Monday, 14 October 2019

The Enforcer: And how Clint loves that Shotgun…

Today I was sent a couple of superb ‘unseen’ images from The Enforcer (1976) one of which is particularly wonderful. A lot of fans will be familiar with Clint holding this shotgun via a number of publicity shots released from the film, but of course never shows up in the finished cut of the film.

The more familiar and commonly seen shots feature Clint with this shotgun whilst wearing the white windcheater style jacket that he wore later in the movie. These familiar shots were taken whilst filming the climax on Alcatraz Island. However, the whole Alcatraz sequence saw Clint wearing the brown suede jacket (just to confuse things even more). 
If using the evidence in the photo below, we can safely say this was taken during the shooting of the liquor store hold up. Clint clearly has the same jacket on, and the POV is pretty much identical to where Harry drives the car through the shop front. 

The background buildings (left) also confirm this. The second photo is probably from the same photo shoot. I can also confirm that these were both taken during the July of 1976.


The shotgun photos have always been a bone of contention among Eastwood fans. This photo only serves as more evidence that Clint was perhaps itching to include this piece of hardware within the movie. I guess we will never know. I will have to pull the script again one of these days to see if it actually makes an appearance. For now, this cracker of a photo will continue to keep us happy, as well as further extending our curiosity. 
My kindest thanks to Davy Triumph.    

Friday, 4 October 2019

Richard Jewell, Official Trailer already released by Warner Bros!

I’m amazed to see that a trailer is already out there for the Clint’s forthcoming movie Richard Jewell (which I believe has been marked for a December release). I’m constantly surprised at the speed of Clint’s output, it seems like only yesterday I was still reporting on the casting. Speaking of casting, I’m certainly looking forward to seeing Sam Rockwell working under Clint’s direction. I’ve always been a huge admirer of Rockwell’s work. So what else can we take from the Trailer? Well I can see that the score is by the American-Cuban jazz trumpeter Arturo Sandoval. I’ll be interested in hearing this, as his film work up until now has arguably been somewhat low key. We of course still don’t know if there will in fact be a soundtrack release. In the meantime, here’s the trailer. My thanks also to Jayne Smart for alerting me to this.
            

Play Misty for Me Rare UK 60 x 40 poster

Out of respect, I held back on posting this extremely rare poster while the auction was still active. In that time, it also gave me the opportunity to digitally restore it to somewhere near its original glory. The poster as stated is an extremely rare one and was exclusively printed for the ABC cinema chain. As far as we are aware, there was also a poster produced for Dirty Harry (see here) and for High Plains Drifter. Because of the unusual size, especially in UK cinemas, these posters were often cut down to a 30x40 section in order to fit within the more standard quad frame - something that actually turns me cold at the very thought! This Play Misty version sold on Wednesday for a final price of £113.00, which was not particularly surprising as it was the first one I have ever seen come up for auction. The poster was available within the UK only, so unless it was obtained on behalf of someone, I’m guessing the poster still remains here within the UK. It’s certainly a very nice and unique piece.

Sunday, 22 September 2019

Rare 1970 Fashion shoot or Clint’s venture into fashion victim studmuffin territory

I was quite amazed when I (purely by accident) discovered this remarkable feature this week. Like a lot of fans, I knew this wasn’t exactly new territory for Clint, due mainly to the Playboy Magazine March 1972 "Clint Eastwood: Pushover for Pullovers" feature (here). However, I was not aware of this Harper's Bazaar, Feb 1970 magazine which also features Clint in another fashion shoot. It contains just the two full page shots (photos by Bill King), and finds Clint not looking particularly comfortable, but nevertheless trying to enjoy the moment. It’s an interesting find as it notably states that Clint is currently appearing in Paramount’s Paint your Wagon and his next film is Universal’s Two Mules for Sister Sara. I’m constantly surprised by what is still out there and surfacing.   

