Crikey, talaivar still acting. Gran Torino would have been a nice goodbye. Acting bug vidamAttingguthu pola
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Crikey, talaivar still acting. Gran Torino would have been a nice goodbye. Acting bug vidamAttingguthu pola
http://www.youtube.com/watch?v=UdJPvXLemVs
Looks very cliched, same performance in the last few grumpy old man movies he acted. But nostalgic award committee is definitely going to nominate him.
http://japandailypress.com/ken-watan...orgiven-209574
Unforgiven, the 1992 western film masterfully directed by Clint Eastwood, is set to be remade as a Japanese Samurai film, with none other than Japanese star Ken Watanabe taking Eastwood’s role as the main character. Titled Yurusarezaru mono (the Japanese translation for “Unforgiven”), will be directed by South Korea’s Lee Sang-il, of Villain, and will also include Akira Emoto and Koichi Sato in its cast. Filming is scheduled to begin this fall in Hokkaido, Japan’s northern island, and will be released around the same time in 2013.
Similar to the U.S. film, the story takes place in 1880, and instead of taking place in a small western town on the fringes of the frontier, it will be set in Hokkaido, at a time when the native Ainu people are being displaced by Japanese settlers. Just as Clint Eastwood was a former outlaw, Watanabe will play a samurai with a violent and fearsome past who tried to move on and live in retirement with his Ainu wife. A violent crime and a large bounty are what prompt his return to a life he tried to leave behind.
It’s interesting that it’s taken this long for a U.S.-made western movie to be remade with samurai in Japan, as it was Akira Kurosawa’s classic Yojimbo that was remade into A Fistful of Dollars, starring none other than Eastwood (and helping to launch his career), as well as Seven Samurai (also by Kurosawa) that became The Magnificent Seven. Unforgiven won the 1992 Oscar for Best Picture, among several others, and with its play on the formula of classic westerns, and its meditation on violence, it’s one of my favorite Eastwood movies. While I’m not familiar with the director, Watanabe’s performance is well-known, so I’m really hoping this doesn’t disappoint.
when i was in washington DC airport this weekend, i happened to see the magazine. here's the article about him.
http://www.esquire.com/blogs/politic...1012?click=mid
Thanks A2A for the links. As for his new movie, fans only, and nostalgic fellers movie. EthO Odumnu nenekiren. Here's something I never caught:
http://www.youtube.com/watch?v=YtmZS...eature=related
http://en.wikipedia.org/wiki/Malpaso_Productions
Movies produced by Clint eastwood through his production company Malpaso.
Review: Old pro scores with another hit up middle
LOS ANGELES — Clint Eastwood's first film as an actor for a director other than himself since "In the Line of Fire" in 1993, "Trouble With the Curve" is a corny, conventional and quite enjoyable father-daughter reconciliation story set mostly in the minor league baseball world of the South.
Playing a sort of PG-13-rated version of his ornery coot in "Gran Torino," Eastwood is vastly entertaining as an old-fashioned scout who disdains computers and fancy statistical charts in favor of his own time-tested instincts. Making his directorial debut, Eastwood's longtime producer Rob Lorenz knows just how to pitch the story to take advantage of the humorous side of his star's obstinate crankiness, and Amy Adams makes a good match as the career-driven daughter with festering resentments.
As in "Gran Torino" four years ago, Eastwood does not hesitate to spotlight the debilitations of old age, in fact doing so right off the bat as his Gus Lobel patiently coaxes out a morning pee, struggles with vision problems and stumbles into a coffee table at his modest home. A legendary baseball scout responsible for discovering some major stars in his day, Gus is one of the last of the cigar-chompers, a guy who relies on what he sees, hears and intuits but, with just three months left on his contract with the Atlanta Braves, "may be ready for pasture." Anybody who's seen "Moneyball" will know which side of the table he sits on.
His only kid, conspicuously named Mickey (Amy Adams), is a high-powered young Atlanta lawyer on the verge of becoming a partner at her firm. Still stewing over having been palmed off on relatives when her mother died young so Gus could continue to troll the minors for talent, Mickey has commitment issues with men and the last thing this workaholic could imagine is accompanying her dad through southern backwaters on what could be his final swing. But her old man's pal (John Goodman) talks her into it, suggesting that it could be a last chance to patch things up.
First-time screenwriter Randy Brown puts his players on base and then comes through with what feels like a solid hit through the infield that scores a couple of runs. When Mickey joins her dad in North Carolina, their nearly every exchange almost immediately turns into an argument that ends with her stomping out and him telling her to go home. But good sense and some interesting developments keep her around: A former recruit of Gus's, Johnny Flanagan (Justin Timberlake), who made it to the bigs, then threw his arm out and is now a Red Sox scout, starts hound-dogging Mickey. She has great baseball sense herself and, alongside Gus, evaluates the season's top prospect, Bo Gentry (Joe Massingill), a beefy slugger who hits it out nearly every time he comes up to the plate.
