#MAN WITH NO NAME SERIES MOVIE#
#MAN WITH NO NAME SERIES SERIES#

With the release of Cry Macho, EastwoodвЂ™s 39th film, we took the occasion to rank his films as a director, sticking strictly to those with which heвЂ™s credited as a director. Every shot and every camera move matters, and if the work isnвЂ™t showy at every moment, Eastwood has a habit of building to an image of eerie power or disarming beauty that reveals just how much thought heвЂ™s given to what heвЂ™s doing - even if heвЂ™s thinking and making decisions faster than the average director. Like Don Siegel, a collaborator Eastwood studied as he started to consider making his own film, Eastwood works like a craftsman. And even the weakest Eastwood films have their compelling qualities in part because, while no one was paying attention, Eastwood learned to be a great director. Eastwood remains capable of producing a stunner after a string of underwhelming efforts. But itвЂ™s impossible to trace a pattern of decline. Sometimes the approach produces classics, sometimes it doesnвЂ™t.

He likes to work fast with little rehearsal and few takes, often operating from screenplays still in the same shape they were in when the draft first landed on his desk, now an anomaly in an industry that loves rewrites, reshoots, and market-tested ideas. Nobody turning out films at EastwoodвЂ™s pace can be great all the time. Now 89, heвЂ™s been prolific and unpredictable ever since, usually turning out a film a year, sometimes two, that have ranged from police thrillers to melodramas to an old-fashioned musical. That phase reached a kind of culmination with the 1992 film Unforgiven, a Western of undeniable artistic achievement that would go on to win the Best Picture Oscar, and the years that followed found Eastwood redoubling his efforts to pursue whatever project appealed to him.

By the time Eastwood had started to be accepted as a proficient director of genre movies thanks to The Outlaw Josey Wales and The Gauntlet, his ambitions had already deepened, as had his commitment to making movies that explored and toyed with his own big-screen image. Eastwood was the Man With No Name and Dirty Harry first everything else came second. Though heвЂ™s often intertwined the two strands of his career, itвЂ™s directing more than acting thatвЂ™s been EastwoodвЂ™s focus ever since, even if the public and the press tended to treat it as a sideline hobby during the early years. With his money from those movies, Eastwood formed the Malpaso Company (later Malpaso Productions), with an eye toward exerting more control over the material in which he appeared - and eventually directing, which he began doing with the 1971 thriller Play Misty for Me. Those films became worldwide hits that made Eastwood into a big-screen icon, but just as soon as heвЂ™d shaken off his TV-star image, he found he wanted more.

#MAN WITH NO NAME SERIES MOVIE#

Then, at a time when TV stars had trouble transitioning to film work, he found movie stardom via an unconventional route, traveling to Europe to appear as a character later known as the Man With No Name in three Westerns by Italian director Sergio Leone: A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly.

#MAN WITH NO NAME SERIES SERIES#

After working as a bit player for years - he first pops up in the uncharacteristic role of a lab technician in the 1955 monster movie Revenge of the Creature - Eastwood found TV stardom as Rowdy Yates on the long-running Western series Rawhide. This article was originally published in 2018 and has been updated to include the directorвЂ™s latest work.Д¬lint Eastwood has reinvented himself many times over the course of a career that now stretches back over 60 years, but itвЂ™s usually taken time for everyone else to catch up with the changes.

Man with no name series