The Unnominated #17: Honkytonk Man (dir by Clint Eastwood)

Posted on May 31, 2025 by Lisa Marie Bowman

Though the Academy of Motion Picture Arts and Sciences claim that the Oscars honor the best of the year, we all know that there are always worthy films and performances that end up getting overlooked. Sometimes, it’s because the competition too fierce. Sometimes, it’s because the film itself was too controversial. Often, it’s just a case of a film’s quality not being fully recognized until years after its initial released. This series of reviews takes a look at the films and performances that should have been nominated but were, for whatever reason, overlooked. These are the Unnominated.

1982’s Honkytonk Man was a Clint Eastwood film that I had never heard of, until I came across it on Prime. I decided to take a chance and I rented it. I’m glad that I did because it turned out to be one of Eastwood’s best films.

Clint stars as Red Stovall, a country singer turned farmer during the Great Depression. Kyle Eastwood stars as Red’s nephew, 14 year-old Whit “Hoss” Wagoneer. When Red gets an opportunity to perform at the Grand Old Opry, he decides to head for Tennessee. Since Red is dying of tuberculosis and barely knows how to drive a car, he is accompanied by Grandpa Wagoneer (John McIntire) and Whit. Whit may be young but he knows how to drive and soon, he’s driving Red and Grandpa across the country. When a highway patrolman (Tim Thomerson) stops them, he says that Whit is too young to drive. After watching a speeding Red struggle to keep the car in the right lane, the patrolman pulls up beside them and says, “Let the kid drive.”

Honkytonk Man features an unexpected performance from Eastwood. Typically, we think of Eastwood’s characters as being the epitome of cool. Red is definitely not that. Red is a screw-up, someone who gets arrested while trying to steal chickens and who frequently gets conned by those that he meets during his journey. When the car breaks down in Arkansas, Red is too busy drinking to remember to catch the bus to Tennessee. He spends the night with a hitchhiker named Marlene (Alexa Kernin). The next morning, Whit wakes Red up and informs him that he only has a few minutes before the next bus leaves. Marlene announces that she’s pregnant. “HOLD THE BUS!” Red yells as he hastily puts on his clothes.

That said, Whit loves his uncle and the two Eastwoods, Clint and Kyle, both give excellent performances in Honkytonk Man. In fact, his performance here is probably the best that Clint Eastwood has ever given. Clint plays with his own image here. Initially, the film almost feels like a satire of Clint’s hypermasculine persona. (There is one scene where Eastwood handles a gun but it doesn’t play out the way that you might expect it to.) But, as the film progresses and Red’s illness grows worse, we start to understand Red and his way of looking at the world. Red is flawed but he loves his nephew and he loves music and, in the end, what’s important is not whether or not his song were recorded but instead that he spent his final days with Whit. The film may start out as a comedy but it ultimately becomes a meditation on aging and how one faces the inevitability of death.

As a director, Eastwood takes his time. He lets the movie play out slowly, with the casual pace of country story. It’s a film full of wonderful performance and beautiful visuals and it more than earns our patience. Wisely, Eastwood the director realizes that this story really isn’t about Red. The story is about Whit (or Hoss, as he asks to be known) and his experiences with his uncle. Whit worships his uncle but he also comes to learn that the most important thing is to be able to respect yourself. In this film, Clint Eastwood knows the story that he’s telling and he knows exactly how to tell it.

Honkytonk Man went unnominated as far as the Oscars are concerned. In the year when the well-intentioned but dramatically inert Gandhi dominated the awards and the nominations, Honkytonk Man was forgotten. That’s a shame.

Previous Entries In The Unnominated:

Film Review: Bronco Billy (dir by Clint Eastwood)

Posted on May 31, 2025 by Lisa Marie Bowman

In 1980’s Bronco Billy, Clint Eastwood plays Billy McCoy.

Billy is an aging cowboy, a trick-shooter who owns Bronco Billy’s Wild West, a traveling circus that has definitely seen better days. Bronco Billy and his friends travel the country, going from small town to small town and putting on a show. Billy is definitely the star and the highlight of each show is him shooting balloons and tossing a knife while his female assistant is strapped on a revolving disk. Unfortunately, Billy’s latest assistant flinches and gets a knife in her leg. Billy needs a new assistant and, wouldn’t you know it, Antoinette Lily (Sondra Locke) needs a job!

