今年五十年前，伊斯特伍德使他的目录首次亮相“对我发挥朦胧”，他被驳回了，他被视为其中一个“指导” - 一个居高临下的标签，通常会被拍打在刚刚做完这份工作的稀释剂上，像Marlon Brando（用“单眼杰克”）或史蒂文Seagal（“致命地面”）。
但是，我们是39部电影 - 计算克林特即将到来的“哭马洛，“一个灰色的牛仔制造了良好的传奇，他也出现在其中 - 世界各地都会识别伊斯特伍德作为电影制作者第一和演员第二。它帮助法国人认真地带回了他，因为新闻代理人漂浮和其他基于巴黎的冠军，坚持像早期为一个Auteur治疗Eastwood。伊斯特伍德的五部电影已经竞争了戛纳，包括“白猎人黑心”，其中他发挥了一款松散虚构的John Huston版本，另一个“指导”的另一个“演员” - 谁在相机后面做了最好的工作。
Like Huston, Eastwood can’t be pegged down to a single genre, having tried his hand at many, from action (you can feel Don Siegel’s influence in “Sudden Impact”), romance (“The Bridges of Madison County”), war (“The Flags of Our Fathers”), musical (“Jersey Boys”) and of course, Western. Apart from his “shoot first, ask questions later” Dirty Harry character — who appeared in five movies spanning the ’70s and ’80s — Eastwood is most associated with the Western, having effectively replaced the earlier tradition of a friendly, white-hat hero with a stoic, understated character of ambiguous intentions.
在34岁时，当他拍摄“剧情美元”时，演员已经有了乌鸦的脚，1964年的意大利面条西方有效地让他成为明星。伊斯特伍德的眼睛每当他的男人在那部电影中眯着眼睛时，皮革的皮肤像皮革一样褶皱，强调了他不是大约二十多十人的事实捕获了一个休息，而是一个崎岖的杯子掩盖了某种生活经历的男人。Rugged yet handsome, since Eastwood’s undeniable beauty was a factor as well — and the very quality that “Dirty Harry” director Siegel leveraged in Civil War reverie “The Beguiled,” causing a house full of Southern ladies to swoon over this wounded Union Army stud.
Early on, Eastwood didn’t have the same power to choose projects that we see today — which might explain a seemingly daffy outlier like “Every Which Way but Loose,” though the orangutan buddy movie proved to be his biggest box office success, so it can’t have been all that terrible a decision. Overall, Eastwood has remarkably consistent in his choices, chiseling out one of the clearest and most iconic screen personas of his generation. It helps that he hardly ever appears in other director’s films (the last of those was back in 2012, appearing in Robert Lorenz’s “The Trouble With the Curve”), which further allowed him to shape his own brand. And even certain off-screen missteps — like the 2012 RNC convention bit where he addressed an empty chair — felt like a natural extension of the surly “Get off my lawn!” guy he’d been developing in movies.
Eastwood最持久的电影是导演和明星，“un“特别热衷于演员的”行李“，有效地解构了他在职业生涯持续时间内培养的形象，并在”Rawhide“电视剧上达到他吵闹的yates角色。在与Sergio Leone制作的Trilogy Eastwood中出现的那种渴望的eNforcer角色更加肠果重新评估，并且在“高平原漂移”和“苍白骑手”中仍然留在牧师中，最后终于被“不可努力”推翻。通过这个项目，知道我们要为他而生根，Eastwood鼓励我们质疑复仇的动机和那些使用暴力解决问题的人的道德。
虽然Leone将他的射击风格推向了自我意识极端 - 戏剧性的角度，极端特写和音乐线索，威胁到上升行动 - 伊斯特伍德明显地抵制了他自己的方法。作为董事和明星，他拥抱了“较少”的哲学，使他的技术很少呼唤自己的关注。He famously doesn’t indulge multiple takes or endless shooting days, committing to practically whatever performance his actors give — which works great when paired with professionals, but less successful when working with child actors (“Changeling”) or non-professionals (“The 15:17 to Paris”). Nor is he fussy about the screenplays, which is a shame, since a handful of his best-loved movies could have been a whole lot better if their writers had invested more effort up front.
Personally, I’m partial to “A Perfect World,” the film that immediately followed “Unforgiven,” a 1960s-set crime movie with conscience, in which Kevin Costner’s escaped convict character takes a young Jehovah’s Witness hostage on a cross-country pursuit. And though it has its detractors, I consider “Mystic River” the best film Eastwood has made this century: a wrenching, noir-toned look at the American Dream turned upside-down. That movie, like the Dennis Lehane novel that inspired it, recognizes the enormous effort that working-class parents invest in creating a better life for their children even as it confronts the turmoil that ensues when someone breaks that chain of hope by hurting or killing a child. It’s Greek tragedy transposed to the streets of Boston.