Top 5 Clint Eastwood Movies

I recently put together a list of my Top 5 Clint Eastwood Movies.  This was a daunting task as I've been watching this stellar performer's films for about as long as I can remember.  Additionally, his filmography is jam-packed with quality pictures and narrowing all those worthy candidates down to a Top 5 meant that several wonderful movies (many of which are personal favorites of mine) wouldn't make the cut.  I tried to present some variety along the way as this list could have easily boasted nothing but the rugged westerns that this cinema titan is perhaps best known for, and in doing so I wound up making some unconventional choices.  Regardless, I think this a worthy list brimming with wonderfully entertaining films, and I'm happy to share my Top 5 Clint Eastwood Movies with you.

Feel free to chime in and let me know how you would rank Clint's cinema exploits and share your thoughts on my choices.

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#5 - Any Which Way You Can (1980)

I absolutely love both Every Which Way But Loose from 1978 and Any Which Way You Can, the 1980 sequel to that smash hit.  Critics loathed these country-western ventures with a heaping side of slapstick humor, but what do they know?  Both films fared well at the box office and I'm not alone in my enjoyment of them, though there are many Eastwood fans who didn't enjoy these goofy comedies any more than the critics did.  Eastwood mostly plays it cool as Philo Beddoe, a bare-knuckle brawler with a unique family unit, while those around him generate most of the laughs.  Some consider Clyde, Philo's beloved orangutan, to be the real star of these movies, and that furry trickster does possess an abundance of charisma.  Geoffrey Lewis was terrific as always as Orville, Philo's closest non-simian ally, and Ruth Gordon is a profane and cantankerous delight as Ma.  Any Which You Can also benefits from the presence of B-movie icon William Smith, who is perhaps best known as "the dude who played Conan's dad" to my peers.  Here, he is cast as a rival bare-knuckle fighter, though he actually helps Clint out for much of the picture and is the first to congratulate him after their epic throwdown brings the picture to a close.  Any Which Way You Can is a silly affair that lampoons Clint's tough guy persona, country folk, the police, bikers, and the motel industry, among other things, and it boasts more laughs than uppercuts.  It is certainly a departure from Eastwood's typical fare, but the dude was so versatile that he was clearly just as comfortable in the role of Philo Beddoe as he was playing Dirty Harry or The Man With No Name (who had a name in each Leone masterpiece that Clint starred in, but that's a story for another day).  I am aware that there are numerous Eastwood vessels that are actually better movies, so I understand why some may not understand why I put Any Which Way You Can on my list.  However, if we're looking at Eastwood's filmography in terms of entertainment value, I think the #5 spot on my list is a fitting prize for this lighthearted yarn that is brimming with country music, unique characters, and chuckles.  

There are a lot of things I love about this movie, but the thing that puts it over
the top for me is the presence of the woefully underrated William Smith and the
cool relationship that his Jack Wilson and Eastwood's Philo Beddoe enjoy.

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#4) Magnum Force (1973)

Once again, I'm picking a sequel, and this may come as a surprise given the quality of Dirty Harry, Eastwood's first outing as the prickly but lovable Harry Callahan.  Hey, I love Dirty Harry.  It's a fantastic movie and it introduced us to a legendary tough guy, but Magnum Force is even better.  I give a lot of the credit for this noteworthy achievement to John Milius, who came up with a really neat idea for the sequel.  What if our maverick lawman, a hero who does things his way, went toe to toe with some hotshot vigilante cops who had taken this approach too far?  Michael Cimino helped the mighty Milius turn that curious notion into a riveting screenplay that bolstered this stellar follow-up to one of Eastwood's biggest hits.  Hell, throw Hal Holbrook's smarmy Lt. Briggs into the mix, insert some humor and a few nifty setpieces, and the end result is one of Eastwood's best movies, as well as one of those exceptionally rare sequels that somehow manage to outshine the original.  Obviously, Clint was a perfect fit for the part of Dirty Harry, and few big screen policeman have been so charismatic or entertaining.  Yes, I'm a huge fan of this series.  True, things started well with Dirty Harry, reached new heights with Magnum Force, and then gradually began to descend before bottoming out with The Dead Pool in 1988.  In the end, it doesn't matter--Dirty Harry is an iconic character in the cinema landscape and he enjoyed two stellar adventures and two solid pictures before that lackluster final entry reared its ugly head.  People don't think about The Dead Pool when they think about Dirty Harry; they think about Clint saying "Make my day" or asking some poor punk if he feels lucky.  I know there are many of you who prefer Dirty Harry and I understand that picking Magnum Force here will give some of you pause, but it's an easy decision for me.  Magnum Force is my favorite Eastwood venture that didn't require him to wear a six-shooter on his hip or dress up in combat fatigues.