Filming in a charming old minor league park and peppering the stands with veteran baseball guys provides nice echoes of the game the way it used to be, and it feels good when director Lorenz also brings his star back to the sort of working class settings – Southern honkytonks, pool halls, cheap motels, cut-rate sports facilities – where his characters used to spend a good deal of time. In a modest, appealing way, "Trouble With the Curve" is another last-stand-of-the-old-timers movie, which might include "Gran Torino," "Space Cowboys" and "In the Line of Fire," with Eastwood as actor and sometimes director, in which experience, intuition and character get to carry the day against technology, numbers and other newfangled developments.
Even though he's still in the minors, the outsized Gentry amusingly carries on as if he already knows he's the new century's Babe Ruth, refusing to low-five his third base coach when he hits homers and boasting of glories to come. But despite his deteriorating vision, Gus has suspicions, as suggested by the film's title, that Gentry has a fatal weakness. It's a conviction he shares with Mickey, who herself contributes to her father's cause in a surprising, if somewhat far-fetched, way.
Having begun with Eastwood as a second assistant director on "The Bridges of Madison County" in 1995 and working as a producer or executive producer on his films since 2002, Lorenz knows well his collaborator's strengths as an actor and doesn't stray far from the style and tone customary at Malpaso, Eastwood's production company. This is a handsomely directed film; there's a nice crispness to the pacing and images, as Lorenz keeps things moving briskly and has had house cinematographer Tom Stern move away from his recent darker, more subdued look to a brighter, fuller palette, which suits the vibrant characters and settings.
Adams scores as the career woman who's a tomboy at heart and discovers some new horizons by breaking with her routine. Timberlake is energetic but too puppy-doggish as her eager suitor; given Johnny's background as a failed would-be baseball player, some shades of regret and disappointment would have deepened the characterization. Distinctive character actors such as Goodman; Matthew Lillard, playing a Braves scouting executive contemptuous of Gus's antiquated ways; and Robert Patrick, as the team's hardnosed GM, are hardly tested but lend weight to the supporting cast.
But, of course, the show belongs to Eastwood. Still physically fit enough to pitch to his daughter for fun, Gus may be an anachronism but, like the actor who plays him, he remains a force to contend with. And despite his hard-headedness, he's also able to see that it's never too late to open up to Mickey. His medical issues are unrealistically shoved aside at the end, which might have benefited from a melancholy undercurrent, but the result is satisfying in an old-fashioned way, which also might be part of the point.
"Trouble With the Curve," a Warner Bros. release, is rated PG-13 for language, sexual references, some thematic material and smoking. Running time: 110 minutes.
Motion Picture Association of America rating definition for PG-13: Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.
LOOKS LIKE THE MOVIE WOULD BE ANOTHER GRAN TORINO....
They are just being nice to him. Eastwood ahaaohoo-nu-,baingga.
another review from NYdaily news.....he is the darling of media...
http://www.nydailynews.com/entertain...icle-1.1163650
Movie review: ‘Trouble With the Curve’
Baseball film doesn't hit it out of the park, but Clint Eastwood's still worth catching
NEW YORK DAILY NEWS
Thursday, September 20, 2012, 12:51 PM
..Print Print.Comment...
Keith Bernstein
Clint Eastwood plays a baseball scout who has 'Trouble' connecting with his daughter (Amy Adams).
Title: 'Trouble With the Curve'.
Film Info: With Clint Eastwood, Amy Adams, Justin Timberlake. An aged baseball scout and his adult daughter reconnect. Director: Robert Lorenz (1:51). PG-13; Language. Area theaters. .
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. .Forget about Clint Eastwood talking to a chair. In “Trouble With the Curve,” the octegenarian icon uses his gravelly rasp to talk directly to an audience who’ll respond to mainstream, old-fashioned moviemaking.
Which isn’t to say that this admittedly schmaltzy, sometimes aggravatingly slow film turns its lack of originality into a benefit. But the team behind “Curve,” directed by Eastwood’s production partner Robert Lorenz (who clearly honors his mentor’s no-frills style), knows that those who want to see Eastwood go with expectations. So the movie hits a line drive right to where it should be.
Eastwood is Gus Lobel, a longtime scout for the Atlanta Braves who scoffs at the computer programs used by a pompous co-worker (Matthew Lillard, in a good smug-jerk turn). Gus, like his veteran scout pals, does it the classic way — from the stands, from which he gauges high school players’ prospects. He studies everything from their grip on the bat to the sound of a fly ball.
But Gus is gettin’ up there and is in danger of being let go. His pal (John Goodman) enlists Gus’ lawyer-daughter, Mickey (Amy Adams) – named for Mickey Mantle — to play chaperone. Along the way, the squabbling pair are joined by a formerly hot rookie (Justin Timberlake), who connects on his own with Mickey.