Antoinette is a runaway bride. She married John Arlington (Geoffrey Lewis), not because she loved him but because she needed to get married by the time she turned 30 or she would lose her inheritance. After the ceremony but before the wedding night, Antoinette fled. The police assume that John murdered her and promptly arrest him. John, suspecting that his wife is still alive, pleads insanity so that he can avoid the electric chair.

As Billy’s assistant, Antoinette challenges the way that Billy has always done the show, often to such an extent that you really have to wonder why she sticks around. Since this is a Clint Eastwood film, there a bar brawl where Billy rescues her from being assaulted by a couple of rednecks. Unfortunately, Antoinette’s arrival coincides with a string of accidents and other unfortunate incidents. The other members of the show start to suspect that Antoinette might be bad luck. Myself, I’m not superstitious and I don’t think that people can bring bad luck. I think people make their own luck. However, it’s hard to overlook the fact that Antoinette finds out that her husband is facing the death penalty due to her disappearance and her reaction is to basically shrug it off. Sondra Locke gives a rather flat performance was Antoinette, suggesting none of the quirkiness necessary to make her anything more than a very childish and very self-centered person. Antoinette is a role that demands the eccentricity of a young Sissy Spacek or Shelley Duvall or even Beverly D’Angelo, who did such a good job in Every Which Way But Loose. Sondra Locke gives a boring performance and it drags down the film.

That said, there is a lot to like about Bronco Billy. In many ways, this film feels like Clint Eastwood’s take on a Robert Altman film. The plot is episodic and casual and the best scenes are the ones the emphasize the members of the circus as being a family of misfits. (Indeed, one reason why Locke’s performance feels so jarringly wrong is because both she and Antoinette never seem to be interested in the other members of the show.) Billy may be their leader and their main attraction but every member of the show plays a role in keeping Billy’s Wild West alive. Scotman Crothers, Sam Bottoms, Bill McKinney, Dan Vadis, and Sierra Pecheur all give likable performances that bring the film’s world to life. The film becomes about more than just the aging Billy trying to find his place in a changing world. It’s a film about a group of people who have come together to form their own community and, by the end of the movie, it’s a community that you can’t help but love. In many ways, this film features both Eastwood the director and Eastwood the actor at his gentlest and most humanistic. Billy and his show bring the old west to a new America and, in the end, you’re happy they did.

Firefox (dir. by Clint Eastwood)

Posted on May 31, 2025 by Leonard Wilson

You’d think someone with a face as chiseled as Clint Eastwood’s, he wouldn’t fit in well in the spy game. You’d recognize him almost anywhere in a line up. However, being able to direct your own films means you can still be the best person for a role. There is no finer example of this than with 1982’s Firefox, my submission for the Eastwood birthday celebration on the Shattered Lens. It’s not the strongest spy film, but it plays it’s hand very well, getting in and delivering the short jabs to set the tale and then finishing with an action packed combo in the film’s third act. 1990’s The Hunt for Red October may be more famous film about smuggling a vehicle from Russia to America, but Firefox did it first (Okay, From Russia With Love may have beaten them both, but we’re talking planes and subs, not a cipher box).

I remember first noticing Firefox while driving by the smaller of two movie theatres at the Green Acres Mall over in Valley Stream with my parents. Not every film hit the Sunrise Multipex, so the little Odeon (at least I think it was called an Odeon) held other films. My family caught Predator, Aliens, and Nine Months there to name a few. When I finally saw the movie, I didn’t care for it (to my credit, I was like 10 or 12), but loved the flying sequences. As an adult, the film makes more sense and deserves a watch despite a few tiny flaws here and there. Firefox marks Eastwood’s first production credit, despite The Malpaso Company having made films way before then.

