JohnHopper
Senior HTF Member
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- Oct 31, 2010
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- Real Name
- John Hopper
93rd BIRTHDAY TRIBUTE • CLINT EASTWOOD (May 31, 1930)
Notes on a Seventies Icon
Clint Eastwood roughly started as a faceless extra or a bland supporting actor in cheap Fifties B-movies with some uncredited parts (see Jack Arnold’s Revenge of the Creature and Tarantula) and on television (TV Reader’s Digest, Highway Patrol, Death Valley Days, West Point, Navy Log, Maverick), was helped by comedy director Arthur Lubin to climb the very first steps of Hollywood, was a good friend of actor David Janssen and both eventually participated at military films like Francis in the Navy (1955) and a Tab Hunter’s WWI vehicle Lafayette Escadrille (1958). Eastwood almost quitted after this first, weak and chaotic foray. Nevertheless, his future success was associated with three names: Post, Leone, Siegel.
In 1958, his career took a new and steady turn when he was cast as the lean and mean ramrod sidekick named Rowdy Yates for leading star Eric Fleming’s cattle drive western series Rawhide (1959-1965) created by Gunsmoke producer Charles Marquis Warren. Rawhide allowed Eastwood to select his favorite director—Ted Post: who was one of the most prolific Gunsmoke craftsmen—on the series and studied the technique on the sly as a self-taught man. Incidentally, Eastwood guest starred in one episode (“Clint Eastwood Meets Mister Ed”, directed by Arthur Lubin) of Mister Ed right at the end of Rawhide’s season 4. Mister Ed (talking horse) was the television equivalent of the Francis (talking mule) feature films.
After certain actors (Bronson, Coburn, Fleming) refused the part of the man with no name, Italian director Sergio Leone spotted him in a season 4 episode entitled “The Black Sheep” (November 10, 1961, guest starring Richard Basehart) and hired him for his first non-American western film A Fistful of Dollars (1964) so Eastwood flew to Europe with his Rawhide gear and shot the first Spaghetti western in Spain, between season 6 and 7. Sergio Leone explained that the reference behind the man with no name lied in the ronin* character of Sanjuro Kuwabatake from Akira Kurosawa’s 1961 samurai film Yojimbo. The new producer team (Ben Brady/Robert E. Thompson) reshuffled and sank Rawhide that got canceled mid-season 8 and, ironically, he was promoted as the leading man because Eric Fleming died while shooting a feature film. A Fistful of Dollars was released in 1967 in America which helped unemployed Eastwood to boost his career in the industry and to become a top star and, the same year, he formed The Malpaso Company.
1968 allowed the audience to show his first American films as a leading man thanks to three potboilers: the lawman/revengist western Hang’Em High (with Pat Hingle) by Rawhide director Ted Post—the opening scene with the herd starts where Rawhide ends—, Coogan’s Bluff (with Don Stroud) by Don Siegel—part modern-day western, part New York cop film which led to the 1970 Universal series McCloud (with Dennis Weaver)—, the WWII adventure Where Eagles Dare (with Richard Burton) by Brian G. Hutton. The fish out of water errand film Coogan’s Bluff remained the cream of the crop and could be read as the unpolished blueprint for Dirty Harry but also the key character transition from his Sixties idle cowboy style to his Seventies mature cop identity. Still in Coogan’s Bluff, you could find a reference to Eastwood’s B-movies days when his character entered a hippie night club called The Pigeon Toed Orange Peel where they screened Jack Arnold’s Tarantula!
In 1969, Eastwood appeared in a grotesque western musical epic called Paint your Wagon (with Lee Marvin) which was as inappropriate as his participation at a segment (“Una Sera Come Le Altre”, directed by Vittorio De Sica) of an Italian anthology devoted to movie star Silvana Mangano entitled The Witches (1967), after the shooting of The Good, The Bad and The Ugly—my favorite film of the dollars trilogy, by the way.