But her bigger play is getting the taciturn Gus to communicate with her after a quarter-century of stats and facts. Now 33 and filled with a love of baseball, she wants know why they never connected.
“Trouble With the Curve” is easily digestible in chunks – if it were a CBS show, it’d be called “Postseason With Morrie” — and it has an affectionate view of grubby motels, greasy diners and small-town scoreboards. Randy Brown’s script is filled with old-guy wisdom and jokes that feel like they fell from Bob Uecker’s pocket. (“What’s the state bird of New Jersey?” “That’s a trick question. There are no birds in New Jersey.”)
It’d be more boring if the company weren’t so agreeable. Adams, the three-time Oscar nominee who’s great whether she’s being sweet (“Enchanted”), scrappy (“The Fighter”) or stoic (“Doubt,” “The Master”), seems to be having fun just letting her red hair down.
Timberlake’s character really has no reason for being here, but the singer-actor is an affable presence and a generous performer. Like Greg Kinnear, he makes lightness an asset.
And Eastwood, well, is Eastwood. In filmmaking, at least, he’s sure of what he’s doing. As a director, he remains challenging; merely acting in “Curve,” he knows what the crowd wants, from threats to punks to soliloquies muttered through clenched teeth.
Even as a third-act revelation weighs the film down with an overwrought confession, the movie’s star hits the ball and trots on, no trouble at all.
Read more: http://www.nydailynews.com/entertain...#ixzz271xZgCjq
Wholly predictable yet serenely enjoyable, "Trouble With the Curve" opens with Gus, the aging Atlanta Braves baseball scout played by Clint Eastwood, standing at the toilet, wondering how long it'll take this time.
It's an amusing bit, acknowledging the character's late-autumn locale along life's urological timeline. In addition to the usual aggravations, Gus' eyes are failing, and he's dealing with it by not dealing with it, or telling any of his colleagues. His scouting contract expires in three months. He's sent to Asheville, N.C., to check out an alleged phenom the Braves front office is hot to sign.
Amy Adams, who is getting better, more versatile and more valuable by the movie, plays Gus' workaholic lawyer daughter, Mickey (named after Mantle), who has struggled with abandonment issues her entire life. Years ago Gus shunted her aside after the death of his wife; relations between daughter and father have since been distant at best.
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XTop 50 superhero movies of the last 10 years Ads by Google"Trouble With the Curve" lays each conflict and chapter out neatly, no surprises, as Mickey joins Gus in North Carolina and attracts the eye of a Red Sox scout and former pitcher once scouted by Gus, played by Justin Timberlake.
These three are extremely pleasant screen company. Eastwood growls his way through a variation on the rugged individualist and part-time vigilante audiences adored in "Gran Torino." Here, though, the material's lighter and more easygoing. This is the first time since "In the Line of Fire" 19 years ago that Eastwood has acted in a movie he didn't direct. But "Trouble With the Curve" is a family affair, with Eastwood's longtime producer Robert Lorenz making his feature directorial debut with newcomer Randy Brown's screenplay. Eastwood's usual cinematographer, Tom Stern, returns for duty (with fewer chalky-white/inky-black contrasts than usual, befitting this largely open-air tale), as do editors Gary D. Roach and Joel Cox. The conspicuous newcomer to Eastwood's team, composer Marco Beltrami, turns in a good, low-key score, in keeping with the aspirations and qualities of the film.
"Scouts, good scouts, are the heart of this game," Gus says defiantly at one point. "Moneyball" be damned! In clear contrast to that film, which was sympathetic to the low-budget team-assembly concept of sabermetrics and computer-crunched analysis of baseball, "Trouble With the Curve" throws its lot in with the intuitive old-timers, here played by Eastwood, Ed Lauter and others — the actual, rumpled humans on the road, sussing out pitchers or hitters or fielders worth a shot.
Of course the movie is sentimental. A fairy tale? Yes, it's that too. Satisfying? Yep. The key, I think, is the restaurant scene between Adams and Eastwood where she confronts him about how she was, and wasn't, raised by Gus. It's played by both actors with minimal fuss and maximum honesty. I wish the film had the guts to leave Gus' failings be; the script takes an easier way out by hanging his actions on a long-ago incident, alluded to throughout, in eerie flashbacks recalling Eastwood's own "Mystic River" and "Changeling." Often a movie's attempt to rationalize a tough character ends up softening him in untruthful ways. That said, you don't go to "Trouble With the Curve" for a heavy dose of truth. You go for a little truth, and a little baseball, and the soothing reminder that things sometimes change for the better.
http://www.chicagotribune.com/entert...7823923.column
At last, I watched the movie yesterday late night show with four more unknown people in the theater. The attendance was really poor comparing Gran Torino.... As groucho said, this movies is nostalgia for Clint east wood’s fans. The plot and scenes are very predictable but still enjoyable. As usual all Clint’s one liners are great. One could see the old Clint east wood in a scene where he threatens a guy who forces his daughter to dance with him. A typical Clint east wood performance. Over all, i enjoyed whole movie.... it's definitely worth a watch. However i still prefer Gran Torino over this
Ah expected, right. Not a box office material, I doubt even on the awards, though the season has started.
