Wednesday, 16 April 2014


I've been meaning to add this for some time now. Over many years of collecting it was obvious that I was going to accumulate a number of duplicate items. So instead of letting them sit around I thought it would be an idea to create this space to offer such items for sale. As a collector - I would of course always be open to trade - should you have anything to offer in exchange for an item - perhaps you have some original bw stills I don't have? If so, please leave a comment below and I will get back to you.
If you wish to purchase anything I have here, p/p will be added @ actual cost and specific to each location. 

I will be adding items to the shop as and when time permits - so check back often. I will also add a quick link to the shop at the top of the blog's side panel. I hope you enjoy looking around it. 

Eastwood Exposed Original Fold Out poster magazine 1975 Near Mint £10 + p/p


Magnum Force R1 (USA) DVD Near Mint Includes: Original Documentary Hero Cop Yesterday and Today, Original Trailer, Remastered in Dolby Digital 5.1 £3 + p/p

Crawdaddy Magazine April 1978 £6 + p/p
US Magazine Great Cover and 9 page article (A Fistful of Critics by Robert Ward) with good photos. A very collectable magazine - (shown here for illustrative purposes). The spare copy I have has some small cover spine separation (about 2") from top and a small piece of address label on front bottom left. Other than that it is in excellent condition throughout with tight binding and no rust to staples.

Look Magazine July 1979 Near Mint £8 + p/p
Great cover story, includes 10 page feature/interview by Chris Hodenfield (Clint Eastwood: 'Let's go to lunch and B.S. for a while'). Plus a nice Colour Double Page Spread Paramount Summer Vacation Plan including Escape from Alcatraz.

Cinema Retro Dollar Special, a superb 80 page glossy magazine dedicated to Sergio Leone's classic trilogy. 
£9 (includes p/p within the UK) 

Paint Your Wagon Original cinema Souvenir Program. Art by Peter Max Soft Cover Program measures: approx: 8 1/2" x 11 1/2" and has 32 pages. Near Mint £15 (incs free p/p in UK). 

Tuesday, 1 April 2014

UK release of Thunderbolt and Lightfoot Blu Ray

Second Sight has made an announcement on their UK release of Thunderbolt and Lightfoot.

Sincere apologies for how long this announcement has taken. It is always our policy, wherever possible, to include extras involving cast, crew or otherwise on our releases and we have spent the last year trying to make this happen for this release. However, on this occasion it's just not been possible and so we've taken the decision to release the film with no extras rather than wait any longer. We will be releasing THUNDERBOLT AND LIGHTFOOT on Blu-ray on June 23rd. Many thanks for your support and patience on this one.

Just thought I would inform you of this, as I'm sure there must be a number of fans that have been holding out for this version. Whilst the Blu Ray contains no extras, the sleeve does retain the artwork that was original to the Warner's big box VHS and will no doubt bring back a few memories                                                      

Sunday, 16 March 2014

For a Few Dollars More Soundtrack available as a Download

I found out last week (Friday 14th March) that Ennio Morricone's soundtrack for For a Few Dollars More became available again, this time as a download from EMI Music Publishing Italia Srl. 

While the cover art used to advertise it boasts that it is Digitally Remastered, I am not sure to what extent. I am also unaware of the track listing, so it might be worth checking this in advance. 

One thing I do know, that cover art always looks good though doesn't it, regardless of whatever format it comes in.

Tuesday, 25 February 2014

Twilight Time THUNDERBOLT & LIGHTFOOT Full Blu Ray Review

Thunderbolt and Lightfoot (1974) Twilight Time Blu Ray review

Celebrating its 40th anniversary, Thunderbolt and Lightfoot makes a most welcome release to Blu Ray.  The film marked the directorial debut of screenwriter Michael Cimino, a filmmaker who would later experience the full spectrum of Hollywood’s high and low points. Here, Cimino operates at a purely benevolent level, both innocent and opportunist in his approach, Cimino appears to excel in his direction under the conscientious guidance of star/producer Clint Eastwood and his Malpaso Company. By 1974, the 44 year-old Eastwood was both wise and experienced enough to recognise the signs of wasteful and misplaced production values. Big budgeted studio pictures such as Paint Your Wagon and Where Eagles Dare had served as a priceless, cautionary tale that Eastwood would carry with him as part of his evolving education. As one of the emerging breed of Hollywood’s young turks, Ciminio was of course keen to express himself. However, unlike Cimino’s later relationships with the studios, Eastwood arguably retained a firm hold of the leash. Granting Ciminio a certain freedom to express himself certainly proved good, logical sense – and as a result, allowed an innocent freshness to shine through. Nevertheless, one is left with an overwhelming feeling that this may have been one of the rare occasions that Cimino was guided by an experienced hand and advised to either ‘stop’ or ‘move on’.

