, though unlike “American Sniper” or “Sully” — other Eastwood films depicting the dark side of celebrated heroes — it doesn’t have a star. Comedic actor Paul Walter Hauser plays Jewell (Jonah Hill was originally attached), and he makes the most of his first starring role, playing the title character as a kind of principled Paul Blart sad sack, an ordinary man who did an extraordinary thing.

At 91, Clint Eastwood throws a punch and rides a horse in his new movie

Clint Eastwood
Mancho Cry

At 91, Clint Eastwood throws a punch and rides a horse in his new movie. And he’s not ready to quit

BY KENNETH TURAN
SEPT. 12, 2021 6 AM PT

CARMEL — 

Clint Eastwood has been directing himself and others longer than many of his colleagues have been alive. If he walks a little slower on-screen, he’s entitled.

Oscar-winning director and actor Clint Eastwood, 91, photographed amongst oak trees on the grounds 

of his Tehama Golf Club, in Carmel-By-The-Sea.

(Jay L. Clendenin / Los Angeles Times)

 

Eastwood’s first film behind the camera, “Play Misty for Me,” came out half a century ago, and he’s still at it. At age 91, with his new “Cry Macho” set for a Sept. 17 release in theaters and on HBO Max, Eastwood — whose acting credits date to 1955 — is perhaps the oldest American ever to both direct and star in a major motion picture. But ask if anything is different between then and now and you get the verbal equivalent of an amused shrug.

 

Cry Macho review – even Clint Eastwood can’t rescue ropey western

He remains a magnetic presence, but can’t sustain interest in this dated tale, which would have us believe the 91-year-old remains a ladykiller

Peter Bradshaw
Wednesday 10 November 2021

T

here’s a creak of old leather (and other things) in this outrageously dated and hokey sentimental western, made from a script that’s been knocking around the industry for decades; it’s a Swiss cheese of bizarre plot-holes set in 1979, clearly because that is when it was conceived. Only the residual charisma and fascination of its director-star Clint Eastwood keeps it from sinking completely, and only this living legend could get away with asking us to believe that his character is devastatingly attractive to two different younger women, his female co-stars here being 40 and 52.

Clint Eastwood

Celebrate Clint Eastwood’s birthday with his 10 best movies

Updated May 31, 4:21 PM; Posted May 31, 4:20 PM

By Ben Flanagan 

Clint Eastwood turns 90 today, and we’ve yet to see any evidence that he plans to slow down as one of Hollywood’s hardest-working talents. As actor and director, his films have grossed nearly $3 billion worldwide, and last year’s outstanding “Richard Jewell” proves he remains at the top of his game.

To wish the film icon a happy day, we’ll share our 10 favorite films of his. We should note we’re only picking films in which he appears on screen, so that means no “Mystic River” or “Letters from Iwo Jima." And sorry to all you “Changeling” fans.

We’ll cover plenty of the hits you know and love, but also include some lesser celebrated titles that deserve the love. What are your favorite Clint Eastwood flicks? Read ours below:

The Good, the Bad and the Ugly (1966)

Pour one out for Sergio Leone and his “Man with No Name” spaghetti western trilogy that would help launch Eastwood to leading man superstardom. If we must pick only one, the easy choice remains the operatic finale that packs three hours full of epic showdowns, unexpected humor, Ennio Morricone’s sweeping score and Eastwood in all of his cigar-chomping glory, opposite Eli Wallach and Lee Van Cleef.