When the screener's out, I will be first to it..
C.E is one of the finest actors from Hollywood, yesterday I was watching a movie of his in the gym, couldn’t figure out the title! It had CE and a Chimp, thoroughly entertaining movie! Can some one pls tell me the name of this movie?
Ah Just figured out that Rajni in Kilamanjaro song resembled CE a bit
there are two movies way back in late 70s and early 80s.
1. Every Which Way but Loose
2. Any Which Way You Can
I'm not sure which one you watched....
Gymn must be the second one.
ErkanavE sollitten, Kilimanjaro Rajini, or Baba Rajini for that matter, looks like Talaivar (Watch Pale Rider).
The story is something like he had a chimp as his mate, which was rescued by CE from a zoo, CE's mother does not approve of the monkey. I had to follow the subtitles (which was difficult) , because the sound was turned off in the gym. There were scenes like CE chasing some bikers with "Black widow" (spider) tattoo's on their arm.
Does this ring any bell ? :roll:
Got it, it was "Every Which Way but Loose"
http://en.wikipedia.org/wiki/Every_W...t_Loose_(film)
I came to know about clint eastwood probably not more than 7 or 8 years back. These below enlisted movies i watched so far.... But i watched only two movies in theatre Fran Torino and trouble with the curve. If i get chance to watch his movies in big screen especially his western or dirty harry sequel, i will definitely go and watch it. It could be possible that i exposed to clint eastwood/sergio leone type western before john wayne/john ford. Somehow duke never impressed me like eastwood.
A Fistful of Dollars
For a Few Dollars More
The Good, the Bad and the Ugly
Hang 'Em High
Paint Your Wagon
Two Mules for Sister Sara
The Beguiled
Play Misty for Me
Midnight in the Garden of Good and Evil
True Crime
Space Cowboys
Blood Work
Mystic River
Dirty Harry
Joe Kidd
High Plains Drifter
Magnum Force
Thunderbolt and Lightfoot
The Outlaw Josey Wales
The Enforcer
The Gauntlet
Every Which Way but Loose
Escape from Alcatraz
Any Which Way You Can
Sudden Impact
Pale Rider
Heartbreak Ridge
The Dead Pool
White Hunter Black Heart
Unforgiven
In the Line of Fire
The Bridges of Madison County
Absolute Power
Million Dollar Baby
Changeling
Gran Torino
Invictus
Trouble with the Curve
Unforgiven onwards watched on big screen (except the ones he didn't act). The earlier ones I may have watched with dad when I was a kid. Can't remember, but a lot on TV with him, which led to me becoming a fan.
Otherwise on TV/VCD/DVD watched all Leone, and post Leone work except The Witches (an episode with him).
Neither leone nor morricone speakenglish well but these two guys to gether made classic movies in Hollywood. in one of the leone's intervievvw from early 80s, he said morricone did music first and then shooting took place. i cann't even imagine how morricone conceived the music whithout seeing the visuals....Wow
The Dollars trilogy belongs to Leone and Morricone. Talaivar just lent his presence. It could have been anyone else, watch how Bronson and Fonda totally blew the screen away in Once Upon. I felt Eastwood would have still become a great star without Leone, thanks to his fame in Rawhide series, his own enthusiasm (directed an episode of the series, or was it more? Not sure). Remember, it was Paint Your Wagon that made him think, "f*** it, I will now command my own ship and not wreck it".
That's true.... clinet eastwood was skeptical about the movie because people from hollywood had bad impression on western made by other than hollywood producers. often americans mocked at them.... But leone is exceptional and he shut their holes.... I somehow like OUTIW more than dollar triology..... Leone wanted clint, eli wallah and van cliff to act in the opening scene of OUTIW where three thugs waiting at train station to kill branson....
Last week, I revisited the movie Per un pugno di dollari & Per qualche dollaro in più and for nth time...the movie is still entertaining.... i felt the the charecter of Gian Maria Volonté was highly inspired by amjad khan in sholay.
Then, i happened to be in italian film festival in newyork city. I was so curious to see the stills from movies. The topic was "golden era of italian movies (1960-1970)". I was expecting that i would end up seeing something from sergio movies.... damn, there is no information about him....it mostly showcased the work of "Sophia lauren, clausida cardinale & michel angelo"....i felt so bad....
American Sniper directed by clint eastwood is releasing today...