Tough Ain’t Enough: New Perspectives on The Films of Clint Eastwood, edited by Lester D. Friedman and David Desser.

People really seem to like the term ‘New Perspectives’, I’ve come to realise that of late. But I’m also aware that a ‘new’ or ‘fresh’ perspective often means approaching a subject from an entirely different angle or a unique viewpoint.

Clint Eastwood's Cinema of Trauma (published by McFarland in September, 2017) demonstrated this rather perfectly by approaching Eastwood’s film from the perspective of PTSD and its association with social conditions. Sara Anson Vaux’s book of 2012 looked at the films from an Ethical standpoint. These, for me, are excellent examples of new perspectives and it’s a term that I believe is being used far too easily these days.

However, Tough Ain’t Enough (Rutgers University Press, 231 pages) offers very little in the way of New Perspectives. Each chapter instead offers an enjoyable enough read, but all of which sounds very familiar. And familiar it certainly was. Each of the chapters are concluded with notes and a long list of in-line references. It soon becomes apparent that a great deal of this material has been collated from previously published books in order to try and make a ‘new’ point. Vaux, Frayling, McGilligan and Schickel are just a few names that are used continuously in order to construct a chapter. There is nothing of course wrong with producing and citing evidence, but my main objection comes when you try to slap a label on it and pass it off as something entirely ‘new’ when it simply isn’t.

Be aware also of inaccuracies – by Chapter 2, ‘I Don’t Want Nobody Belonging To Me’ we are reliably informed that Eastwood agreed to work under Wolfgang Peterson for In the Line of Fire (1993). Furthermore, Eastwood (under Peterson) would ‘work under another director for only the second time in twenty years’ is perhaps somewhat worrying. Taking into consideration Ted Post in 1973, Michael Cimino in 1974, James Fargo in 1976 and 1978, Don Siegel in 1979, Buddy Van Horn in 1980, 1988 and 1989, Richard Tuggle in 1984 and Richard Benjamin also in 1984 - then a certain degree of credibility slowly begins to crack and crumble before your eyes.

Illustrations are all in black and White and confined overall to the top or bottom two inches of the given page. Some are actually 1”x 2” in size.

This book is readable, especially for the humble beginner. But for long term Eastwood fans, I doubt very much that a great deal can be taken from it. With Amazon prices of £23.50 for the paperback edition and a walloping £82.50 for the Hardback edition, I would certainly advise you to tread cautiously.  

To obtain this book please click here 

Queimada! / Hang ‘em High Rare Double Bill Quad Poster

I thought it was about time to feature this extremely rare UK poster. It is something of a curiosity, as I have never seen these two movies paired up on any European or American posters but other than on this UK Quad. Perhaps it was the idea of United Artists in the UK? I have absolutely no idea if this was a country wide release or just limited to London and the surrounding Home Counties? However, one has to assume it was wide enough to warrant having a cinema poster produced in the first place… It is hard to narrow down an actual release date, and the evidence available is also contradictory. I have only seen this for sale once, and the information for it is dated as 1969. It seems to me that this is a simple case of looking up both films and dating it accordingly with what was the last film (of the two) to be released. As Queimada! (Aka Burn) was 1969, voilà – you suddenly have a date for the poster. If only it were that simple? Of course, a closer look at the poster reveals that this date is also quite impossible. The Eastwood image used is actually of Dave Garver from Universal’s 1971 psychological thriller, Play Misty for Me. If that was not a huge enough error in itself, it does beg the question of how the concept of this poster ever came about in the first place. A United Artists double bill using a Universal studios image of Eastwood? It was not as if U/A was short of Hang ‘em high images. On the contrary, the original Hang 'em high promotional campaign was loaded with an abundance of available stills…

It certainly remains something of a mystery. However, just to dot the I’s and cross the T’s (with what we have), I wanted to present the poster here and at the same time compliment it with a review of each film from the London based Time Out Group. It’s not the most complete answer or the definitive solution – but it will have to do, at least until the genuine story finally surfaces.

Queimada!

Pontecorvo's memorable sequel to Battle of Algiers sees Brando in finely ambiguous form as the drunken, cynical Sir William Walker, a British agent sent to the Caribbean island of Queimada in the mid-1800s to stir up a native rebellion against the Portuguese sugar monopoly; ten years later, he is forced to return there to destroy the leader he himself created, in order to open up trade with Britain. Falling between epic adventure and political allegory, the film is occasionally clumsily structured and poorly focused; but Pontecorvo, working from a script by Franco Solinas, provides a sharp, provocative analysis of colonialism, full of telling irony, bravura set pieces, and compelling imagery, while Brando's stiff-lipped performance, emphasising his character's confused mixture of dignity and deceit, intelligence and evil, determination and disillusion, never allows the allegory to dominate the human content. A flawed but fascinating film.