Friday, 13 September 2019

A Fistful of Dollars: 55 Years since Italian Premiere

I was reminded yesterday by our friend Jayne Smart that yesterday (September 12th) marked the 55th Anniversary since A Fistful of Dollars made its Italian premiere in 1964. I thought it would be nice to mark the occasion with a little bit of post history and why the film was delayed in other countries. For this particular post, I have borrowed from Wiki, which is all pretty accurate.
Sergio Leone counting his Dollars
Initially, releasing A Fistful of Dollars was difficult, basically because no major distributor wanted to take a chance on a faux-Western and an unknown director. The film ended up being released in September, which is typically the worst month for sales. The film was shunned by the Italian critics, who gave it extremely negative reviews. However, at a grassroots level, its popularity spread, and it grossed $4 million in Italy, about three billion lire. American critics felt quite differently from their Italian counterparts, with Variety praising it as having ‘a James Bondian vigor and tongue-in-cheek approach that was sure to capture both sophisticates and average cinema patrons’. The release of the film was delayed in the UK and the United States, because distributors feared being sued by Akira Kurosawa, as A Fistful of Dollars was immediately identified as an unofficial remake of his film, Yojimbo (1961). As a result, A Fistful of Dollars was not shown in American and UK cinemas until 1967. This made it difficult for the American public or Hollywood to understand what was happening to Clint in Italy at the time. An American actor making films in Italy met with considerable prejudice, and was seen in Hollywood as taking a step backward, rather than a career development.
A Fistful of Dollars was released in Italy in September 12, 1964. Over the film's theatrical release, it grossed more than any other Italian film up to that point. In January 1967 the film premiered in the United States grossing $4.5 million for the year. It eventually grossed $14.5 million in its American release. In 1969 it was re-released, earning $1.2 million in rentals.
Upon the film's American release in 1967, both Philip French and Bosley Crowther were not impressed with the film itself. Critic Philip French of The Observer stated:
‘The calculated sadism of the film would be offensive were it not for the neutralising laughter aroused by the ludicrousness of the whole exercise. If one didn't know the actual provenance of the film, one would guess that it was a private movie made by a group of rich European Western fans at a dude ranch... A Fistful of Dollars looks awful, has a flat dead soundtrack, and is totally devoid of human feeling.’ June 11th, 1967
Bosley Crowther of The New York Times treated the film not as pastiche, but as camp-parody, stating that nearly every Western cliché could be found in this ‘egregiously synthetic but engrossingly morbid, violent film’. He went on to patronise Eastwood's performance, stating: ‘He is simply another fabrication of a personality, half cowboy and half gangster, going through the ritualistic postures and exercises of each... He is a morbid, amusing, campy fraud’ February 2nd, 1967
The retrospective reception of A Fistful of Dollars has been much more positive, noting it as a hugely influential film in regards to the rejuvenation of the Western genre. The 67th Cannes Film Festival, held in 2014, celebrated the "50th anniversary of the birth of the Spaghetti Western... by showing A Fistful of Dollars". Quentin Tarantino, prior to hosting the event, in a press-release described the film as ‘the greatest achievement in the history of Cinema.’

Sunday, 8 September 2019

Clint Eastwood Photo Opportunity #13

Here's a nice, rarely seen photo which I thought was worthy of an individual post (I will also be adding to the Dirty Harry page). Clint is captured here undergoing some major injury make-up from the Dirty Harry crew. The make up represents the beating that Harry took by Scorpio at the foot of the Memorial Cross at Mount Davidson. My thanks to Davy Triumph.  

Monday, 2 September 2019

Space Cowboys Rare UK Press Kit

I was over the moon to receive this wonderful rare UK Press kit today – thanks to a new friend of the archive, James Maher. Whilst I have a great deal of material from Space Cowboys (including a different press kit), these differ a great deal. My other set contains several two-on-one photos, (where 2 shots are featured on one photo), whereas this set contains 15 full individual photos and include shots that are not featured in the other set. They all come nicely packaged in a colour Warner’s folder / junket and also include 40 pages of production notes. It makes a great addition to the collection and I am very pleased to now own them. I thought they deserved their own post and will also be adding them to the dedicated Space Cowboys page (here)
Thank you again James, hope you can stick around here.