Based on the 1977 novel by Craig Thomas, Firefox focuses on Mitchell Gant (Eastwood), one of the best pilots in the United States Air Force. Despite having some PTSD, Gant is sent on a mission in the height of the Cold War. His job is to sneak in and steal the Mig-31, Codename: Firefox, an experimental aircraft capable of speeds of Mach 5, extreme stealth and a special thought based firing system. He has all the necessary credentials. He can speak the language, has a good build and can fly the plane. After receiving a brief from his superiors (including Freddie Jones, who was in just about everything in the Early 1980s – Dune, Krull, Firestarter, Lifeforce), he’s dropped into Russia for his mission. Can Gant get the plane without getting in trouble? Unlike Top Gun, which used a fictional aircraft in the MiG-28, there was an actual MiG 31 in existence (or introduced to the world) at the time of filming Firefox, known as the “Foxhound”. The real MiG 31 and the films’ one are different. It was just a coincidence, but I know my Dad would point that out if he watched it.

What I loved the most about Firefox is that Gant’s character has to assume multiple roles/characters in order to blend in with the crowd and keep the KGB off of his tail. While we’re all aboard for seeing the plane in action, the real adventure is getting there and the characters that help along the way. One wrong turn, one wrong move could mean the different between success and failure, and it does get pretty tense in places. There’s one particular scene in a shower where I was like “Uhm, get up, get going, they’re on to you!”, but the pacing of the film is pretty good. As a director, Eastwood keeps the film moving without lingering too long in any one scene unless it’s truly necessary. This, along with some quick cuts and getting the most of the cast’s performances, allows the film to make some good use of the 2 hour and 16 minute runtime.

Firefox has a supporting cast that also helps to move the story along. Outside of Freddie Jones, we also have Kenneth Colley (Admiral Piett from The Empire Strikes Back & Return of the Jedi) as the Russian Colonel on Gant’s tail. Warren Clark’s (A Clockwork Orange) gruff character helps Gant to navigate through the city. Both Nigel Hawthorne (Demolition Man) and Ronald Lacey (Raiders of the Lost Ark) play scientists loyal to Gant’s mission. Wulf Kahler (also from Raiders of the Lost Ark) is on hand as a Russian military advisor. Alan Tivern, who played R.K. Maroon in Who Framed Roger Rabbit? is also in this, as is Toy Story’s John Ratzenberger.

One other element I enjoyed was how they resolved the actual flight sequences. Since Gant is in a fighter plane alone, there really isn’t any need to have any communication. The movie uses the black box in the plane both as a recording device for Gant’s actions, and a way for Eastwood to help narrate his intentions through the course of the third act. It helps to fill what would have normally been a near silent sequence (save for the evasive maneuvering). The flight sequences were developed by Star Wars alumni John Dykstra along with Johnathan Erland, who used a special blue screen effect that allowed reflective objects to move in front of lighter backgrounds or matte photography using UV light. It was pretty innovative at the time, even if it may look a little cartoony now.

Maurice Jarre (who I swore was Australian because of his work on the Mad Max films up until a first time watch of Lawrence of Arabia in 2024) scored Firefox, giving the film a mix between dark synths and patriotic tunes. The music definitely sets the tone leading up to the third act, though

Overall, Firefox is a good watch if you’re looking for a bit of late night espionage. As an actor, Eastwood’s Gant plays a mix of the everyman and spy (knowing when to hush, when to move and when to knock someone out) so well that I could easily imagine this as a recurring role for him, if he wanted to go that route. The film’s supporting cast is where it truly shines, as the contacts Gant makes during his mission are key to his success.

Film Review: Any Which Way You Can (dir by Buddy Van Horn)

Posted on May 31, 2025 by Lisa Marie Bowman

In this 1980 sequel to Every Which Way But Loose, Philo and his orangutan Clyde are still living next door to Orville (Geoffrey Lewis) and his mother (Ruth Gordon). Philo is still working as a truck driver but he’s becoming far better known as a bare-knuckles brawler. In fact, when another famous fighter named Jack Wilson (William Smith), moves to the area, everyone assumes that Jack wants to challenge Philo. It turns out that Jack’s actually a pretty nice guy. He and Philo become jogging buddies.

Remember Lynn Halsey-Taylor (Sondra Locke), the extremely self-centered singer who broke Philo’s heart in the first film? Well, she’s back and she’s changed her ways. When she and Philo meet in a bar, Lynn apologizes to him for her past behavior and soon, she and Philo are a couple again. Booo! Seriously, Eastwood and Locke somehow have even less chemistry here than they did in the first film. (Again, Locke and Eastwood were in a relationship at the time, which makes their total lack of chemistry even more interesting to consider.) Everyone in the film is surprisingly forgiving of Lynn, considering that she was portrayed as being nearly sociopathic in the previous film. Even Clyde seems to be happy to have her back. Of course, Clyde gets to have a romance of his own, with another orangutan. Clyde has sex with his partner while Philo and Lynne fool around in the room next door. It’s …. kind of weird.