Dirty Harry may be the first time Eastwood portrayed maverick lawman
Harry Callahan, but this 1973 sequel is a superior motion picture.
In other words, a man has to know his limitations, but a sequel doesn't.

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#3) Kelly's Heroes (1970)

Like most everyone reading this, I dig Clint's westerns and his gritty thrillers.  However, when I put Any Which Way You Can at #5 to start this list, that clearly signified that some of Eastwood's lighter films also rank among my favorites.  One such movie that seldom gets its due is Kelly's Heroes, an irreverent gem.  Hey, the very notion of a comedic and borderline absurd take on WWII might sound downright blasphemous to some.  It should be noted that in addition to poking fun at the establishment and lampooning the military, this one does have a bit of heart, and there are some serious themes buried beneath all the bluster.  Eastwood's cool lead (his Kelly may be totally fearless--or maybe he just has a serious hard-on for gold bars) and the fantastic supporting cast never fail to entertain.  Telly Savalas is fabulous as Kelly's hard-nosed commander and Don Rickles is equally captivating as Crapgrame.  Of course, the true star of the show is Donald Sutherland as Oddball.  Yes, the character belongs to another era, but Kelly's Heroes is far more interested in entertainment than plausibility--though it never grows so outlandish that it becomes an outright farce.  Purists probably don't favor Kelly's Heroes as much as I do, and modern audiences who are more familiar with films like Saving Private Ryan or Fury (read my scathing review of that one here) may not appreciate this quirky romp either.  I like gritty and realistic war movies too, but I may enjoy a quality satire even more.  I have no qualms about putting Kelly's Heroes at #3 as I break down my Top 5 Clint Eastwood Movies.

Bonus Points: I find the opening reel to be among the best title sequences of all time.  The way the images and the music clash set the stage for something totally unique.  It's damn near Tarantino-esque, and the entire score (c/o jazz maestro Lalo Schifrin) is nothing short of wonderful.  Additionally, the big tank showdown that closes out the picture is extremely impressive and even takes the satire to another level at one point when the picture playfully pays homage to The Good, the Bad, and the Ugly.

Sutherland is out of this world as Oddball, and Eastwood nails the part
of Kelly, a somewhat dubious and incredibly determined leader of men.

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#2) Unforgiven (1992)

When Eastwood rose to fame, he did so by virtue of the western, though he would later prove himself equally adept at other genres.  Regardless, when he returned to the western in 1992 with Unforgiven, it's rather fitting that he gave us one of the finest American movies of them all.  Poignant, gripping, violent, heartfelt, and exceptionally well-made, Unforgiven is an epic film.  The cast is sensational, the plot is riveting, and the cinematography is a joy to behold, though the material and the mood give the picture serious weight.  It may not be an easy watch, and it may not be nearly as warm or as hopeful as many of the classic westerns that fans of the genre know and love, but it is a wonderful movie that boasts considerable riches.  Eastwood is sheer perfection as William Munny, a retired gunslinger who thought that he had left his wicked ways behind.  Morgan Freeman is equally sublime as his pal Ned, while Gene Hackman chews scenery as a sadistic lawman named Little Bill.  Richard Harris shines as English Bob and the entire cast does a terrific job of telling this story.   The movie is a meditation on many things, to include the thin line between heroism and villainy.  It also ponders society's difficult relationship with the truth as opposed to the more palatable myths that we tend to promote.  This is surely even more impressive when you take into account that Unforgiven somehow manages to succeed at paying homage to the western while it is also keenly dissecting the genre and shedding new light on many of the most familiar aspects of this beloved portion of the cinema landscape.  David Webb Peoples obviously did a tremendous job with the script, and it would have been a crime for anyone other than Eastwood to direct and star in this landmark picture.  I don't think it's Eastwood's best film, nor I do think that it is his best western--those honors belong to the movie sitting at #1 on this list.  However, if you're one of the many who feel that this is Clint's finest offering, I certainly understand where you're coming from.  It really is a stellar movie that boasts one of our most gifted performers at his very best, and few films are as thoughtful or as rewarding as Unforgiven.