In the late Sixties, Eastwood met his last mentor Don Siegel which redefined his status through three very subversive and scandalous films in the decade to come: the Mexican conflict western Two Mules for Sister Sara, the kinky and sultry Southern Gothic women tale The Beguiled, the realistic and abrasive cop portrait Dirty Harry (with Andrew Robinson and John Vernon) and this last one was a big commercial success and iconic because it became his second persona after his laconic and mysterious Italian cowboy character—he even replaced Siegel once to shoot the night suicide jumper scene. Dirty Harry paved the way for the whole Neo Noir/Cop genre of the Seventies era (see Walking Tall, Death Wish, Taxi Driver) but ultimately closed a trilogy of city maniacs initiated in 1968 (see Madigan and Coogan’s Bluff) by Don Siegel.
At Universal, Eastwood directed his first film (Play Misty for Me: another toxic libidinal drama, after The Beguiled, that was an allegory to Eastwood’s tormented love life) in 1971 in which briefly appeared Don Siegel as a bartender and his first western film (High Plains Drifter) in 1973 that was his nod and tribute to the man with no name because of his shadowy and ghostly character called The Stranger and, for the anecdote, actor Paul Brinegar, alias cook Wishbone from Rawhide, played Lago’s bartender. In the end, High Plains Drifter looked like a psychedelic German expressionist horror fantasy in the Old West and Eastwood acted both like a doppelgänger and an ethereal figure on a pale horse culled from Four Horsemen of the Apocalypse. Beyond the peculiar atmospheric style, the basic story elements loosely reminded two western films: Fred Zinneman’s High Noon (ex-convict outlaws coming back to town) and John Sturges’ The Magnificent Seven (a small town incapable of defending itself hires a henchman). Strangely, both The Good, The Bad and The Ugly and High Plains Drifter ended in a cemetery. Retrospectively and Universal horror-wise, it could be seen as a companion piece to a western segment from Rod Serling’s Night Gallery entitled “The Waiting Room” (1972).
Despite a fruitful collaboration, Don Siegel offered Eastwood the title part of Charley Varrick (1973) that he turned down and, after meeting young writer Michael Cimino during the production of Magnum Force, he then decided to go on instead with the existential country road trip/heist movie Thunderbolt and Lightfoot (supported by a close gang of actors: Jeff Bridges, Georges Kennedy and Geoffrey Lewis returning from High Plains Drifter) in which he played a former Korean war veteran/bank robber turned country preacher who delivered a Bible quote to his criminal friends: “The wolf shall dwell with the lamb and the leopard shall lie down with the kid”, Isaiah 11:6.
In the Seventies, Eastwood was the major star considered as the successor of John Wayne. But the two actors were radically different: John Wayne even tried clumsily to emulate his tough cop style through two movies (McQ and Brannigan). Eastwood managed to alternate between easy commissions—the second WWII adventure and satirical gold robber caper Kelly’s Heroes (with Telly Savalas) by Brian G. Hutton again, Joe Kidd (with Robert Duvall) by veteran John Sturges, the first Dirty Harry sequel Magnum Force (with David Soul) by Rawhide director Ted Post, The Eiger Sanction (with George Kennedy), the second Dirty Harry sequel The Enforcer by James Fargo, The Gauntlet and two silly monkey films done by Eastwood’s AD James Fargo and Eastwood’s stuntman/body double Buddy Van Horn—and personal projects: the intimate character’s study Breezy (with William Holden), the nostalgic bank robber buddy film Thunderbolt and Lightfoot by young newbie Michael Cimino (the second generation gap narrative after Breezy), The Outlaw Josey Wales (with John Vernon), the prison biopic Escape from Alcatraz (with Patrick McGoohan playing the warden: a veiled and ironic reference to The Prisoner) by Don Siegel, the modern-day cowboy entertainer slice of life Bronco Billy that is the sociological answer to Sydney Pollack’s 1979 The Electric Horseman.