Hang ‘em High

More interesting as a way station in Eastwood's career than for anything intrinsic to its lawman/vigilante scenario, this was his first American Western after the spaghettis. Made by his own company, Malpaso, with an old 'Rawhide' director on board (Eastwood is said to have shot some of it himself), the film anticipates the obsession with the dichotomy between natural and legal justice. Saved by chance after being summarily strung up as a presumed rustler and left to die, Eastwood sets out to avenge himself on the nine men who constituted the lynch mob and left him with a scar on his neck.

Clint Eastwood Sues over Medical Patents

Over the last few weeks stories have been circulating around the internet over this particular story. Thank you to Dave Turner for bringing the story to my attention.

The famed filmmaker says he has undertaken herculean efforts to obtain information about his investment into a company researching a diabetes drug. Clint Eastwood is giving new meaning to the term "multiphyphenate." He's an actor-director-producer. Apparently, he's also a philanthropist, healthcare investor and, now, a patent avenger seeking to reclaim intellectual property that could be used to combat diabetes and other diseases.

Eastwood went to court with the kind of production that one would hardly expect from him. According to the complaint, he has long been investing in the work of Dr. Harry Demopoulos, who before dying last year had tiny roles in movies plus was a medical researcher credited with inventing the field of free radical pathology. Dr. Demopoulos devoted much of his work to the research and development of glutathione, a supplement said to boost the immune system. Eastwood is now suing Molecular Defenses Corporation and its chief Kevin Davis.

As a substantial shareholder to Demopoulos' company, Antioxidant Pharmaceuticals Corporation, Eastwood says he is seeking redress for "swindling through outright usurpation, covert intellectual property transfers and corporate shell games."

Specifically, Eastwood says that in late 2015, APC went through an alleged restructuring, consolidating businesses under the umbrella of a newly formed entity, Molecular Defenses Corporation.

"In the midst of this allegedly voluntary restructuring, however, Dr. Demopoulos unexpectedly suffered a massive stroke in early 2016," states the complaint. "It was at this tragic time when Defendants pounced, seizing Dr. Demopoulos’ business (and six U.S. glutathione patents) for their own ends."

Eastwood alleges that Davis incorporated another entity — also named Molecular Defenses Corporation — and while Dr. Demopoulos was undergoing recovery in the hospital, "Defendants caused the preparation of a subscription agreement — purportedly signed by Dr. Demopoulos by his 'Attorney in Fact' — providing for the assignment of the six U.S. glutathione patents from APC to Defendant Molecular Defense Holdings, LLC in exchange for membership rights in this Defendant-entity."

What Eastwood says he didn't know was that APC had already technically dissolved 15 years prior without any distribution of assets to shareholders such as himself.

"Dr. Demopoulos passed away a short time later, leaving unfinished (and in shambles) his alleged efforts to consolidate his business and account for the resulting rights and equity owed the shareholders," the complaint continues. "Since Dr. Demopoulos’ stroke, the Eastwood Trust has undertaken herculean efforts to obtain information from Defendants concerning the business operations, shareholders and intellectual property of Dr. Demopoulos’ companies, including with respect to the Defendant- entities. But Defendants refuse to provide even the bare-minimum; instead, they spent the last two years employing a strategy of inordinate delay with kind words, empty promises and the trickling of incomplete, contradictory and the vaguest of information. All the while, during which time they solicited additional investments from the Eastwood Trust, Defendants have been working to develop and profit from all of the glutathione patents that rightfully belong to the shareholders of APC, including the Eastwood Trust."

Eastwood wants declarations over inventorship and a constructive trust over patents. He also is claiming conversion, and is represented by Paul LiCalsi and other attorneys at Robins Kaplan.

Davis couldn't be reached for comment.

Cowboy Favorites: Album Cover Photo Shoot Revealed

Since it was first released back in September 1963, Clint’s long player Cowboy Favorites (left) has always withheld a mystery – where was the cover photo taken? It has been widely assumed that it was probably taken during the filming of a Rawhide episode, but sadly, the album’s sleeve notes on the reverse never contained any such information. At last, I think I am finally able to provide some form of answer – and if the source of that information is correct, an actual date. 

Just recently I discovered quite a few photos that are all dated as April 5^th, 1960. The location was actually at CBS Television City in Hollywood, California. On some larger versions of the photos the buildings can clearly be seen in the background. In fact, April 5^th looked to be a pretty full day for Eastwood as he appeared to spend most of the day and evening at the buildings. There are three main photo sessions centred on Clint during this day. 

Firstly, there’s quite an extensive shoot of Clint photographed in and around the CBS studios dressed in casual clothing. Secondly, there is this apparent photo shoot of Clint in full Rawhide garb. And lastly, Clint is dressed formally in a dinner suite for what is described as being a Season / year-end holiday party held at the studios. I am planning on posting these shots in a separate post named ‘Clint in the Sixties at CBS’ so make sure to check back.

In the meantime, enjoy these wonderful rare shots.

  

The mysterious mugging victim from Magnum Force, revealed.

Here's an interesting story – I was sifting and reading through a lot of cuttings and articles some time ago and came across an original 3 page Magnum Force review (Magazine unknown) but looks like it originated from the U.S. 