Anyway, the Mafia really wants Philo and Jack to fight so they decide to kidnap Lynn in order to force the fight to happen. Instead, Jack and Philo team up to rescue Lynn and to put those gangsters in their place. That might sound dramatic but this film is very much a redneck comedy so these are probably the least intimidating mafia soldier that I’ve ever seen. Just as the previous film’s outlaw bikers (and they also make a return appearance in this film) were too buffoonish to be truly menacing, the same is true of the Mafia in this film.

In the end, Philo and Jack do have a fight but it’s under their own terms and, afterwards, they accompany each other to the hospital. It’s kind of a nice moment, really. Even after beating the hell out of each other and causing more than a few broken bones, Philo and Jack are still friends. It’s a nice touch that Jack was played by William Smith, who was a bit of a low-budget version of Clint Eastwood.

Indeed, with Geoffrey Lewis relegated to a supporting role and Sondra Locke abducted by the mafia, the friendship between Philo and Jack becomes the heart of the film and if there is really anything that makes this film memorable, it’s the scenes that Eastwood shares with William Smith. These two tough guys actors seem to have a natural understanding of each other and their friendship and mutual respect feels real. They may fight but it’s only out respect for each other. It’s a shame that Eastwood and Smith didn’t team up for more films.

Any Which Way You Can is an amiable comedy. It’s not as much fun as Every Which Way But Loose. Beverly D’Angelo’s Echo is missed but she was presumably busy filming Coal Miner’s Daughter at the time. The film works best as a buddy movie. Clint Eastwood, William Smith, Geoffrey Lewis, and an orangutan. What a team!

Film Review: Every Which Way But Loose (dir by James Fargo)

Posted on May 31, 2025 by Lisa Marie Bowman

In 1978’s Every Which Way But Loose, Clint Eastwood plays Philo Beddoe.

Philo’s an ordinary guy with beautiful hair and a way with throwing punches. He’s a truck driver. He enjoys a cold beer. He enjoys country music. He makes some extra money by taking part in bare-knuckle brawls. Everyone says that he could be the next Tank Murdock, a legendary fighter. Philo is just a simple, blue collar guy who lives in a small house, next door to his best friend Orville (Geoffrey Lewis) and Orville’s profanity-loving mother (Ruth Gordon). Philo also owns an orangutan named Clyde. He saved Clyde from being sent to live in a “desert zoo.”

(Actually, now that I think about it, most blue collar guys don’t own monkeys but whatever. Clyde’s cute and Eastwood’s Eastwood.)

When Philo meets a country singer named Lynn Halsey-Taylor (Sondra Locke), he is immediately smitten. When Lynn disappears and leaves Philo a cryptic note, Philo decides to go looking for her. Clyde, Orville, and Philo hit the road. Along the way, Orville meets and picks up a woman named Echo (Beverly D’Angelo). This is a road movie so, of course, Clyde, Orville, Philo, and Echo have their adventures on the way to Colorado. They end running afoul both a corrupt cop and a gang of buffoonish bikers. Philo enters a fight whenever they need money and one occasionally gets the feeling that Eastwood took this role to show off the fact that, for someone approaching 50, he still looked good without a shirt on. And good for him! Because, seriously, Clint does look good in this movie….

I have to admit that, for all of my attempts at sophistication, my roots are in the country and I’ve traveled down enough dirt roads that I find it hard to resist a good redneck story. And really, there aren’t many films that as proudly and unashamedly redneck than Every Which Way But Loose. It’s a film that has a laid back, take-it-as-it-comes vibe to it. Philo may be looking for Lynn but he seems to be okay with taking a few detour along the way. There’s no real sense of urgency to any part of the movie. Instead, Every Which Way But Loose was made for people who like a cold beer at the end of the day and who find Ruth Gordon to be hilarious when she curses. Myself, I don’t drink. That’s one part of the country lifestyle that passed me over. But I did enjoy seeing Ruth Gordon cuss out the Nazi biker gang.