In 1976, Eastwood directed his first film and first western film for Warner Brothers: the revengist, naturalistic and revisionist Civil War western The Outlaw Josey Wales that I considered as his Seventies masterpiece. He played a shattered character that displayed three faces (the farmer, the soldier, the rebel) and in which we saw a complete break with his cinema mentors. It featured actor Sheb Wooley, alias scout Pete Nolan from Rawhide and, above all, actress Sondra Locke who will do a total of six films with her lover Clint Eastwood.
I still followed his work in the Eighties (see as a selection: the third Dirty Harry sequel Sudden Impact, the sultry cop film Tightrope, the great mystical Pale Rider, with John Russell: a nod to both High Plains Drifter and Thunderbolt and Lightfoot because of the preacher character) and Nineties (see as a selection: Unforgiven, Absolute Power, both guest starring Gene Hackman) but I gradually lost my interest in our century. In the late Eighties, two films eventually destroyed the myth of Dirty Harry: the fourth sequel and parody The Dead Pool (with Liam Neeson) and the pastiche The Rookie (with Charlie Sheen) in which we saw again a clip from Jack Arnold’s Tarantula!
Last but not the least, Clint Eastwood had a great interest for popular music and four feature films he directed highlit that passion: Play Misty for Me (1971), Honky Tonk Man (1982), Bird (1988), Jersey Boys (2014). Eastwood was a piano player and even composed scores for some of his latter films: see Mystic River (2003), Million Dollar Baby (2004), Flags of Our Fathers (2006), Changeling (2008), Hereafter (2010), J. Edgard (2011).
The Seventies films directed by Clint Eastwood were: Play Misty for Me, High Plains Drifter, Breezy, The Eiger Sanction, The Outlaw Josey Wales, The Gauntlet, Bronco Billy.
The troika that trained Clint Eastwood in the art of film-making: Ted Post (Cf. Rawhide, Hang’Em High, Magnum Force), Sergio Leone (Cf. A Fistful of Dollars, For a Few Dollars More, The Good the Bad and the Ugly), Don Siegel (Cf. Coogan’s Bluff, Two Mules for Sister Sara, The Beguiled, Dirty Harry, Escape from Alcatraz).
Soundtrack-wise, Clint Eastwood worked with the best of the Silver Age: Dee Barton (Cf. Play Misty for Me, High Plains Drifter, Thunderbolt and Lightfoot), Jerry Fielding (Cf. The Outlaw Josey Wales, The Enforcer, The Gauntlet, Escape from Alcatraz), Dominic Frontiere (Cf. Hang’Em High), Ron Goodwin (Cf. Where Eagles Dare), Michel Legrand (Cf. Breezy), Ennio Morricone (Cf. A Fistful of Dollars, For a Few Dollars More, The Good the Bad and the Ugly, Two Mules for Sister Sara), Lalo Schifrin (Cf. Coogan’s Bluff, Kelly’s Heroes, The Beguiled, Dirty Harry, Joe Kidd, Magnum Force), John Williams (Cf. The Eiger Sanction).
Footnotes
* In feudal Japan (1185–1868), a ronin (‘drifter’ or ‘wanderer’, literal translation: ‘a person of the waves’) was a type of samurai who had no lord or master and in some cases, had also severed all links with his family or clan. A samurai becomes a ronin upon the death of his master, or after the loss of his master’s favor or legal privilege.
