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.

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.

Monday, 1 July 2019

Clint Eastwood Photo Opportunity #13

Clint Eastwood and British actress Helen Mirren prove they’ve still got the moves during the 12th Annual Critics' Choice Awards held at Santa Monica Civic Centre, California on January 20th, 2007. The couple would meet up again the following year when both Clint, Mirren and her husband Taylor Hackford appeared on the November 2nd, 2008 Episode of the Chat-show Shootout (2003 – 2008), also known as Sunday Morning Shootout.   

Ennio Morricone & Hugo Montenegro - Movie Classics CD

One for completists only I suspect, but I’ve seen this on Ebay numerous times and always skipped over it. However, when presented in front of you in a charity shop it deserved a closer inspection, and it’s actually a respectable little CD. No phoney covers here – all original Morricone and Montenegro and a really diverse selection all of which sound great. I know you can argue Montenegro’s tracks are covers, but not the bad types that often suffocated the market…
I picked it up (for 33p) simply for the Eastwood cover, but it's actually quite a bit more – worth looking out for on Ebay if cheap enough for your tastes.
Track listing
1  The Good, the Bad and the Ugly 2:48
2  A Fistful of Dollars - Main Titles  2:59
3  A Fistful of Dollars 1:50
4  For A Few Dollars More 2:52
5  Bye Bye Colonel 1:46
6  The Ballad of Sacco and Vanzetti Vocals – Joan Baez 5:24
7  The Vice of Killing 2:27
8  Paying Off Scores 3:06
9  The Adventurer  4:50
10  Once Upon A Time in the West (Harmonica /Main Titles) 7:12
11  A Gun for Ringo  2:21
12  Metello  2:42
13  (Theme From) The Man From U.N.C.L.E. Written-By – Jerry Goldsmith 2:02
14  Sixty Seconds to What? 2:21
15  (Theme From) The Battle Of Algiers (Ali's Theme / Algiers 1st November 1954)
      Written-By – Ennio Morricone, Gillo Pontecorvo 5:10

Thursday, 27 June 2019

Ian Gomez Joins Clint Eastwood's Richard Jewell Movie

Ian Gomez is rounding out the cast of Clint Eastwood's The Ballad of Richard Jewell, about the Olympics security guard who found himself at the centre of a media frenzy. The Warner Bros. project is based on Marie Brenner's story in Vanity Fair about Jewell, who was working at the 1996 Olympic Summer Games when he discovered a backpack containing pipe bombs. He then sounded the alarm and helped to clear the area. Initially hailed as a hero, Jewell was soon the prime suspect. The FBI searched his home twice, and the media painted him as an overweight failed cop.
Gomez joins a cast that includes Sam Rockwell, Kathy Bates, Olivia Wilde and Jon Hamm, with BlacKkKlansman actor Paul Walter Hauser playing Jewell. Gomez, whose recent credits include CBS comedy Living Biblically, will next be seen in Apple's The Morning Show, starring Reese Witherspoon and Jennifer Aniston. He is repped by APA, manager Eric Skinner and Del Shaw.

Friday, 21 June 2019

Happy Birthday Lalo Schifrin / The single version of Dirty Harry

We have of course all become very familiar with composer Lalo Schifrin’s legendary Dirty Harry theme. Over 45 years on, the theme remains a favourite with the fans and still features in Schifrin’s concert sets when he takes his music on the road. The theme remains one of the mighty slices of urban Jazz. Yet, a great many people are still unfamiliar with the single version of the theme. 
This version actually appeared as a B side, on Lalo’s U.S. (Verve VK-10705) single Latin Soul. However, the single was also released in France as a 7” Special Disc Jockey vinyl, also on Verve (2009 025) and in a picture sleeve. Released in 1973, the track was produced by John DeMarco and Marshall Leib. The theme (arranged by Schifrin) is a great deal different from the film version - much sharper, faster and up-tempo with a distinct Latin, soulful edge. However, it does still contain the wonderful, wordless vocals by our very favourite songstress, Sally Stevens. 
The French 7” single - in its quirky picture sleeve (with artwork by designer Jean-Claude Trambouze) remains the most collectable. Today, and depending on sleeve and vinyl grades, you could easily pay anywhere between €64 for a very good copy to €100 for a near mint example.