Eastwood, Lewis, and D’Angelo have a likable chemistry and the monkey’s cute. Unfortunately, Sondra Locke isn’t particularly well-cast in the role of Lynn. (Considering that she was in a relationship with Eastwood, it’s amazing how little chemistry they have in this movie.) As I watched the film, it occurred to me that it probably would have worked better if Locke and D’Angelo had switched roles. Locke’s character is supposed to be a femme fatale type but she gives a boring performance and, as a result, the revelation that Philo has misjudged her doesn’t really carry any emotional weight.

That said, this film features some beautiful shots of the wilderness, a charming romance between Lewis and D’Angelo, and a shirtless Clint Eastwood beating folks up. That’s more than enough to please this secret country girl.

Days of Paranoia: The Gauntlet (dir by Clint Eastwood)

Posted on May 31, 2025 by Lisa Marie Bowman

In 1977’s The Gauntlet, Dirty Harry is sent….

Oh wait, sorry. This is not a Dirty Harry movie. It sure feels like a Dirty Harry movie but it’s not. And really, the character that Clint Eastwood plays in this movie, Phoenix Detective Ben Shockley, is different from Dirty Harry Callahan. Shockley is a cynical (and single) detective who does things his own way. He’s got that in common with Callahan. But Shockley is also an alcoholic and that’s something that Harry would never allow himself to become. Harry may be unpredictable but he’s disciplined and he’s always in control. The other big difference is that Shockley has a little more faith in his fellow cops than Harry does. As a result, Shockley gets set-up in a trap that Harry would have seen coming from miles away.

Shockley is sent to Las Vegas to pick up a prostitute named Augustina and bring her back to Arizona. Augustina — who goes by Gus — is played by Sondra Locke. This was the second film that Eastwood and Locke made together. As a result of preparing for today’s Eastwood marathon, I watched all of the Eastwood/Locke films. The Gauntlet features Locke’s best performance opposite Eastwood. (She was good in The Outlaw Josey Wales but her role was also fairly small and simple.) As opposed to her later films, Locke actually has a good deal of romantic chemistry when Eastwood in this film and, even more importantly, she actually seems invested in the role. She plays Gus as being a feisty asskicker. It doesn’t matter that she’s in jail or that she’s handcuffed or that she’s been escorted to another state. Gus isn’t going to let anyone tell her what to do. It’s impossible not to root for both her and Shockley in this film.

Of course, it turns out that Shockley has been set up. Phoenix Police Commissioner Blakelock (William Prince) and District Attorney John Feyderspiel (Michael Cavanaugh) both have their own reasons for not wanting Gus to make it to Phoenix and they’re both willing to sacrifice Shockley to get to her. They assumed that Shockley, being an alcoholic, would be easy to defeat. Did they not consider that, alcoholic or not, Ben Shockley is played by Clint Eastwood? Every attempt that is made to stop him just makes Shockley all the more determined to get Gus to Phoenix. The film becomes a particularly violent take on It Happened One Night, going as far as to have Gus and Shockley take over a bus on their way to Phoenix.

Ah, the bus. The Gauntlet climaxes with a scene in which literally thousands of bullets are fired into a bus that Shockley and Gus are driving through Phoenix. It’s an exciting sequence, one that’s so gloriously over-the-top that you can’t help but feel that Eastwood was poking fun at his own persona. At the same time, the sequence also works as a commentary on the blind obedience necessary for an authoritarian to come to power. The cops who have lined up to shoot at the bus open fire when they’re ordered to, without asking why a bus has to be riddled with bullets. Eastwood manages to mix a healthy dose of paranoia with his satire.

Though the plot (much like the bus) is riddled with holes, The Gauntlet‘s an entertaining film. Between Eastwood and Locke’s chemistry and the explosive action sequences, The Gauntlet is a film you can’t look away from.

Film Review: The Outlaw Josey Wales (dir by Clint Eastwood)

Posted on May 31, 2025 by Lisa Marie Bowman

Towards the end of 1976’s The Outlaw Josey Wales, Josey (played by Clint Eastwood) says, “I guess we all died a little in that damned war.”