In its simplest form, Thunderbolt and Lightfoot is a superior slice of Americana, and you’d be hard pushed not to notice the stars and stripes gently dancing on a breeze somewhere along the journey. At its helm, it is a hugely enjoyable comedy–crime caper, whilst at its heart; we are called upon to observe a richly displayed and extremely well defined character study. The nature of its storytelling is really something to behold, for it is a genuine rarity by today’s standards. The film flows easily at a gentle pace, allowing each and every character to unfold and reveal their layers. To observe a cliché, it really is ‘the kind of film they don’t make anymore’. To explore the plot would serve little purpose, and it is, after all, there for you to discover and enjoy for yourself.
As mentioned above, Thunderbolt and Lightfoot is driven by characterization, and this re-evaluation of the film has again certainly highlighted how superior the four performances really are. Eastwood as ex bank robber Thunderbolt appears both relaxed and at ease in his role, an ‘everyman’ of sorts, who projects a confident, laid-back coolness. Jeff Bridges stars as Lightfoot, a brash, quick-witted wiseass with a happy go lucky attitude. In many ways, Bridges steals the show with a wonderful performance that earned him an Oscar nomination for Best Supporting Actor. 

The ever reliable George Kennedy plays Red Leary, an angry, violent man who shares a past with Thunderbolt, while Leary’s sidekick Goody is played by Geoffrey Lewis, a harmless rogue and routine lackey. Between the four central characters, the ‘buddy’ element of the narrative is truly defined – between both Thunderbolt and Lightfoot and Leary and Goody. Yet, there is also an awkward darkness that creeps into the proceedings which leaves an unsettling atmosphere - primarily between Lightfoot and Leary. It is a clash driven by disrespect and old school morals. Lightfoot’s lack of conduct and overall demeanour (Lightfoot wears leather pants) are everything that Leary hates about ‘the kid’ and a constant cause of friction between the two. However, the relationships (as well as the characters) are also multifaceted, and questioned beyond the narrative. For example, Thunderbolt is quick to assert a display of masculinity when Lightfoot is threatened, as one would perhaps expect to see a woman’s honour defended by a man… Later in the film Lightfoot is required to dress as a woman in order to aid in the heist – coincidental? This is just one (rather blatant) example of many - which are more diverse and subliminal throughout the film. It is a curious observation of subtext, and one which (I can assure you) creates some fascinating debate. There is also plenty of room to discuss the overall attitude towards women in this film, which is pretty much non-existent, and on the rare occasion when a female character does appear, doesn’t exactly prove complimentary.

In comparison, there is almost an innocent modesty about Cimino’s film, a simple ‘no thrills’ look which is defined by Frank Stanley’s extraordinary photography. The Big Skies and sprawling untouched landscapes of Montana almost serve as the film’s purist example of beauty. Dee Barton’s restrained score also adds to the subtle quality and only ‘beefs up’ decisively for the film’s tense final. The highlight of the music is of course the memorable song Where Do I Go from Here (1971) written and performed by Paul Williams.

Much like the unspoilt landscape of Montana, Twilight Time’s 1080p transfer of Thunderbolt and Lightfoot has been beautifully and thoughtfully handled. From the outset, let me point out that Thunderbolt and Lightfoot has always contained ‘film grain’, it’s meant to. It was shot on 35mm film stock, and thankfully the film’s grain is left intact. Unfortunately, too many films from this particular period are ‘ironed out’ to within an inch of their life and therefore eliminate the film’s original look. The opening shots (almost static images of sky and fields) perhaps display the film’s grain at its most prominent – yet is far from a distraction and remains the life blood of celluloid. More importantly, the film has been produced with attention to maximum clarity. Physical, age related artefacts such as dust marks, specks have now been removed, whilst delicate colour grading as resulted in some nice deeper blacks and natural looking skin tones. It is obvious that there has been no attempt to over saturate and because of that, the film retains a genuine authentic look. In terms of audio, Twilight Time has provided a sweet sounding 1.0 DTS HD soundtrack. It’s rather amazing that some people still seem to have a grievance about titles such as this, and specifically why they do not contain a multi-channel soundtrack? It’s quite simple really, Thunderbolt and Lightfoot was recorded in mono (= designating sound transmission or recording or reproduction over a single channel), hopefully, enough said…