Thursday, 11 July 2019

Throwing Down the Gauntlet by Marneen L. Fields and John Harrison

Marneen Fields is a North Dakota native. In August 2018 Marneen was honoured at the International Action on Film Festival in Las Vegas, Nevada, where she received the Legendary Stunt Award (above) in acknowledgement of a career which began in 1976 and came to an unfortunate and abrupt end in 1991, not because of a stunt gone wrong but at the hands of an erratic young drunk driver who ploughed into the side of her car while she was on a routine drive through Studio City, California. Marneen received massive internal injuries that threatening her life. I’m pleased to report that today, Marneen is very much fit and well and recently took time out to speak exclusively to the Archive and share some of her personal photos. In particular, about her memories on working with Clint on an enduring, fan favourite, The Gauntlet.
Marneen, Buddy Van Horn and Clint on location
In mid-1977, I packed my travel bags and headed for the dry air and sunny climate of the Arizona desert to film one of the stunts which I became best known for within the industry, getting punched off a moving train by Clint Eastwood in his classic action film, The Gauntlet. I landed the job after receiving a call from Clint’s stunt double and coordinator, Buddy Van Horn. He had been given my number and asked if I would be prepared to do this rather risky stunt. Though I was quite apprehensive about it, it was far too good an opportunity to turn down. I had about two weeks to get ready before I was due on location in Arizona, so I spent that time practising in the playground at the local beach, where I would stand up on the moving swings and leap off of them while they were still in motion then roll into the sand. 
In the movie, Clint–who also directed as well as starred in alongside Sondra Locke–plays Ben Shockley, an alcoholic and down on his heels cop from Phoenix, who is given the seemingly simple task of traveling to Las Vegas to escort a troublesome female witness named Gus Mally (Locke) back for a court case. Of course, this "nothing witness" for a "nothing trial” ends up instigating a white-knuckle fight for survival, as the cop and his witness are chased across the desert by corrupt officials who are determined to kill them both before they reach their destination. 
For my big scene, I stunt doubled for actress Samantha Doane as one of the tough biker chicks who runs into Shockley and Mally when they jump aboard the carriage of a passing goods train. The plot set-up was that the couple had previously stolen a motorcycle from this outlaw biker gang, which has them out for revenge. After getting rid of the two male bikers (who are busy forcing themselves lasciviously on Mally), Shockley angrily approaches the female biker, who looks at him and asks “You wouldn’t hit a lady, would you?” Shockley replies by slugging her in the face and sending her flying out of the train carriage and onto the hard and hot desert floor.
A great shot capturing Clint and Marneen on the train
I also doubled for Samantha during the fight with Clint inside the train carriage, and had a small background role as one of the female bikers in an earlier scene. I had henna tattoos drawn on me by one of the make-up artists for both of my roles – one of black roses painted onto my shin for the background scene, and a heart with an arrow through it onto the top cleavage of my chest, with arrows onto my upper biceps for my stunt scene. The hairstylist took an hour putting my hair into pin curls in order to pin a thick black curly wig onto my head, which was not only intensely uncomfortable to wear in the Arizona heat, but gave me extra concern about the possibility of it coming loose and disturbing my field of vision during the jump. 
For the leap from the moving train carriage, all I had for protection was a small boy’s football girdle and some knee pads strapped to me under the pair of grotty old blue Levis which the character wore. All movie stunts are serious and carry potential risks, but this one filled me with a particularly strong level of anxiety in the lead-up to its execution. The screenplay called for me to be standing with my back to the open train carriage, causing me to exit going off blind. When Clint throws a punch at my jaw, I had to turn to my right and leap from the train, while trying to make it look as if my body had gone limp from the punch. The scary part was, because the train was in motion, until I actually spun around and made the commitment to fall. I had no real idea of exactly where I was going to land. Clint and Van Horn had blocked out my scene with me and gone over the approximate area where I was expected to fall. 