TED POST RAWHIDE FILMOGRAPHY
SEASON 1
“Incident of the Widowed Dove” (1959)
“Incident of the Town in Terror” (1959)
“Incident of the Curious Street” (1959)
SEASON 2
“Incident of the Dust Flower” (1960)
“Incident of the Last Chance” (1960)
SEASON 3
“Incident at Rojo Canyon” (1960)
“Incident at Dragoon Crossing” (1960)
“Incident of the Slavemaster” (1960)
“Incident at Poco Tiempo” (1960)
“Incident of the Buffalo Soldier” (1961)
“Incident at the Top of the World” (1961)
“Incident Near the Promised Land” (1961)
“Incident of the Fish Out of Water” (1961)
“Incident of His Brother’s Keeper” (1961)
“Incident of the Lost Idol” (1961)
“Incident Before Black Pass” (1961)
SEASON 4
“Rio Salado” (1961)
SEASON 5
“Incident of the Portrait” (1962)
SEASON 6
“Incident of the Travellin’ Man” (1963)
“Incident of the Rawhiders” (1963)
“Incident of the Geisha” (1963)
“Incident at Ten Trees” (1964)
“Incident of the Rusty Shotgun” (1964)
“Incident of the Dowery Dundee” (1964)
TV EARLY DAYS
Highway Patrol - Motorcycle A (1956)
TRAILERS
Dirty Harry (1971) Trailer
High Plains Drifter (1973) Trailer
Thunderbolt and Lightfoot (1974) Trailer
THREE REASONS
Thunderbolt and Lightfoot
TRAILERS FROM HELL
Josh Olson on HIGH PLAINS DRIFTER
Josh Olson on OUTLAW JOSEY WALES
CLIPS
High Plains Drifter | The Stranger Rides Into Town
High Plains Drifter | The Stranger Enters Lago’s Saloon
The Outlaw Josey Wales | Wales Cleans Up The Yankee Camp
The Outlaw Josey Wales | Wales Meets The Bounty Hunter
TRIBUTE
Jerry Fielding - The Outlaw Josey Wales (1976)
INTERVIEWS
Clint Eastwood interview in Montana (1973)
during the shooting of Thunderbolt and Lightfoot
Clint Eastwood Interview 1974 Brian Linehan’s City Lights
MAKINGS OF
High Plains Drifter - Behind The Scenes Look (1973)
Behind The Scenes of The Outlaw Josey Wales (1976)
COMPARISON
Yojimbo and Fistful of Dollars
PICTURE
A Portrait from 1972 in Tucson, Arizona
Notes on a Seventies Icon
Clint Eastwood roughly started as a faceless extra or a bland supporting actor in cheap Fifties B-movies with some uncredited parts (see Jack Arnold’s Revenge of the Creature and Tarantula) and on television (TV Reader’s Digest, Highway Patrol, Death Valley Days, West Point, Navy Log, Maverick), was helped by comedy director Arthur Lubin to climb the very first steps of Hollywood, was a good friend of actor David Janssen and both eventually participated at military films like Francis in the Navy (1955) and a Tab Hunter’s WWI vehicle Lafayette Escadrille (1958). Eastwood almost quitted after this first, weak and chaotic foray. Nevertheless, his future success was associated with three names: Post, Leone, Siegel.
In 1958, his career took a new and steady turn when he was cast as the lean and mean ramrod sidekick named Rowdy Yates for leading star Eric Fleming’s cattle drive western series Rawhide (1959-1965) created by Gunsmoke producer Charles Marquis Warren. Rawhide allowed Eastwood to select his favorite director—Ted Post: who was one of the most prolific Gunsmoke craftsmen—on the series and studied the technique on the sly as a self-taught man. Incidentally, Eastwood guest starred in one episode (“Clint Eastwood Meets Mister Ed”, directed by Arthur Lubin) of Mister Ed right at the end of Rawhide’s season 4. Mister Ed (talking horse) was the television equivalent of the Francis (talking mule) feature films.