Twilight Time’s extras boast the Original Theatrical Trailer which provides just enough to tease you into the story without any spoilers, and nicely showcases composer Dee Barton’s dramatic side of his score. For the first time, we are also treated to Dee Barton’s isolated score – a genuine treat for soundtrack hunters. After listening to the isolated score in its entirety, I can perhaps understand why Thunderbolt and Lightfoot has never been granted a dedicated soundtrack release. Whilst it is nicely composed - it is sparingly used - until the actual heist gets under way. This is where Barton turns up the heat, and his variations of an edgy, electronic theme truly takes hold. It is well worth the inclusion, and a lot of people will be thankful that Twilight Time took this opportunity to make sure that Barton’s score never fell into obscurity. The film’s commentary track proved to be the highlight of the extras. Moderated in relaxed and friendly style, Nick Redman sits down with guests Lem Dobbs and Julie Kirgo. Together, the team provide an endless stream of incredible information. Among the subjects discussed are detailed analysis of virtually everyone that appears on screen, the career of director Cimino, production history and the conspicuous ongoing debate revolving around the Gay/No way subtext. Originating on an internet forum from many years ago, (of which I was one of the regular contributors) both Dobbs and Kirgo discuss at length the evidence behind this extraordinary element of the film which continues to remain the subject of fascinating debate.

Twilight Time has also provided a very nice accompanying booklet containing production notes and a history of the film, all written intelligently by Julie Kirgo. The case cover comes in the shape of the rarely used Style ‘A’ U.S. 1 sheet and containing the fabulous artwork of Ken Barr. A beautiful package, thoughtfully produced and one not to be missed, it’s hard to see Thunderbolt and Lightfoot ever looking better than this.

Warners to release 2 new Blu Ray titles

Yes, our friends at Warner Home Video are set to release 2 new Eastwood titles on Blu Ray, First up will be The Bridges of Madison County. The Disc will feature an Audio commentary by Editor Joel Cox and Cinematographer Jack N. Green, Doe Eyes Music Video, Theatrical Trailer and a making of. There is no information as to the duration of this featurette. The Blu Ray will be released on May 6th.

The following month on June 10th, Warner Brothers will also be releasing Eastwood's excellent 1984 thriller Tightrope. There has been no mention of the extras included at this time.

Friday, 14 February 2014

2 Clint Soundtracks announced First Time on CD!

My old Eastwood buddy Lea St Laurent just contacted me and told me of this news, thanks so much Lea for the heads up!

Any Which Way You Can

SKU: VSD-7236
UPC: 030206723687
Artist: Various
Title: Any Which Way You Can: Original Motion Picture Soundtrack
Release Date: 2/18/14
Any Which Way You Can was an action comedy film, starring Clint Eastwood, Sondra Locke, Geoffrey Lewis, William Smith, and Ruth Gordon. The film is the sequel to the 1978 hit comedy film Every Which Way but Loose.
The soundtrack features the #1 hit “You're the Reason God Made Oklahoma” by David Frizzell & Shelley West, and the top 10 hit “Any Which Way You Can” by Glen Campbell as well as five other top country hits.

Track List:
1. Beers to You • Ray Charles & Clint Eastwood
2. Any Which Way You Can • Glen Campbell
3. You're the Reason God Made Oklahoma • David Frizzell & Shelley West
4. Whiskey Heaven • Fats Domino
5. One Too Many Women In Your Life • Sondra Locke
6. Cow Patti • Jim Stafford
7. Acapulco • Johnny Duncan
8. Any Way You Want Me • Gene Watson
9. Cotton-Eyed Clint • The Texas Opera Company
10. Orangutan Hall of Fame • Cliff Crofford
11. Too loose • Sondra Locke
12. The Good Guys and the Bad Guys • John Durrill


Honkytonk Man

SKU: VSD-7237
UPC: 030206723786
Artist: Various
Title: Honkytonk Man: Original Motion Picture Soundtrack
Release Date: 2/18/14
Honkytonk Man is set in the Great Depression. Clint Eastwood, who produced and directed, stars with his son, Kyle Eastwood. Clancy Carlile's screenplay is based on his novel of the same name.
The movie featured Marty Robbins' performing the title song (a top 10 country hit) in his final appearance before he passed away. The soundtrack also features Clint Eastwood singing "When I Sing about You" and "No Sweeter Cheater Than You" as well as Clint joining with Marty Robbins, John Anderson and David Frizzell to sing the Jimmie Rodgers classic "In The Jailhouse Now."