Nevertheless, the A and B sides do both appear as bonus tracks on the French CD box set ‘The Sound of Lalo Schifrin’ a must have 5 CD collection that can be obtained at a very reasonable price. 

Personally, I can’t think of a better way of celebrating the Maestro’s special day.

Have a wonderful Birthday, Sir. On behalf of everyone at 
The Clint Eastwood Archive


Thursday, 13 June 2019

Paul Walter Hauser to lead in Clint Eastwood’s next movie

Paul Walter Hauser will star in Eastwood’s feature, which tells the story of the security guard who went from hero to suspect at the 1996 Atlanta Olympics.
In what has the potential to be a star-making turn, Paul Walter Hauser will star as Richard Jewell in Clint Eastwood’s feature telling of the security guard who went from hero to suspect at the 1996 Atlanta Olympics.
Originally set up in 2014 at Fox, the project, titled The Ballad of Richard Jewell, has moved studios and is now at Eastwood’s longtime home, Warner Bros.
Jonah Hill was initially attached to play Jewell, with Leonardo DiCaprio attached to play his attorney. The two remain connected to the project as producers. Kevin Misher and Jennifer Davisson, DiCaprio’s partner at Appian Way, are also producing, as are Tim Moore and Jessica Meier.
Sam Rockwell is already in negotiations to portray Jewell's attorney.
Jewell was working as a security guard at the 1996 Summer Games when he discovered a backpack containing pipe bombs and subsequently sounded the alarm and helped to clear the area. However, the bomb did detonate, killing one person and injuring dozens of others.
Initially hailed as a hero, Jewell was soon the prime suspect, as the FBI searched his home twice. A media frenzy painted him as an overweight failed cop and mama's boy, and he became the punchline for late-night jokes.
After being raked over the coals by the media, Jewell was cleared, but the damage had been done. Lawsuits followed (against NBC and CNN, among several others), and the FBI and other government agencies were forced to make public apologies.
Jewell, who did work as a police officer and a sheriff's deputy, died in 2007 at the age of 44 due to health issues linked to his weight.
The film's script, penned by Billy Ray, is based on the Vanity Fair article "The Ballad of Richard Jewell" written by Marie Brenner.

Hauser played one of the racist lunkheads in Spike Lee’s BlacKkKlansman and next appears opposite Mindy Kaling in Late Night. He is also currently stealing scenes in YouTube’s streaming cult hit Cobra Kai. Hauser also had a standout role as Nancy Kerrigan's attacker in I, Tonya and recently wrapped Netflix's Da 5 Bloods, which reunited him with Lee. And on a career that's on a fast-moving roll right now, the actor just booked a gig on the true-crime movie Silk Road opposite Jason Clarke and Nick Robinson.
My thanks to Dave Turner

Tuesday, 11 June 2019

Sam Rockwell to Star in Clint Eastwood's Next Movie

Leonardo DiCaprio was originally slated to play the part when the project was set up at Fox. Some great news arrived today, via The Hollywood Reporter. Sam Rockwell is set to appear in Clint's Richard Jewell Movie. Mia Galuppo reports:
Oscar winner Sam Rockwell is readying to close a deal to star in Clint Eastwood's latest drama, The Ballad of Richard Jewell. The Warner Bros. project is the story of the titular disgraced Olympic security guard who was working at the 1996 Olympic Summer Games when he discovered a backpack containing pipe bombs and subsequently sounded the alarm and helped to clear the area. Initially hailed as a hero, Jewell was soon the prime suspect, however, as the FBI searched his home twice and the media frenzy painted him as an overweight failed cop. Rockwell will play the lawyer that would help to clear Jewell's name.
The movie had been set up at Fox since 2014, with Leonardo DiCaprio on board to play Jewell's attorney and Jonah Hill set to play the security guard. Hill and DiCaprio are now producing the project, with Tim Moore, Jessica Meier, Kevin Misher and Jennifer Davisson, DiCaprio’s partner at Appian Way. Billy Ray wrote the screenplay. Rockwell was last in theatres playing George W. Bush in Adam McKay's Vice, and can currently be seen playing Bob Fosse on FX's Fosse/Verdon.
My kind thanks to Davy Turner