The review features an image (left) from one of the deleted scenes, namely the car park mugging - these scenes are of course nothing new. However, what makes this particularly interesting is that it actually names the actor playing the victim. 

It's the first time (to me) that this information has ever appeared (alongside the image from Magnum Force). 

The African American actor Peter Fitzsimmons is credited on the imdb, but as 'uncredited' and simply as 'Black man'. 

This was of course insufficient to link to that actual scene - until now.... It would be great of course to chat with Mr Fitzsimmons, if only to see if he could shed a little more information on the scene and perhaps how he remembers it. 

It would also be great to hear from the actors who played the muggers or any of the extras used in the scene. I'm hoping Peter is still around; he did appear in the Will Smith movie The Pursuit of Happiness (2006).

As a point of interest, the caption in the review does have it all wrong. It seems to imply that Callahan is grabbing the man by the neck - when in fact (as I remember it in the script) the victim suffers from a heart attack during the mugging - and Harry is actually thumping his chest in an attempt to revive him. 

Thankfully, we also now have another rare cutting (left, provided by our friend Davy Triumph) which shows Harry actually applying the blows to the chest. 

I guess this information wasn't available to the magazine editors at the time, or possibly they just made a (bad) guess. And of course, as it was a deleted scene the full information may have not been available alongside the corresponding press still or on any attached legend. It's an interesting one. 

Are you out there Mr Fitzsimmons?

Clint and his connection to The Los Angeles Police Museum

Over the last couple of weeks I’ve had the pleasure of chatting (via email) with Bob Taylor of The Los Angeles Police Museum. Bob has worked at the Museum for some 30 years now and as this short piece explains, Clint has enjoyed a good relationship with the Museum over those decades.

Since our building is architecturally significant, its facade easily lends itself to imitate many parts of the country, and various periods of time. The building’s interior has also proven to be quite useful to the entertainment industry. It doesn’t take long to realize that there just are not that many 1920’s era jails available for filming. The same is true for the remainder of the interior of the old Highland Park station. The City’s restoration of the building, complete with oak mouldings and period lighting, provides production companies with many options.

This is what has been happening at Old Number 11 lately, stardom. Our resident movie and television star happens to be the old Highland Park station. 

A feature film, whose title has yet to be established, is currently wrapping up their filming inside the jail. Location scouts for two more productions have visited this week. We have been actively promoting our facility to the movie and film industry for one simple reason, revenue. This is a good source of income, the kind of revenue that allows us to both support and grow your police museum.

This year (2005) we have had a number of successful film and television projects produced here. There is one, however, that ties directly to Hollywood Station and a handful of officers.

During his run as Dirty Harry, Clint Eastwood portrayed an Inspector for the San Francisco Police Department. As Harry Callahan, Eastwood frequently ran afoul of department procedures. Apparently his long barrelled .44 did more speaking than his coat and tie. Eastwood’s research for his tough guy/police inspector roles was not always limited to the Bay area. In fact twenty years ago he paid a visit to a small band of Hollywood officers. In early 1985, Eastwood appeared at mid-pm watch in Hollywood to enjoy a ride-along with the Special Problems Unit.

‘Mr. Eastwood filmed Blood Work here at the museum in 2001, and that was when this photo was taken. He has been here several times, as has his daughter and various production managers from his company.’

Sergeant Bob Good played host to Eastwood, but didn’t make his way into the photograph (above). Barely making his way into the picture at the far left is Detective Steve Biczo. Long-time North Hollywood Officer Gene Ferone and West L.A. homicide Detective Jim Hays are between Biczo and Eastwood. At the extreme right is Detective Bob Kraus with another retired Sergeant, Scott Currie. Here it is, 2005, and Eastwood is back in a Los Angeles Police Station. This time, it’s Old Number 11. The research for this motion picture s done, and the police museum is made up to resemble a newspaper office, the wedding bureau of Baltimore City Hall, 1940’s era corporate offices and the Chicago City Jail. Five different scenes of the upcoming film, “Flags of our Fathers” were filmed at the museum in just one day. Flags of our Fathers, an adaptation of the bestselling book, is scheduled for release next year, but it’s not the only place you can see your museum at work. Other museum sightings can be had in the remake of “When a Stranger Calls,” the television shows, “Book of Daniel,” and “Wanted.” Our star has been quite busy this year, and next year holds the same kind of promise.

Our kindest thanks Bob. Please show your support and visit the Museum HERE

Flashback: Clint Eastwood Press Conference in Tucson, December 1971

Flashback: Clint Eastwood Press Conference in Tucson, December 1971

These shots were taken just prior to the Christmas release of Dirty Harry and while Clint was in Tucson during the production of Joe Kidd.  

Details of this press conference are very hard to find. However, the three fabulous shots have surfaced over the years which, thankfully I managed to save. 

It’s clear from these shots that Clint is wearing the same sweater and jacket that he was wearing for the famous Terry O'Neill photos. 

During the Press conference he was asked if he still watches old episodes of Rawhide – Clint answered that he tried to avoid them as he looked so young.

Photos by David Lee Guss