Track List:
1. San Antonio Rose • Ray Price with Johnny Gimble & The Texas Swing Band
2. Turn The Pencil Over • Porter Wagoner
3. Please Surrender • David Frizzell & Shelly West
4. When I Sing About You • Clint Eastwood
5. Ricochet Rag • Johnny Gimble & The Texas Swing Band
6. Honkytonk Man • Marty Robbins
7. One Fiddle, Two Fiddle • Ray Price with Johnny Gimble & The Texas Swing Band
8. In The Jailhouse Now • Marty Robbins, John Anderson, David Frizzell & Clint Eastwood
9. No Sweeter Cheater Than You • Clint Eastwood
10. These Cotton Patch Blues • John Anderson
11. Texas Moonbeam Waltz • Johnny Gimble & The Texas Swing Band

12. When The Blues Come Around This Evening • Linda Hopkins

Tuesday, 11 February 2014

Universal presents an Alfred Hitchcock picture – Starring Clint Eastwood

Clint and Hitch lunch over Elmore Leonard 's: Unknown Man Number 89  

Sounds rather nice doesn't it... I wanted to put this little piece together, which has been drawn from sources such as books and the internet. It was a project that seemed to hang in the balance around 1977-78. Whilst it ultimately became a project that failed to materialise – it does conjure up some tantalising and rather thought provoking possibilities…   

Alfred Hitchcock, I'm told, was so taken with Lee (the female lead and the character from whom the plot develops) that he got Universal Studios to buy the screen rights of the book for him.  No one knows what Hitchcock has in mind; he died while preparing the film he planned to do before Unknown Man #89.  After his death, a number of the 100-plus producers who had rejected the possibility of the book as a movie now showed considerable interest – what with Alfred Hitchcock’s prints being on the book.  Unfortunately, no one could find out what Hitchcock had planned to do with it, if in fact he planned to do anything at all. I did write an Unknown Man #89 screenplay for Universal, which the studio gave to a talent agency for casting. Elmore Leonard, April 1993.

Unknown Man #89 - a crime novel written by Elmore Leonard was published in 1977. It was also one of the last projects considered by director Alfred Hitchcock.  The gritty Elmore Leonard novel was about a flawed hero up to his neck in criminals and getting caught up with a sad blonde in distress – a tagline that could of been applied to The Gauntlet (1977). 

The novel follows the exploits of Detroit process server Jack Ryan, who has a reputation for finding men who don't want to be found. A string of seemingly unrelated crimes leads Ryan to the search for a missing stockholder known only as "unknown man #89," but his missing man isn't "unknown" to everyone: a pretty blonde hates his guts, and a very nasty dude named Virgil Royal wants him dead in the worst way. This is very unfortunate for Jack, who is suddenly caught in the crossfire of a lethal triple-cross and becomes as much a target as his nameless prey. Along the way, Ryan butts heads with local police, including six-shooter-carrying Dick Speed. The book is perhaps best remembered for a sequence taken straight from The Godfather, where thug Virgil plants a shotgun in the meeting place of his victim, in this case, the fire escape of Bobby Lear's hotel room.

Late in his career, director Alfred Hitchcock flirted with the idea of casting Eastwood as the book’s hero Jack Ryan. Eastwood has touched on the subject in previous interviews. ''Hitchcock wanted me to be in one of his films [which, it turned out, would never be made]. I wasn't nuts about the script. I had lunch with him in his office. When I walked in, he was sitting there very erect and he didn't even move. Only his eyes did. They followed you across the room. He had the same thing for lunch every day — a steak and some sliced tomatoes.'' According to the revised edition of “Hitchcock” by François Truffaut, Alfred Hitchcock was seriously considering adapting Leonard's novel Unknown Man: No. 89, to which he had acquired the rights, as his follow-up film to Family Plot (1976) his 53rd film. 
But of course, there never was a 54th film and Hitchcock passed away on April 29th 1980.