Monday, 10 June 2019

Eastwood on Universal (Super) 8mm

Anyone of a certain age may remember these humble beginnings of home entertainment. For me, they certainly bring back some much cherished memories. The Super 8mm gauge was a chance for fans to see an Eastwood film at their own leisure and without waiting for it to show up on TV. Universal (formerly Castle films) also started to release longer versions than the standard 200ft reels (approx. 8 minutes) with 1 x 400ft (approx. 16 minutes) and 2 x 400ft (about 35 minutes). As a retrospective reminder, I thought it would be refreshing to feature two titles that I use to own. There’s a slight feeling of regret about these reels as I no longer own them. Back in the early 1980s and the emergence of the Home Video Cassette, it was all too easy to become swept up in the new format on the block. With hindsight, these little gems still hold a great deal of nostalgia. I’ve also chosen to revive these images, largely because they were the longest Super 8mm films I ever owned.
High Plains Drifter was the longest of the films as it was a 2 x 400ft version. These came in a plastic snap case with an outer slip case containing some of the original artwork. The Universal 8 prints were arguably considered to be a little softer than the previous Castle film prints. Nevertheless, owning more than 30 minutes of the movie overshadowed any such technical issues. I don’t recall if there was ever a 1 x 400ft edition of High Plains Drifter.
The Eiger Sanction 1 x 400ft was another favourite. Again the film came in a white plastic snap case, but rather strangely the outer slip case had disappeared and was instead replaced with a card insert. I never really understood the process behind this idea. It’s not as if the plastic case had a clear cover to slip the insert in (much like a typical DVD case), so it really served little purpose and was normally popped inside the case for good measure and safe keeping.
The biggest drawback however was that both of these films were presented in a flat (4x3) format, which didn’t really benefit films that were shot in the Panavision widescreen process. But of course, as teenagers we rarely considered this as the films flickered away on our bedroom wall or (if lucky) on your dad’s pull-up screen.
Today, it’s perhaps laughable in context, that a film was only available in a very edited and condensed form – but hell, it was pure magic back in the day.  

A Fistful of Dollars 1965 Rare Mexican 7" Promo

It was back in February that I reported on a very rare Mexican 7” single for Ennio Morricone’s The Good, the Bad and the Ugly EP. The single (in auction) finally ended up selling for £348.28. Just recently I also noticed another 7” promo single from Mexico (A Fistful of Dollars), another that I had never seen before. The bidding finally ended yesterday (after 42 bids) and another staggering final price of £286.90!
It seems that there is no limit when it comes to Morricone’s rare Dollar pressings. That iconic imagery of Eastwood as the man with no name continues to draw serious interest. I suggest our Mexican readership should be checking out their lofts and basements– pronto!
On the negative side, there have also been a small number of reports that there are some fake singles seeping out of Mexico, especially on James Bond related singles, complete with colour photo copied sleeves and labels. With all such purchases, always try to be vigilant and take as many precautions as possible in researching the product.  