Clint checks out the exit route
I was warned by both of them that I must make sure my body moved in the same direction the train at all times (hard to do when you’re going off backwards with a half twist), or I could be thrown back under the train track wheels and squashed to death. I watched in nervous anticipation as the props department prepared the ground for my crash landing. They removed as many rocks as they could, then they rolled in a small wheel barrel of full of sand. They poured the sand around the general area I’d be landing in to help cushion my fall, but there were still a few cactus plants and smaller rocks in the area. I remember them tossing an old rusty Coke can and more cactus plants onto the sand to make it look more authentic. 
The one thing you have to bear in mind is, when your body leaves an object travelling at a speed like that, the gravitational pull carries you along with the object, even after you have left it. The train was travelling steady at around five miles per hour, which may not sound like much, but seems a whole lot more when you are the one who has to make the leap. As I performed the half twist to align myself with the massive train, and launched myself off the carriage, my body, unexpectedly, popped high up into the air and I flew horizontally at the same speed of the train as I was carried along the side of it. All of this happening within seconds prior to beginning my descent. While mid-air, my arms, legs, and body flailed uncontrollably for what seemed like slow, terrifying minutes rather than the few seconds it actually took to complete the fall. It was very frightening for me at that moment. In those few seconds, I had to try and muster all my strength to regain equilibrium and keep my body moving in the direction of the train as I was free falling and being pulled every which way. At the same time, I was also trying to keep a mindful eye on where I was going to land. I was certainly terrified at that moment, and wondered why the hell I was even here doing this. The noise of the train and its gravitational pull had me feeling as if I might be pulled back against the side of the carriage or, even worse, sucked under its rolling wheels and crushed to death, which added to the incredible anxiety and adrenaline that was charging through my body. Once the centrifugal pull of the train dissipated, my body fell like a sack of potatoes, hitting the harsh Arizona floor with a force equal to the weight of my body times the speed of the object. In other words, pretty darn hard. I flipped over wildly about ten times before slamming into a cactus of all things, which halted my roll. I was rattled and bruised, but miraculously came away without a scratch on my bare arms and face. I went from incredible apprehension to feeling like a complete champion in seconds! I had conquered the jump off the moving train, and got to walk away without any broken or fractured bones, only a badly bruised left heel. It could have so easily gone the other way, though. When you watch the stunt in the film, you can see how close I came to landing on that rusty old Coke can. To think we all stood around watching the props department nonchalantly toss it into the sand (presumably to give a bit of variety to the barren landscape), and my youth and inexperience making me ignorant to the damage it might have caused had I connected with it upon landing. This was still the days of the old hard tin Coke cans, not the easily-crushable aluminium ones which became the mainstay not long after. I hate to think of what might have happened if my face landed on it, or if I had hit the back of my head on it while rolling over upon landing. As I always did upon completing a successful stunt, I thanked the angel on my shoulder. 
Below: Rare shots taken of Marneen's leap from the train.
Despite the incredible risks and the immense terror which gripped me during its execution, it remains a stunt which I am incredibly proud of, and is certainly one of the defining moments of my stunt career, which was launched virtually overnight because of it. They put my jump in the trailer, a still photo of it was sent out to all the newspapers and entertainment magazines, and the Hollywood stunt community began taking real notice of me. It was one of the most dangerous stunts which a female had ever attempted on film to that point, and it looked amazing and startlingly authentic when it was seen on the big screen for the first time, and it still holds up incredibly well on home video today. People still gasp when they see that stunt for the first time, because they can see that it is real. No matter how advanced cinema special effects might look today, thanks primarily to computer technology, nothing will ever match the genuine excitement of a girl with little more than knee pads, a football girdle and a lot of heart and spirit, taking a great and dangerous leap into the unknown in the name of film-making. 
Clint on location during The Gauntlet
About a week after I got back from filming in Arizona, I received a personal phone call from Fritz Manes, who was Clint Eastwood's childhood friend and producer at the time. Fritz told me he was leaving me a drive-on pass at the Warner Brothers Studio front gate and to come by the office to pick up some photographs he had for me. When I arrived at the studio and opened the door to Malpaso Productions, there was Clint Eastwood, standing alone in the reception area of the outer office. I kid you not, he was in a state of complete calm and deep thought, and I imagined he was either meditating or if it was his way of running and remembering lines. I wondered how he was going to react, since I had entered without knocking first, but he was fine as he shook my hand and I reminded him that I was the girl he had punched off the train. “Yes, Fritz isn't here right now,” Clint replied. “But he has some photos for you. Come in here, Fritz left them on his desk." He handed me a huge manilla envelope with my name written in black swastick pen on it. Once again, he shook my hand and complimented me on the great stunt I did, as he opened the envelope and showed me the still photos which captured my entire sequence in a set of 8X10 shots, which I still possess and treasure to this day. 
The famous publicity still used by Warner Bros 
Clint Eastwood was the most talented director and producer I ever worked with, no doubt. After my stunt had been completed, and I lay winded and nearly knocked-out on the hot desert floor, pain tearing at my left heel, I looked up and wondered how I was going to get out of that sand trap as the train had vanished. A few moments later, the train coming rolling slowly backwards down the track, Clint hauled himself off the train as soon as it came to a halt, ran over to me and picked me up in a giant hug. “I LOVED IT!” he exclaimed. In 2010, Clint actually contacted me via Facebook, and was nice enough to send me a copy of a 1988 issue of Star Magazine, which ran an article on me with the headline Clint Eastwood’s Hug Changed My Life.

