Just as our parents and grandparents did to us, now we do it with our children. Talking about Clint Eastwood to a 15-year-old boy is a great opportunity for interaction between generations and to perpetuate a cinephile conversation that revolves around a man who became a movie legend.
The films of Mr. Eastwood that our old people saw in cinemas and we saw on television thanks to the Beta, VHS and DVD formats, now teenagers can find them in streaming platforms. Many are unaware of their existence, but that accessibility to such content is a great excuse to sit with them, watch those films and talk about them.
The pretext fits perfectly in this moment that was released Cry Macho, title that motivates kids to ask who Clint Eastwood is and why so much is said about his life as an actor and director. Such concern comes from looking for the premieres in theaters to go to the movies and they do not welcome the idea of seeing an old cowboy, or “the story about being lost and finding oneself”.
Faced with this situation, here in Spoiler we break down movies about Clint Eastwood what can meet on HBO Max and they serve as a guide for the youngest to get closer to the legend of cinema and have a background to see Cry Macho, a title that appeals to many adults because it may be the farewell letter to the toughest man on the big screen.
44 Magnum, Lightning Impact, Fearless of Death, Hell Waiting Room
These four films belong to the saga about Dirty Harry, or rather about Detective Harry Callahan. During the seventies and eighties, Clint Eastwood personified this policeman who delivered justice from his own methods, which were distinguished by being unethical and violent. With his inseparable revolver, this unscrupulous man did not tempt his heart to shoot those who acted against the law. He earned the stigma of being an intractable guy, with zero regrets and dry personality.
Clint Eastwood’s masterpiece as a director. It is a 90s western where the actor takes up the cowboy icon that identified him throughout his career. In this case, he presents himself as Bill Munny, a retired gunman for hire who agrees to return to the charge to avenge a group of prostitutes abused by other violently ill cowboys, some psychopaths. Here Eastwood endows his cowboy persona with signs of atonement, repentance, and a desire to change his life. In the same way, he gives warnings that he has feelings and wants to leave behind that rigid, aggressive and distant gunman of affection that he was for many years.
*On Cry Macho He dresses as a cowboy again, however, redeemed. He showed signs of deconstruction in his role as Bill Munny.
Letting go of the past and a personality is not so easy. As he ages, Eastwood tries to confront himself. With this story, he forgets about the detective and the cowboy to give life to a grumpy old man, angry even with his own being. But behind that character there is a man with the intention of doing the right thing, even if it is going against his prejudices and convictions. However, he cannot stop using weapons, they are part of his DNA. And he has no qualms about using them to protect his car.
The bridges of Madison
Can Clint Eastwood fall in love? Do you have a heart? Are you capable of being attractive to a woman? The answer is yes. Incredible but true, the actor and director brought tears to millions of viewers with the love story between two adults who seemed to have settled life with their feelings, but it is not like that. To date, the ending continues to cause tears in men and women who feel reflected in the plot.
*On Cry Macho, Eastwood is granted permission to make a different decision than the one he made with the outcome of The Bridges of Madison. Another aspect of his redemption.
A perfect world
It re-establishes itself as a representative of the law. The difference is that he no longer wants to kill, he refuses to use his gun. Proof of this is when he has before him the possibility of using it and he gives up doing it, he even appears unarmed before the man whom he may well shoot. That small gesture, which occurred in the context of a fugitive who has kidnapped a minor who is fond of him, can be seen as a warning that he does not want more bullets in his path.
Raya and the Last Dragon