He’s referring to the American Civil War and the film leaves you with no doubt that Wales knew what he was talking about. A farmer living in Missouri, Josey Wales wasn’t involved in the Civil War until a group of guerillas, the Redlegs, raided his home and killed his family. Seeking vengeance, Wales joined the Bushwackers, a group of Confederate guerillas that were led by the infamous “Bloody Bill” Anderson. After Anderson’s death and the South’s surrender, Senator James H. Lane (Frank Schofield) offers amnesty to any of the Bushwackers willing to surrender and declare their loyalty to the United States. Fletcher (John Vernon), the leader of the surviving Bushwackers, thinks it’s a good idea and his men eventually agree to surrender.

Everyone except for Josey Wales.

Fletcher tells Josey that he’ll be an outlaw and that Lane will send his men to capture and execute him. “I reckon so,” Josey Wales replies. It’s not that Josey was particularly a fan of the Confederate cause. Instead, having lost his family and his home and having seen hundreds of men killed, Josey no longer cares. He’s got a death wish, something that becomes apparent when he later sneaks over to Lane’s camp and discovers that the leader of the Redlegs, Terrill (Bill McKinney), has been made a captain in the Union Army. The surrendering Bushwackers, with the exception of Fletcher and a young man named Jamie (Sam Bottoms), are gunned down as they swear allegiance to the United States. Joey springs into action, hijacking a Gatling gun and mowing down soldiers. It’s a suicidal move and Josey appears to be willing to die, until he sees that Jamie has been wounded. Josey and Jamie go on the run, pursued by soldiers and bounty hunters.

It sounds like the start of typical Clint Eastwood film and, make no mistake about it, The Outlaw Josey Wales features everything that most people have come to expect from Eastwood. Josey Wales is an expert shot, often firing two guns while charging forward on his horse. Josey has a way of words, explaining the purpose of getting “plain man dog mean” and telling a bounty hunter that there are better ways to make a living. The main difference, though, is that Josey is no longer seeking revenge. He’s lost his family and his home and he knows nothing is going to bring them back. He sought revenge during the Civil War and saw so many people killed that, much like Jimmy Stewart in Broken Arrow, he just wants to disappear from civilization.

The problem is that men like Lane and Terrill have no intention of letting Josey Wales disappear. The sociopathic Terrill sees it as almost being his God-given duty to kill Josey Wales and anyone else that he dislikes. The bounty hunters are also after Josey Wales. As Fletcher explains it, bounty hunting is the only way that many former soldiers can make money and feed their families. As Josey moves through the southwest, his legend grows. Every town that Josey stops in, he hears stories about the growing number of men that he has supposedly killed.

Josey also discovers that he can’t do it all alone. He soon finds himself as a part of a new family, a collection of misfits that don’t have a home in Senator Lane’s America. Lone Waite (Chief Dan George) is an elderly Cherokee man who suggests that Josey head for Mexico. Little Moonlight (Geraldine Keams) is a Navajo woman who Josey rescues from two bounty hunters. Sarah Turner (Paula Trueman) and her granddaughter, Laura Lee (Sondra Locke), are rescued from Comancheros. Josey negotiates the release of two of Sarah’s ranch hands and befriends Chief Ten Bears (Will Sampson) while doing so. Slowly, Josey comes out of his shell and starts to embrace life once again. Josey goes from searching for death to searching for peace.

It’s one of Eastwood’s best films, ending on a note of not violence but instead sad regret. It’s not only a portrait of a man learning to embrace life but it’s also a portrait of a country trying to figure out how to come back together after the bloody savagery of the Civil War. Some, like Fletcher and Josey, want to move on. Others, like Terrill, don’t have an identity beyond fighting and killing. Eastwood gives a good performance but, as a director, he gives every member of the cast a chance to shine. If you only know John Vernon as Dean Wormer from Animal House, his sad-eyed performance here will be a revelation.

Originally, The Outlaw Josey Wales was meant to be directed by Phillip L. Kaufman but Eastwood felt that Kaufman was taking too long to set up his shots and worrying about details that really didn’t matter. Reportedly, while Kaufman was away from the set, spending hours searching for a historically-correct beer bottle to be used in a bar scene, Eastwood directed the scene himself and then convinced producer Robert Daley to fire Kaufman and allow Eastwood to direct the film. (Kaufman also objected to the script’s anti-government subtext but seriously, that’s pretty much the subtext of every film that Eastwood has ever been involved with.) The DGA later instituted a rule that, on productions in which the director was fired, the replacement could not be a member of his crew or an actor in the cast but that was too late to help out Kaufman.