Released in December of 1977, The Gauntlet proved to be another popular box-office hit for Clint, who could really do no wrong at this point in his career. With a production budget of US $5.5 million, the film would earn a tidy US $35.4 million during its initial theatrical run in America, which at the time was a pretty impressive figure (even more so considering Star Wars was still dominating the box-office at the time). It felt good to be involved in a project that was proving to be a hit with the public, it meant all the hard work and risks I had put myself through was being seen and hopefully appreciated by lots of people. It made the ordeal more than worthwhile.
But I have to tell you, going out that train blind and backwards with a half twist, not knowing if I I was going to end up safely on the sand or crushed under metal wheels, was absolutely terrifying. It still makes me shake just to think and write about it.
Below: Marneen doubles for Shirley Jones
With the success of The Gauntlet at the box-office, Marneen's stunt career expanded exponentially with work on a notable roster of episodic television shows, many of which developed large cult followings like Battlestar Galactica, Fantasy Island, The Fall Guy, Quincy M.E., Lou Grant and many others.  On the big screen, she played a passenger who got thrown out of a train derailed by a swarm of killer bees in Irwin Allen’s The Swarm (1978), doubled for Shirley Jones (above) in Beyond the Poseidon Adventure (1979),
Today, Marneen remains incredibly busy. along with her husband John Harrison, Marneen has two books in preparation; Cartwheels & Halos: the True Marneen Lynne Fields Story an  absorbing story about how she found her true calling in the wake of her childhood dreams after surviving a near-fatal car accident. The second book, Rollin' with the Punches: an Examination of the Stunt and Acting Careers of Marneen Fields is a filmography. Marneen's ultimate dream is to see Rollin' with the Punches made into a documentary and she's been busy compiling many interview clips for inclusion.
 
Marneen has a dedicated Facebook page for her book projects (HERE
and you can also keep up with all projects at her own website which can be found (HERE
Our kindest thanks Marneen. 

Wednesday, 10 July 2019

Freddie Jones: Veteran Firefox actor dies aged 91

Tributes have been paid to the British actor Freddie Jones who has died at the age of 91. His agent Lesley Duff said he died on 9 July after a short illness. She remembered Jones - the father of fellow actor Toby - as "a much loved and admired actor, known for his triumphs in theatre, film and TV." His many feature films include the David Lynch films Dune, Wild at Heart and The Elephant Man. In the latter he played Bytes, the circus ringmaster who cruelly exploits the physically deformed John Merrick. He also appeared in such horror films as Frankenstein Must be Destroyed and The Satanic Rites of Dracula as well as 1983 sci-fi Krull. Jones is fondly remembered for playing Kenneth Aubrey opposite Clint in his 1982 American action techno-thriller Firefox.
Jones started out as a laboratory assistant before turning his love of amateur theatre into a professional career. After working in repertory theatre and television, he made his film debut in Peter Brook's Marat/Sade in 1967. Jones was married for more than 50 years to actress Jennie Heslewood, with whom he had three sons.

In 2009 Freddie and Toby Jones appeared together on The Film Programme to discuss the art of being a character actor. Speaking to broadcaster Matthew Sweet, Jones senior said the secret of making an impression was "not leaving it on the page, but lifting it up and flying it a bit". 

He also revealed he had initially turned down The Elephant Man because he found it "over-larded with mawkish sentimentality". "It didn't need it," he said of the film's script, which went on to be nominated for an Oscar and a Bafta. "The man [John Merrick] was a living tragedy."


Rip Sir

Saturday, 6 July 2019

Paul Benjamin dies aged 81

Paul Benjamin, Actor in Escape from Alcatraz Dies at 81. He also appeared in Midnight Cowboy, Across 110th Street, Do the Right Thing and The Station Agent.

