Word: clinte
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...best actor, New York and L.A. named Sean Penn for Milk; the NBR cited Clint Eastwood for Gran Torino, and D.C. pinned Mickey Rourke for The Wrestler. Best actress: Sally Hawkins in Happy-Go-Lucky (New York and L.A.), Meryl Streep in Doubt and Anne Hathaway in Rachel. Supporting actor: Heath Ledger, The Dark Knight (L.A. and D.C.) and Josh Brolin, Milk (New York and NBR). Supporting actress: Penelope Cruz as the passionate painter in Vicky Cristina Barcelona (NBR, New York, L.A.) and Rosemarie DeWitt as Rachel in Rachel...
That persona basically took John Wayne, the solitary western hero, and made him nastier, edgier, way easier to anger. Where the Duke drawled and lumbered--he wasn't so much a cattleman as a cattle man--Clint scowled and pounced, a scorpion with stubble. This character was both iconic and malleable: he was as at home on the streets as on the range and as a cop (in the Dirty Harry series), a convict (Escape from Alcatraz), a soldier (Heartbreak Ridge) and, later, a father figure like the Old Testament God--anyone with an intimidating presence and a sandpaper soul...
Another similarity: the self-assurance of the Clint character, an almost religious trust in first impulses, is reflected in Eastwood's method as a film director. Others take years to nurse a project; Eastwood revved up Gran Torino in June, started shooting in mid-July and had his final cut by the end of October. This cool efficiency endears him to screenwriters (if he likes a script, he shoots it without demanding a million rewrites) and most actors (if he likes Take 1, he prints it and goes to the next scene). Hey, it's only a movie. And often...
...decisiveness is fine, but it raises the question, Is Clint Eastwood too easily satisfied? Sometimes scripts do need to be rewritten or pared down. Often actors will be strongest in Take 13 or 30. And shooting a movie fast isn't the same as making it move, which Eastwood's films don't always do; they can be both slack and slapdash. Most critics love Clint the auteur, and there's plenty to admire, but his directorial style is in danger of being as overrated as his acting is underrated. He's a fine director when he connects with...
There are many men, of sullen disposition and modest achievement, who watch a Clint Eastwood movie and wish they could resolve their daily dilemmas with a blast of gunfire and walk away free. Walt Kowalski might be such a one. At his wife's funeral, he can swat away the condolences of relatives and the parish priest, but he can't evict them from his life. Retired after 50 years on the Ford assembly line, Walt is as much an endangered species as the company he worked for. While he carefully maintains his house, white picket fence...