(Rumor has it that another reason Kaufman was fired was because he and Eastwood both “liked” Sondra Locke. This was the first of six films that Eastwood and Locke would do together.)

To be honest, I think it worked out in the film’s favor. It’s a little surprising that someone other than Eastwood was ever considered as director to be begin with, so perfectly does the story and the lead character fit with Eastwood’s persona. Eastwood captures both the beauty of the untouched land and also the bloody violence of combat. In many ways, this film almost feels like a prequel to Unforgiven. The Outlaw Josey Wales is Eastwood at his best.

Film Review: Thunderbolt and Lightfoot (dir by Michael Cimino)

Posted on May 31, 2025 by Lisa Marie Bowman

1974’s Thunderbolt and Lightfoot opens with two men, one young and one middle-aged, facing a moment of truth.

The younger of the two is Lightfoot (Jeff Bridges), a wild and hyperactive rich kid who is in his 20s and who steals a corvette right off of a used car lot. The other man is simply known by his nickname, Thunderbolt (Clint Eastwood). When we first see Thunderbolt, he’s giving a sermon in a small Montana church. When a gun-wielding man steps into the church and promptly starts firing at Thunderbolt, he takes off running. Pursued by his attacker, Thunderbolt runs through a field and just happens to jump onto Lightfoot’s speeding corvette. Lightfoot runs over the Thunderbolt’s pursuer. Thunderbolt slips into the car and Lightfoot drives on for a bit. Lightfoot is excited and talkative. Thunderbolt is more concerned with popping his shoulder back into its socket. A stop at a gas station leads to the men stealing someone else’s car.

And so it goes for a good deal of the movie. Thunderbolt and Lightfoot is a road movie, the majority of which is taken up with scenes of the two men just hanging out. Thunderbolt and Lightfoot take an instant liking to each other. When Lightfoot picks up a prostitute (Catherine Bach), he makes sure to ask that she bring along a friend for Thunderbolt. When a criminal punches Lightfoot, Thunderbolt is quick to punch back. “That’s for the kid,” Thunderbolt says. That’s the type of friendship that they have. Jeff Bridges is handsome and full of energy as Lightfoot and Clint Eastwood smiles more in this film than I think I’ve seen him smile in any other film. For once, Eastwood is not playing a perpetually grumpy stranger or a supercop. Instead, he’s just a blue collar guy who enjoys having a friend to travel with.

Eventually, Thunderbolt and Lightfoot meet up with two of Thunderbolt’s former associates. Red (George Kennedy) is a brutal brawler who, it is suggested, served with Thunderbolt in the Korean War. Goody (Geoffrey Lewis) is a gentle soul who takes orders from Red but still can’t bring himself to shoot anyone, no matter how much Red demands that he pull the trigger. Red and Goody have always assumed that Thunderbolt stole the loot from a bank robbery that they pulled off. Thunderbolt explains that he didn’t steal the money. He just got arrested after hiding it. Lightfoot suggests that maybe the four of them could pull off another bank heist….

Kennedy and Lewis are perfectly cast as the two criminals who end up working with Thunderbolt and Lightfoot. In many ways, the relationship between Red and Goody mirrors the relationship between our lead characters. The main difference is that Red is sadistic and quick to loose his temper, whereas Thunderbolt controls his emotions and tries not to hurt anyone while committing his crimes. Lightfoot looks up to Thunderbolt and Goody looks up to Red. Again, the difference is that Thunderbolt actually cares about Lightfoot, whereas Red is incapable of truly caring about anyone but himself. Eastwood, Bridges, Kennedy, and Lewis make quite a team and it’s hard not to worry about all four of them, especially when the film takes an unexpectedly dramatic turn during its third act.