The Mule on Blu-ray and DVD

The Mule on Blu-ray and DVD – a cautionary tale?
The Mule was released on home video last week here in the UK, just about a month after its release in the U.S. The U.S. version is available as a Blu-ray + DVD + Digital Copy, while the UK version is just a standard Blu-ray.
The Mule is also available (U.S. and UK) as a 4K Ultra HD + Blu-ray set, again with the U.S. version also including a digital download. I have also seen at least 1 steel book edition available in France. The standard UK DVD edition seems to include the same bonus material as the higher end formats.
So, what do the fans receive as bonus material in their chosen package?  
Well, this is where it all gets rather depressing, and at the risk of sounding like a broken record, it’s getting to be quite a familiar story. Let me start with a question. Is the Theatrical Trailer becoming a lost and unappreciated art? 
I remember approaching this subject, back in the days of Gran Torino (2008), Hereafter (2010), J. Edgar (2011), American Sniper (2014) and Sully (2016) all of which neglected any sign of a trailer.. It is now seemingly the default policy (especially in regards to Warner Bros and their Eastwood titles) to drop the original theatrical trailer, a teaser trailer and/or any other essential promo material, such as TV spots, which I think is incredibly sad. It’s a policy that perhaps signifies and confirms the ‘throwaway’ and ‘disposable’ nature in which film is regarded these days. Goggle any of the above titles and the chances are it will immediately deliver a link to ‘view the trailer’. However, a great deal of fans, especially from the era of Clint’s classic years – would still like to have the trailer included in a nice clean, non-streaming version – is it so hard to include it within a Blu-ray or DVD package?
As you may have guessed, The Mule does not include any form of trailer. What it does include is also not too impressive. Again, and as far as my knowledge goes, I believe the same extras appear on both the U.S. and UK – so what do we get:
"Nobody Runs Forever: The Making of The Mule" (10:59, 1080p) – A (very) short behind-the-scenes featurette includes comments from Clint, producer Kristina Rivera, screenwriter Nick Schenk, actors Ingacio Serricchio (Julio), Andy Garcia (Laton), Alison Eastwood (Iris), and Bradley Cooper (Agent Colin Bates), as well as producer Tim Moore and other members of the cast and crew. Although it doesn't have time to go into great detail, it briefly touches upon growing day lilies, building a stash house and researching drug cartels, shooting on the road, wardrobes and costume design, stories from the set, and more. It's a little piece that arguably could and should have been longer.
Toby Keith "Don't Let the Old Man In" Music Video (2:54, 1080p / Dolby Digital 2.0) – is a pretty standard movie soundtrack video featuring clips from the film and no sign of singer Toby Keith.
And that’s it my friends. I can see the day rapidly approaching where the movie itself will cease to become a physical entity. The studios appear to be gradually chipping away around the edges, perhaps in the hope that no one will really notice… but mark my words. The better days have most certainly gone and instead been replaced by an ill wind that’s gradually blowing our way.   

Friday, 31 May 2019

NEW BOOK OUT SOON: Fistfuls of Dollars in Almeria

I just thought I would let people know about a new book which is due out very soon. Fistfuls of Dollars in Almeria is a new self-published book by British author Terence Denman. I spent a great deal of time talking to Terence yesterday and the book sounds like it will be a fascinating read.

The `spaghetti western ‘phenomenon of the 1960s and 1970s was one of the most astonishing periods in European film history. Numerous westerns, and most of the iconic masterpieces of the genre, such as Sergio Leone's `Dollars Trilogy`, used the landscape of the Spanish province of Almeria to replicate the American West. Almeria was a land of almost perpetual sunshine, dramatic deserts and valleys, and atmospheric white-washed pueblos. 

Its parched beauty played an important role in defining the look of the genre. And the relentless filming of westerns had a powerful impact on the economy and social life of a beautiful but very poor and previously isolated part of Spain. This book is the first in English to tell the story of the relationship between Almeria and the spaghetti western.

I am very happy to announce that The Clint Eastwood Archive will be cross promoting this book. Terence is currently in Almería until the end of June and staying in the Hotel Costasol, where Clint and many of the actors and crews stayed. Terence told me that he has ‘tried to use only Spanish and Italian sources for the book’, which should offer a fresh and original perspective.  Whilst the book is currently shown on Amazon, Terence just needs to finalise a few bits by the end of June / middle of July. The Archive will have all of the updated news regarding this book, so please keep a regular check.

Happy Birthday Clint

It's amazing to think that Clint turns 89 years young today. His work rate remains relentless, and his output continues to amaze us all. On behalf of The Clint Eastwood Archive, and your millions of loyal fans across the globe, we would like to wish you good health, continued success, and a very happy birthday. 
Beers to you Sir!

Monday, 27 May 2019

Rare press still collection from The Beguiled and extracts from Pamelyn Ferdin.