After certain actors (Bronson, Coburn, Fleming) refused the part of the man with no name, Italian director Sergio Leone spotted him in a season 4 episode entitled “The Black Sheep” (November 10, 1961, guest starring Richard Basehart) and hired him for his first non-American western film A Fistful of Dollars (1964) so Eastwood flew to Europe with his Rawhide gear and shot the first Spaghetti western in Spain, between season 6 and 7. Sergio Leone explained that the reference behind the man with no name lied in the ronin* character of Sanjuro Kuwabatake from Akira Kurosawa’s 1961 samurai film Yojimbo. The new producer team (Ben Brady/Robert E. Thompson) reshuffled and sank Rawhide that got canceled mid-season 8 and, ironically, he was promoted as the leading man because Eric Fleming died while shooting a feature film. A Fistful of Dollars was released in 1967 in America which helped unemployed Eastwood to boost his career in the industry and to become a top star and, the same year, he formed The Malpaso Company.
1968 allowed the audience to show his first American films as a leading man thanks to three potboilers: the lawman/revengist western Hang’Em High (with Pat Hingle) by Rawhide director Ted Post—the opening scene with the herd starts where Rawhide ends—, Coogan’s Bluff (with Don Stroud) by Don Siegel—part modern-day western, part New York cop film which led to the 1970 Universal series McCloud (with Dennis Weaver)—, the WWII adventure Where Eagles Dare (with Richard Burton) by Brian G. Hutton. The fish out of water errand film Coogan’s Bluff remained the cream of the crop and could be read as the unpolished blueprint for Dirty Harry but also the key character transition from his Sixties idle cowboy style to his Seventies mature cop identity. Still in Coogan’s Bluff, you could find a reference to Eastwood’s B-movies days when his character entered a hippie night club called The Pigeon Toed Orange Peel where they screened Jack Arnold’s Tarantula!
In 1969, Eastwood appeared in a grotesque western musical epic called Paint your Wagon (with Lee Marvin) which was as inappropriate as his participation at a segment (“Una Sera Come Le Altre”, directed by Vittorio De Sica) of an Italian anthology devoted to movie star Silvana Mangano entitled The Witches (1967), after the shooting of The Good, The Bad and The Ugly—my favorite film of the dollars trilogy, by the way.
In the late Sixties, Eastwood met his last mentor Don Siegel which redefined his status through three very subversive and scandalous films in the decade to come: the Mexican conflict western Two Mules for Sister Sara, the kinky and sultry Southern Gothic women tale The Beguiled, the realistic and abrasive cop portrait Dirty Harry (with Andrew Robinson and John Vernon) and this last one was a big commercial success and iconic because it became his second persona after his laconic and mysterious Italian cowboy character—he even replaced Siegel once to shoot the night suicide jumper scene. Dirty Harry paved the way for the whole Neo Noir/Cop genre of the Seventies era (see Walking Tall, Death Wish, Taxi Driver) but ultimately closed a trilogy of city maniacs initiated in 1968 (see Madigan and Coogan’s Bluff) by Don Siegel.
At Universal, Eastwood directed his first film (Play Misty for Me: another toxic libidinal drama, after The Beguiled, that was an allegory to Eastwood’s tormented love life) in 1971 in which briefly appeared Don Siegel as a bartender and his first western film (High Plains Drifter) in 1973 that was his nod and tribute to the man with no name because of his shadowy and ghostly character called The Stranger and, for the anecdote, actor Paul Brinegar, alias cook Wishbone from Rawhide, played Lago’s bartender. In the end, High Plains Drifter looked like a psychedelic German expressionist horror fantasy in the Old West and Eastwood acted both like a doppelgänger and an ethereal figure on a pale horse culled from Four Horsemen of the Apocalypse. Beyond the peculiar atmospheric style, the basic story elements loosely reminded two western films: Fred Zinneman’s High Noon (ex-convict outlaws coming back to town) and John Sturges’ The Magnificent Seven (a small town incapable of defending itself hires a henchman). Strangely, both The Good, The Bad and The Ugly and High Plains Drifter ended in a cemetery. Retrospectively and Universal horror-wise, it could be seen as a companion piece to a western segment from Rod Serling’s Night Gallery entitled “The Waiting Room” (1972).