Unforgiven isn't just one of Eastwood's best films, it's a legitimate American classic.

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#1) The Good, the Bad, and the Ugly (1966)

There are good movies, there are bad movies, and there are ugly movies.  Then there are great movies.  I'm talking about epic creations that not only stand the test of time, but often shape the cinema landscape for years to come.  One such film is The Good, the Bad, and the Ugly, which many see as master director Sergio Leone's most inspiring accomplishment.  Everything works to perfection in this mesmerizing treasure, to include the cast, the iconic score, the wonderful camera work, and the presence of a director with tremendous flair and vision.  No one made movies quite like Leone, and with Eastwood, Eli Wallach, and Lee Van Cleef in tow, he provided us with an operatic descent into greed and war that should be experienced by anyone who enjoys movies.  The scope and the grandeur of this colorful epic makes it a worthy treat for those willing to trade a few hours of their time for a surreal journey that is blessed with an embarrassment of riches.  Chief among those riches is Clint's performance, a case of perfect casting if ever there was one.  With The Good, the Bad, and the Ugly, Eastwood emerged as a star, and while he continues to provide us with quality motion pictures, this feast for the senses remains his greatest achievement.  This shouldn't come as much of a surprise, for few films aim to be as robust or as magnificent as this one.  Of those that strive for such significance, many collapse under their own weight, many arrive as bloated affairs that miss the mark, and only a precious few actually come close to delivering the goods.  It is certainly a rare occasion when such a production somehow manages to meet the expectations of those daring souls who saw fit to launch such a venture.  The Good, the Bad, and the Ugly is one case where a massive undertaking of this sort actually yielded a glorious success.  This was Clint's third film in which he starred for Leone, and for many he will forever remain The Man With No Name.  Of course, those who are paying attention will notice that Clint is playing a different character in each of these films and all of these characters have names--so long as we're willing to count "Blondie" as a name in The Good, the Bad, and the Ugly.  So perfect is he for these roles that it almost seems as though Eastwood doesn't even have to try to deliver a rousing performance.  Yet portraying a character who squints more than he talks surely requires a degree of subtlety and a knack for nuance that is difficult (if not impossible) for many to summon.  Eastwood's icy cool demeanor and Leone's vibrant imagination were quite a potent combination, and The Good, the Bad, and the Ugly is one of the best movies ever made.  I treasure Clint, and narrowing down his fabulous filmography to 5 movies was daunting, but putting this dazzling masterpiece at #1 was an easy call.

All three of the westerns that Clint starred in for legendary director Sergio Leone
are terrific pictures, but it's The Good, the Bad, and the Ugly that still towers
over the genre nearly 50 years after it was originally released.

Random Cool Shit - Lalo Schifrin's Riff on the Jaws Theme

The theme for Jaws is one of the baddest themes ever to emerge from the depths of the cinema.  Yet it is a bit simplistic and it has earned its reputation more for being brutally effective than by virtue of its technical prowess.  John Williams is a legend and his work with Jaws is badass, but it should be noted that fellow composer Lalo Schifrin (Enter the Dragon, Dirty Harry, Mission Impossible) offered up a dazzling jazz rendition of the theme that is both brutally effective and boldly realized.  Don't take my word for it, though, do yourself a favor and give it a listen here.  You can thank me later.

Short Attention Span Review: Firefox (1981)

Firefox is another curious entry in Eastwood's filmography.  While no one was better at portraying hardened gunslingers, be they cowboys or cops, he was never opposed to trying his hand at something new and different.  Firefox is a special effects treat from 1981 that stars Clint as a troubled pilot who is thrust into a daring bit of Cold War espionage despite suffering from some serious PTSD.  It seems that the Russians have assembled a visionary aircraft and the U.S. is determined to steal this plane in the name of all that is fair and good.  Surprisingly, while the early stages of the picture lead one to think that this movie won't really take off until Clint gains control of the titular aircraft, it's actually the cat-and-mouse game between Eastwood and the KGB that takes place prior to the big dogfight at the end that makes Firefox worthwhile.  Now, to be fair, once the movie takes to the air, we're treated to some thrilling aerial warfare and the special effects are solid.  It's just that the intense and grim second act of the film is far more riveting and dramatic.  Eastwood directed the film with flair and while there aren't any other major stars in the mix, Firefox is loaded with potent performances.  I thought Warren Clarke was nothing short of sensational as Pavel, a gruff ally who sacrifices everything for Clint's mission even though he doesn't seem all that impressed with Clint himself.  In the end, Firefox isn't typical Eastwood fare, but he does a fine job as the lead.  I like the fact that the character he plays is engaged in a fierce battle with his inner demons as that makes him far more intriguing than most of the dependable heroes featured in similar pictures.  This may not be one of Clint's best efforts, but it's still an exciting motion picture that benefits from his charisma and his passion for filmmaking.