I really wasn’t expecting Thunderbolt and Lightfoot to make me cry but the final thirty minutes of the film brought tears to my eyes as what started out as a buddy comedy turned into a tragedy. (I shouldn’t have been surprised. I’ve seen enough 70s movies that I really should have known better than to have expected a happy ending.) Thanks to the perceptive script by Michael Cimino (who would go on to make The Deer Hunter and Heaven’s Gate) and the performances of Eastwood and Bridges, the movie’s final moments carry quite a punch and they leave you wondering if Thunderbolt and Lightfoot’s road trip was worth the price that was ultimately paid. The film works as not only a tribute to friendship but also as a fatalistic portrait of life on the backroads of America.

Thunderbolt and Lightfoot was the first Eastwood film to receive an Oscar nomination, with Jeff Bridges competing for Best Supporting Actor. (He lost to Robert De Niro’s star turn in The Godfather, Part II.) Eastwood, reportedly, felt that he deserved a nomination for his performance as Thunderbolt and, considering that that Oscar itself was won by Art Carney for his pleasant but hardly revelatory work in Harry and Tonto, Eastwood was correct. Instead, Eastwood would have to wait for another 18 years before he finally received Academy recognition for starring in, producing, and directing Unforgiven.

Film Review: High Plains Drifter (dir by Clint Eastwood)

Posted on May 31, 2025 by Lisa Marie Bowman

In 1973’s High Plans Drifter, Clint Eastwood plays …. The Stranger.

No, not the Man With No Name. The Stranger has a name but he chooses not to share it. That said, when one person says that he doesn’t even know the Stranger’s real name, the Stranger replies, “Yes, you do.” The Stranger appears to emerge from the heat of the desert, riding into the small mining town of Lago and gunning down the three bullies that the townspeople hired to protect them after the murder of their town marshal. With no other option, the townspeople accept the Stranger as the town’s new protector.

The Stranger is drawn to the town and the townspeople but he doesn’t seem to particularly like any of them, with the exception of Mordecai (Billy Curtis), the dwarf that the Stranger appoints as the town’s new sheriff. The townspeople, the majority of whom are cowardly and motivated by greed, aren’t particularly likable themselves. The Stranger rules the town like a dictator, kicking everyone out of the hotel so that he can have it for himself and ordering that every building in the town be painted red. Over the town’s welcome sign, he paints one word: “Hell.” When the townspeople see how well the Stranger can shoot, they celebrate in the belief that they’ll always be safe. The Stranger responds by leaving town just as three sadistic outlaws, led by Stacey Bridges (Geoffrey Lewis), approach. The Stranger may be looking for revenge on Bridges but he also seems as if he wants to make the town suffer for its sins as well.

Much as with the case of The Man With No Name, the Stranger is not motivated by kindness or any sort of concern for the safety of the townspeople. He often shows a cruel-streak when it comes to dealing with the cowardly townspeople. He doesn’t attack unless he’s attacked first but once you’re on his bad side, he’ll gun you down without a hint of emotion. When the Stranger sleeps, he is haunted by nightmares of the previous marshal (played by Buddy Van Horn, Clint Eastwood’s stunt double) being murdered by Bridges and his men while the townspeople stood by and did nothing. We learn that the townspeople, worried that it might be bad for their business interests, didn’t even give the late marshal a decent headstone after his death. One woman mentions that spirits can’t rest unless they have a proper marker….

Getting the idea?

High Plains Drifter is probably the closest that Eastwood has ever come to making a supernatural horror film. The Stranger may or may not be a vengeful ghost (the movie leaves that for you to decide) but he turns the small town of Lago into his own personal version of Hell and, when he attacks the men who killed the marshal, he moves with the ruthless determination of a slasher villain. The scene where Bridges and his men ride into the town is like a filmed nightmare. This is a dark film, one in which Eastwood’s Stranger is not the hero because he’s particular heroic but just because everyone else in the film is so bad.

This was also Eastwood’s second film as a director (following Play Misty For Me) and also the first of many westerns that Eastwood would direct. The imagery is often haunting, all the more so because some of the most violent scenes take place in broad daylight. The scenes where the Stranger seems to materialize out of the desert’s heatwaves perfectly capture the mythology of the old west and its “heroes.” Eastwood gets good performances out of his ensemble cast and, even more importantly, he shows that Eastwood the director had a perfect understanding of Eastwood the actor. As the Stranger, Eastwood says more with a snarl or a half-smile than most actors could say with a multi-page monologue.

High Plains Drifter is violent, often disturbing, and ultimately unforgettable.