Despite a fruitful collaboration, Don Siegel offered Eastwood the title part of Charley Varrick (1973) that he turned down and, after meeting young writer Michael Cimino during the production of Magnum Force, he then decided to go on instead with the existential country road trip/heist movie Thunderbolt and Lightfoot (supported by a close gang of actors: Jeff Bridges, Georges Kennedy and Geoffrey Lewis returning from High Plains Drifter) in which he played a former Korean war veteran/bank robber turned country preacher who delivered a Bible quote to his criminal friends: “The wolf shall dwell with the lamb and the leopard shall lie down with the kid”, Isaiah 11:6.
In the Seventies, Eastwood was the major star considered as the successor of John Wayne. But the two actors were radically different: John Wayne even tried clumsily to emulate his tough cop style through two movies (McQ and Brannigan). Eastwood managed to alternate between easy commissions—the second WWII adventure and satirical gold robber caper Kelly’s Heroes (with Telly Savalas) by Brian G. Hutton again, Joe Kidd (with Robert Duvall) by veteran John Sturges, the first Dirty Harry sequel Magnum Force (with David Soul) by Rawhide director Ted Post, The Eiger Sanction (with George Kennedy), the second Dirty Harry sequel The Enforcer by James Fargo, The Gauntlet and two silly monkey films done by Eastwood’s AD James Fargo and Eastwood’s stuntman/body double Buddy Van Horn—and personal projects: the intimate character’s study Breezy (with William Holden), the nostalgic bank robber buddy film Thunderbolt and Lightfoot by young newbie Michael Cimino (the second generation gap narrative after Breezy), The Outlaw Josey Wales (with John Vernon), the prison biopic Escape from Alcatraz (with Patrick McGoohan playing the warden: a veiled and ironic reference to The Prisoner) by Don Siegel, the modern-day cowboy entertainer slice of life Bronco Billy that is the sociological answer to Sydney Pollack’s 1979 The Electric Horseman.
In 1976, Eastwood directed his first film and first western film for Warner Brothers: the revengist, naturalistic and revisionist Civil War western The Outlaw Josey Wales that I considered as his Seventies masterpiece. He played a shattered character that displayed three faces (the farmer, the soldier, the rebel) and in which we saw a complete break with his cinema mentors. It featured actor Sheb Wooley, alias scout Pete Nolan from Rawhide and, above all, actress Sondra Locke who will do a total of six films with her lover Clint Eastwood.
I still followed his work in the Eighties (see as a selection: the third Dirty Harry sequel Sudden Impact, the sultry cop film Tightrope, the great mystical Pale Rider, with John Russell: a nod to both High Plains Drifter and Thunderbolt and Lightfoot because of the preacher character) and Nineties (see as a selection: Unforgiven, Absolute Power, both guest starring Gene Hackman) but I gradually lost my interest in our century. In the late Eighties, two films eventually destroyed the myth of Dirty Harry: the fourth sequel and parody The Dead Pool (with Liam Neeson) and the pastiche The Rookie (with Charlie Sheen) in which we saw again a clip from Jack Arnold’s Tarantula!
Last but not the least, Clint Eastwood had a great interest for popular music and four feature films he directed highlit that passion: Play Misty for Me (1971), Honky Tonk Man (1982), Bird (1988), Jersey Boys (2014). Eastwood was a piano player and even composed scores for some of his latter films: see Mystic River (2003), Million Dollar Baby (2004), Flags of Our Fathers (2006), Changeling (2008), Hereafter (2010), J. Edgard (2011).
The Seventies films directed by Clint Eastwood were: Play Misty for Me, High Plains Drifter, Breezy, The Eiger Sanction, The Outlaw Josey Wales, The Gauntlet, Bronco Billy.
The troika that trained Clint Eastwood in the art of film-making: Ted Post (Cf. Rawhide, Hang’Em High, Magnum Force), Sergio Leone (Cf. A Fistful of Dollars, For a Few Dollars More, The Good the Bad and the Ugly), Don Siegel (Cf. Coogan’s Bluff, Two Mules for Sister Sara, The Beguiled, Dirty Harry, Escape from Alcatraz).