Final Grade: C+

Firefox is a serviceable thriller despite the fact that the events leading up to
Eastwood climbing inside the titular aircraft are far more exciting
than the big finale that ensues once he's in the cockpit.

Short Attention Span Review: Milius (2013)

As documentaries about filmmakers go, it is hard to imagine any subject being more prolific or intriguing than writer and director John Milius.  It should come as no surprise then that Milius is such a spectacle.  Even as a fan of this gifted filmmaker and his larger-than-life personality, I was surprised to see just how broad his impact on the film industry has been.  Those who aren't as familiar with John's body of work will likely be flabbergasted to learn that one man played such a pivotal role in so many iconic pictures and performances over the years.  His contributions to movies like Jaws and Dirty Harry are discussed along with movies he scripted (Apocalypse Now and Jeremiah Johnson, among others) and directed (films like Dillinger, The Wind and the Lion, and Conan the Barbarian).  Professional accomplishments aside, the stories about his larger-than-life antics and his brazen disregard for going with the flow are wildly compelling.  This documentary also benefits from more than just a wealth of intriguing material; the number of famed participants who share their thoughts on John's work and persona throughout the picture is positively mind-boggling.  It is entirely possible that it would be easier to list the major actors, directors, and producers who weren't in this documentary than it would be to name everyone who appeared in the picture.  Milius offers far more than reflection on the cinema and funny stories about a brazen individual, touching on politics and delving into some truly emotional territory in the closing reel.  As a fan, I was totally captivated, but I imagine that those who aren't as familiar with the subject--and perhaps even those who don't like John's filmography--will be entertained by this documentary.  It is bold, colorful, and surprisingly nuanced, much like John Milius himself.

Final Grade: A

Cult Classics from Dimension X: Vice Squad (1982)

 Cult Classics from Dimension X:

Vice Squad (1982)

Let’s talk about Vice Squad, the masterful thriller that gave Wings Hauser the best role in his lengthy career, a role he played to absolute perfection.  Hauser is billed third, yet he clearly steals the show as Ramrod, a vicious pimp who is the villain of Vice Squad.  Ramrod is a true scumbag, but Hauser is so unbelievably powerful in the role that by the time we reach the closing reel there can be no doubt that this is Ramrod’s story.  In fact, Hauser’s lunatic pimp is so dogged and so focused in his efforts that he has become a figure that some fans of the film openly root for despite his deplorable actions and his psychotic behavior.  

The picture unfolds during a single night in Hollywood, where the Vice Squad of the title is on the prowl. This gritty unit is led by Gary Swanson as Detective Tom Walsh, a 13-year vet of the force who is as close to burning out as any cop could possibly be right before his career goes up in flames.  When Walsh comes upon yet another of Ramrod’s victims, he goes to gruesome extremes to convince an unwilling working girl by the name of Princess to set a trap for the demented pimp.  Princess is played by Season Hubley in what may have been her best performance, allegedly drawing on the difficulties she incurred in the bitter custody battle with her estranged husband (Kurt Russel) that was wreaking havoc on her life while Vice Squad was shot in 1982.  Reportedly, Hubley encouraged director Gary A. Sherman to make good use of her distress during the film’s gripping finale, and it should be noted that she rises to the occasion and matches Hauser’s incredible ferocity during that violent struggle.

Walsh convinces Princess to wear a wire, and before long he has his man.  Ramrod vows to kill the double-crossing call girl, and of course it doesn’t take him long to escape police custody.  Then it’s up to the vice squad to keep Ramrod from getting his hands on Princess and making good on his promise, but this time the unit’s quarry clearly knows the neighborhood better than they do.  Ramrod doesn’t have a bankroll or any technological means to track his prey, but he does know the streets.  He also knows a lot of hoods and freaks, people who are either willing to help him find Princess or too scared not to.  As Ramrod lights up the night in a suicidal quest for vengeance, Walsh and his men do everything in their power to locate either the deranged pimp or the oblivious Princess, who doesn’t even realize Ramrod is loose again until it’s already too late.