It was some time last year when a rather nice collection of original press stills appeared for auction. Whilst I had a great deal of these in my collection, I realised I had been rather slow in scanning the majority of mine for the dedicated Beguiled page. Instead I took the time in restoring most of the photos that was in the auction. A lot of them were in pretty rough shape and included creases and even emulsion loss. However, I finally finished them today for posting here. Also, going through my files I found a nice collection that I had gathered up over the years which featured co-star Pamelyn Ferdin who played Amy in the film. Inside the folder I also found an old document where I had made some notes, from various interviews with Ferdin. There was some really nice stuff to be discovered actually. So I thought I would merge the photos, along with the material I had on Ferdin and can be found towards the bottom half of this post. I will in the near future also be updating the Beguiled page with these. But in the meantime do enjoy them – NONE of these have ever been featured on the Beguiled page. 
Pamelyn Ferdin on The Beguiled:
Don Siegel was great. He treated me like an adult. I had been in the business for so long that I really was a very professional adult even though I was a kid. I was a teen who knew my lines, was prepared, and didn't kid around. I was very serious about my work and I think Don Siegel really appreciated that. It was a hard film. We were on location in Louisiana for six months. It was hot and humid. I think he appreciated my ability to be just one of the other actors and not have to baby me or treat me in a special way to get me to say my lines. I was prepared every day and I think Clint Eastwood appreciated that, too.
Working with Clint:
He was wonderful. He had children about my same age. He was a little bit homesick at the time we were in Louisiana. It's really just him and me at the beginning of the movie. In between scenes, he would talk about his kids. He called me his "little dove." At the end of the movie, he gave me two doves to keep.
In the opening sequence where I find Mr. Eastwood wounded in the woods and I'm hiding out with him, some confederate soldiers pass by. The scene called for him to cover my mouth with his hand to make sure I didn't scream out and give away our hiding spot. But at the last minute, Clint and Don decided he ought to kiss me instead. My first on screen kiss was from Clint Eastwood! How great is that? Although I must say, as a hard working actress who had been in show business since the age of four, the kiss for me was just part of the work; and my reaction was to look surprised (even though I wasn't!) Both Clint and Don thought they had surprised me with their change in the script, but even at that age, I had a feeling they were up to something, and my surprised look was well thought out at the very moment he kissed me. They printed that take, and I knew my reaction was great because both Clint and Don thought they had really surprised me!
Clint Eastwood and I wait between takes while filming The Beguiled. Eastwood was wonderful and very kind to me. Throughout the production he’d talk to me, telling me about his two small children back home in Carmel and how much he missed them. He doted on me. ‘Whadaya think, little dove?’ he’d ask me after a take. ‘Pretty good, Mr. Eastwood’ I'd say, ‘How about you? ‘He gave me a gift after filming The Beguiled. His nickname for me was "Dove" from a song, "The Dove She Is a Pretty Bird" he sang in the movie, which is why the photo is inscribed "To Pamelyn, my Dove." He wrote, "No more mushrooms, please!” 
I was the last actor cast for that film. Even though the part of Amy was written for a 16-year-old and I had just turned 11, my agent got me an appointment at Universal to read for the casting director. After I read from the script, the casting director made a phone call then asked me to follow him down the hall. I was brought to Don Siegel’s office, where I was asked to read again. I read, and Siegel said nothing. I left hoping I did well enough to get called back for a second interview. Instead, a few days later, my agent called to tell my parents to pack my bags for a trip to Louisiana.
You know that was one of Clint's favourite movies at the time too because he really felt it was a departure. Unfortunately it didn't do well money wise, at the box office. He thought he did a good job in that movie and it was a stretch for him because he played an entirely different character. I think he was very much looking forward to having that movie come out and unfortunately I guess it was not distributed very well or something because I think it could have been a lot bigger than it was.
When we wrapped our location shooting in Louisiana, Eastwood gave me a pair of white doves as a gift. I loved them and had them for many years.
Above: Posing for portraits on the first day of filming "The Beguiled," April 1970. It was about 7am. because director Don Siegel wanted to catch the morning fog along the bayou where we were shooting. I remember it was bitter cold and I was barefoot
Above: Calling for help for the wounded McB in The Beguiled. The authentic plantation in Darrow, Louisiana, had everything needed for the movie but a gate, so a skilled crew of set builders from Universal put one up, making it look just as old as the rest of the plantation.