Soundtrack-wise, Clint Eastwood worked with the best of the Silver Age: Dee Barton (Cf. Play Misty for Me, High Plains Drifter, Thunderbolt and Lightfoot), Jerry Fielding (Cf. The Outlaw Josey Wales, The Enforcer, The Gauntlet, Escape from Alcatraz), Dominic Frontiere (Cf. Hang’Em High), Ron Goodwin (Cf. Where Eagles Dare), Michel Legrand (Cf. Breezy), Ennio Morricone (Cf. A Fistful of Dollars, For a Few Dollars More, The Good the Bad and the Ugly, Two Mules for Sister Sara), Lalo Schifrin (Cf. Coogan’s Bluff, Kelly’s Heroes, The Beguiled, Dirty Harry, Joe Kidd, Magnum Force), John Williams (Cf. The Eiger Sanction).
Footnotes
* In feudal Japan (1185–1868), a ronin (‘drifter’ or ‘wanderer’, literal translation: ‘a person of the waves’) was a type of samurai who had no lord or master and in some cases, had also severed all links with his family or clan. A samurai becomes a ronin upon the death of his master, or after the loss of his master’s favor or legal privilege.
TED POST RAWHIDE FILMOGRAPHY
SEASON 1
“Incident of the Widowed Dove” (1959)
“Incident of the Town in Terror” (1959)
“Incident of the Curious Street” (1959)
SEASON 2
“Incident of the Dust Flower” (1960)
“Incident of the Last Chance” (1960)
SEASON 3
“Incident at Rojo Canyon” (1960)
“Incident at Dragoon Crossing” (1960)
“Incident of the Slavemaster” (1960)
“Incident at Poco Tiempo” (1960)
“Incident of the Buffalo Soldier” (1961)
“Incident at the Top of the World” (1961)
“Incident Near the Promised Land” (1961)
“Incident of the Fish Out of Water” (1961)
“Incident of His Brother’s Keeper” (1961)
“Incident of the Lost Idol” (1961)
“Incident Before Black Pass” (1961)
SEASON 4
“Rio Salado” (1961)
SEASON 5
“Incident of the Portrait” (1962)
SEASON 6
“Incident of the Travellin’ Man” (1963)
“Incident of the Rawhiders” (1963)
“Incident of the Geisha” (1963)
“Incident at Ten Trees” (1964)
“Incident of the Rusty Shotgun” (1964)
“Incident of the Dowery Dundee” (1964)
TV EARLY DAYS
Highway Patrol - Motorcycle A (1956)
TRAILERS
Dirty Harry (1971) Trailer
High Plains Drifter (1973) Trailer
Thunderbolt and Lightfoot (1974) Trailer
THREE REASONS
Thunderbolt and Lightfoot
TRAILERS FROM HELL
Josh Olson on HIGH PLAINS DRIFTER
Josh Olson on OUTLAW JOSEY WALES
CLIPS
High Plains Drifter | The Stranger Rides Into Town
High Plains Drifter | The Stranger Enters Lago’s Saloon
The Outlaw Josey Wales | Wales Cleans Up The Yankee Camp
The Outlaw Josey Wales | Wales Meets The Bounty Hunter
TRIBUTE
Jerry Fielding - The Outlaw Josey Wales (1976)
INTERVIEWS
Clint Eastwood interview in Montana (1973)
during the shooting of Thunderbolt and Lightfoot
Clint Eastwood Interview 1974 Brian Linehan’s City Lights
MAKINGS OF
High Plains Drifter - Behind The Scenes Look (1973)
Behind The Scenes of The Outlaw Josey Wales (1976)
COMPARISON
Yojimbo and Fistful of Dollars
PICTURE
A Portrait from 1972 in Tucson, Arizona
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