Throughout, Hauser rages across the screen, investing everything in a part that could have been very familiar in another performer’s hands.  His zeal and his devotion make Ramrod a vibrant character who threatens to leap off the scream and come charging into your living room.  Though Wings has had a long and fruitful career, including a role in Michael Mann’s The Insider, this performance (as well as roles in films like Tough Guys Don’t Dance and A Soldier’s Story) makes one wonder whether or not he didn’t deserve better roles in better pictures than the B-rate cheapies he later became famous for.  He’s on fire here, and he is the probably the primary reason so many people hold this little powderkeg near and dear to the heir hearts.  He certainly offered a lot to the production, as in addition to his bravura performance, Hauser also performs the vocals for the picture’s theme song, Neon Slime, which is played over both the opening and closing credits.  In truth, his acting is far superior to his singing, but the song is interesting at the very least, and Hauser had cut a record, 1975’s Your Love Keeps Me Off the Streets, so he has some talent.

Vice Squad is a very entertaining piece that moves quickly.  This is largely due to director Gary A. Sherman, who cut much of the script that didn’t directly pertain to Ramrod’s pursuit of Princess in pre-production.  Sherman also spent a lot of time with actual policeman who worked in vice to prepare for the piece, as did star Gary Swanson.  In addtion to Vice Squad, Sherman directed Raw Meat and Dead & Buried, both of which are cult classics in their own right.  Though much of his later work came in television, Sherman’s early films are well-made outings with tight plots and rapid-fire pacing, leading one to ask the same questions of his career trajectory that we might ask of Hauser’s legacy.  

In closing, Vice Squad is definitely a winner, and Hauser, Sherman, Swanson, and Season Hubley all make the most of this seedy journey into Hollywood’s underbelly. I treasure this film, but as an avid fan of Wings Hauser that shouldn’t come as a surprise.  Those who are unfamiliar with this brazen performer may find themselves taking an interest in his work after watching this film, but in all honesty this is probably as good as it gets for the man named Wings.  If you haven’t seen Vice Squad, I strongly encourage you to do so, as this film is a great example of a true cult classic.  It is fun, frantic, and offers a nice alternative to many of the less audacious crime films available to fans of such pictures.

Author’s Note:

This picture also boasts one of the funniest scenes I have ever beheld, an absurd little gem that has absolutely nothing to do with the plot itself.  I call it “The Paperclips Scene,” and it centers on an illogical and altogether hilarious police station rant about missing paperclips courtesy of an angry cop who is never seen again in the film.  That bit certainly stands out, but Vice Squad is positively brimming with memorable bits of dialogue.  Perhaps no line has been quoted by fans of the piece so much as the infamous “$500 don’t get you no El Dorado.”  Check it out and you’ll understand, and if you don’t laugh during The Paperclips Scene, you might want to check for a pulse.

Vice Squad Trivia

Reportedly, the film is at least partially based on actual vice squad cases that originated in the film’s Hollywood setting.  Indeed, the screen credit for Kenneth Peters is allegedly a pseudonym for the LAPD detective who opened his files for the production.

A young Martin Scorsese was allegedly a big fan of the film, reportedly going so far as to advise Dawn Steel that in his opinion Vice Squad was the year’s finest film.  This exchange supposedly occurred at an official Paramount dinner function. 

Though it has never been confirmed, many feel this 1982 film (concerning the dogged pursuit of a woman by a ruthless madmen over the course of a single night) may have been one of James Cameron’s influences when he sat down to write The Terminator, which was released in 1984.

As Detective Walsh, Gary Swanson utters the line “Go ahead, . . . make my day.”  A year later, Clint Eastwood would make the line famous as Dirty Harry Callahan in 1983’s Sudden Impact.

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Note: Like many of my best non-fiction articles, this piece was originally published by RVA Magazine.  I'm pleased to share it with those of you who follow my blog, for I don't feel that there are enough people out there who appreciate the man known as Wings Hauser or this genuine cult classic. 

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See also: Cult Classics from Dimension X - Sorcerer (1977)