Paul Benjamin, the veteran actor who portrayed one of the three wise Brooklyn "cornermen" in Spike Lee's Do the Right Thing, has died. He was 81. Benjamin died June 28, Lee announced on Instagram. No other details of his death were immediately available.
His other noteworthy roles included those of a bank robber who rips off the mafia in Across 110th Street (1972), the father of a folk singer (Roger E. Mosley) in Leadbelly (1976), the embittered prisoner English in Escape From Alcatraz (1979) and Henry, the owner of the model train hobby shop in The Station Agent (2003). Benjamin also starred in the 1979 CBS telefilm I Know Why the Caged Bird Sings, based on Maya Angelou's book, and appeared for Robert Townsend in The Five Heartbeats (1991), for John Singleton in Rosewood (1997) and for Bill Duke in Hoodlum (1997).
In Do the Right Thing (1989), written and directed by Lee, Benjamin played ML alongside Frankie Faison as Coconut Sid and Robin Harris as Sweet Dick Willie. The trio gather every day against a brick wall under a beach umbrella and serve as a sort of Greek chorus, commenting on the events of the day.

Born the youngest of 12 children on New Year's Day 1938 in South Carolina, Benjamin was the son of a preacher. He moved to New York and studied acting at Herbert Berghof's studio and made his film debut playing a bartender in Midnight Cowboy (1969). He appeared on Broadway in Sam Shepard's Operation Sidewinder in 1970 and had small roles in two 1971 releases, The Anderson Tapes, directed by Sidney Lumet, and Born to Win (1971), starring George Segal. Benjamin then lent an air of authority to the blaxploitation films The Education of Sonny Carson (1974) and Pam Grier's Friday Foster (1975). His film résumé also included Richard Pryor's Some Kind of Hero (1982), Barbra Streisand's Nuts (1987) and Clint Eastwood's Pink Cadillac (1989).
On television, Benjamin played homeless man Al Ervin on several episodes of ER; showed up on such series as Police Story, Kojak, Law & Order and The Shield; and appeared in telefilms including 1977's One in a Million: The Ron LeFlore Story with LeVar Burton, 1980's Gideon's Trumpet with Henry Fonda and 1987's The Man Who Broke 1,000 Chains with Val Kilmer.
RIP….boy

Tuesday, 2 July 2019

Billy Drago, Actor in 'Pale Rider' Dies at 73

I was sad to learn that the actor Billy Drago passed away last week. His career spanned four decades and he appeared in over 100 films.
Billy Drago (born William Eugene Burrows Jr.) was perhaps best remembered for playing Al Capone's top henchman in Brian De Palma's The Untouchables. He died on Monday 24th June in Los Angeles, his rep told The Hollywood Reporter. He was 73.
Drago appeared in numerous films and TV shows over the years, including X-Files and Charmed, but he was most recognised for portraying real-life mobster Frank Nitti (always wearing a white suit) in the Brian De Palma 1987 classic. At the time, THR's review of The Untouchables noted, "Also deserving praise on the bad guy's side is Billy Drago as the psycho, trigger-happy Frank Nitti — his mean and vicious glint is razor sharp." The character suffered a memorable rooftop demise at the hands of Eliot Ness, who was played by Kevin Costner.
Fans will of course remember Drago from Clint's classic Western Pale Rider (1985) where he played Deputy Mather.
Drago was born in Hugoton, Kansas, to William Eugene Burrows Sr. and Gladys Marie Wilcox. A journalist for the Associated Press in his younger years, Drago became a fixture on Kansas radio, which led to him hosting his own highly rated program. Drago's road to Hollywood was paved after a stint with a touring theatre group, along with acclaimed performances in New York City. The actor is remembered as a fearless artist and poet who tackled his work with intensity and pushed creative boundaries while encouraging his peers and those new to the business. He enjoyed travelling across the globe, from Indonesia to Israel.
Drago was married for a time to actress Silvana Gallardo, with whom he worked on numerous projects. He is survived by his sister Patty, Brother Steve and his two sons, actor Darren Burrows and Derrick Burrows, as well as several grandchildren.
RIP Sir.