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Even timid, self-effacing men who have never fired a gun, much less puffed on a stogie, secretly wish that they could just once sport that filthy poncho, bite down on that cigarillo and fill the streets of Laredo with lead. Eastwood , with whom the public has had a love affair for the 59 years since he debuted as high chaparral stud muffin Rowdy Yates in the TV series Rawhide , has probably had the most amazing career in motion picture history.

There are bigger stars and there are better directors, and there are other stars who have become accomplished film-makers, but none of them can touch Eastwood for the breadth and quality of his work, for his success at the box office, and for his ability to never go out of fashion. Eastwood has starred in or directed roughly one movie a year for the past 53 years. Most of them have been pretty good; some have been great. The equally prolific Woody Allen comes closest to Eastwood as a creative double threat, but Allen makes the same movie over and over again, and he cannot act in any way, shape or form.

And, unlike Woody Allen, the public actually likes Clint Eastwood. Though Eastwood is probably best known as the Man With No Name — the mysterious loner with the poncho and the cigarillo — he did not make all that many westerns, and none since Unforgiven in Unlike John Wayne, Randolph Scott and all the other great cowboys of yore, Eastwood has never made a bad western. The Man With No Name materialised out of nowhere, with an uncertain pedigree and undefined motivation. He embodied the ethos of the s: I just want to be left alone to do my own thing, even if it means killing off half the population of Arizona.

At a very early point in his career, Eastwood decided he was going to make his own films, blasting off with Play Misty for Me. The premise of the five films that comprise the Dirty Harry series was that stupid or corrupt bureaucrats were making it impossible for honest, hard-working policemen to do their jobs. But, for those who might accuse Eastwood of being a generic rightwing neanderthal, this is also the premise of The Wire. Unlike them, Dirty Harry had to change with the times, reluctantly coming to terms with feminism and minorities as the series progressed.

Indeed, the racist, xenophobic, gun-toting old white guy in Gran Torino is basically Dirty Harry in winter. Eastwood has made violent films, arty films, heartwarming films and a handful of dimwit comedies. He has taken good books Midnight in the Garden of Good and Evil, Flags of Our Fathers and turned them into not-so-good movies, and he has taken treacly, idiotic books The Bridges of Madison County and turned them into something wonderful.

Part of his secret is this: Eastwood never stops working; he is always on to the next project. When a movie flops, he climbs back up into the saddle and makes another one.

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The hit Space Cowboys follows the dud True Crime. Sometimes, the magic works. Eastwood is one of the few directors who got better as he entered his twilight years he is now In fact, he got a lot better. Most directors are playing out the string by the time they come to the end of the line, but this is not the case for him. Hereafter — his film about psychics in love — was a surprise that came out of nowhere. Bureaucrats are stupid. Attorneys are scum. Journalists, with few exceptions, are parasites. The law will not save you from evil-doers. Women need protection, even the ones who go around shooting men in the genitals.

Nobody likes getting old. Women get mistreated in Eastwood movies. They get punched in the face in Play Misty for Me, they get punched in the face in The Gauntlet, and they get punched in the face in Million Dollar Baby. In fairness to Eastwood, an awful lot of men get punched in the face, too — most especially him. He also gets his leg chopped off in The Beguiled the original film , not the remake by Sofia Coppola. This is the only one of his films where Eastwood seems to have made a concerted effort to actually and honestly emote on screen. He was just too stiff.

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The equally prolific Woody Allen comes closest to Eastwood as a creative double threat, but Allen makes the same movie over and over again, and he cannot act in any way, shape or form. And, unlike Woody Allen, the public actually likes Clint Eastwood. Though Eastwood is probably best known as the Man With No Name — the mysterious loner with the poncho and the cigarillo — he did not make all that many westerns, and none since Unforgiven in Unlike John Wayne, Randolph Scott and all the other great cowboys of yore, Eastwood has never made a bad western.

The Man With No Name materialised out of nowhere, with an uncertain pedigree and undefined motivation. He embodied the ethos of the s: I just want to be left alone to do my own thing, even if it means killing off half the population of Arizona. At a very early point in his career, Eastwood decided he was going to make his own films, blasting off with Play Misty for Me. The premise of the five films that comprise the Dirty Harry series was that stupid or corrupt bureaucrats were making it impossible for honest, hard-working policemen to do their jobs.

But, for those who might accuse Eastwood of being a generic rightwing neanderthal, this is also the premise of The Wire. Unlike them, Dirty Harry had to change with the times, reluctantly coming to terms with feminism and minorities as the series progressed.

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Part of his secret is this: Eastwood never stops working; he is always on to the next project. When a movie flops, he climbs back up into the saddle and makes another one. The hit Space Cowboys follows the dud True Crime. Sometimes, the magic works. Eastwood is one of the few directors who got better as he entered his twilight years he is now In fact, he got a lot better.

Most directors are playing out the string by the time they come to the end of the line, but this is not the case for him. Hereafter — his film about psychics in love — was a surprise that came out of nowhere. Bureaucrats are stupid.

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Attorneys are scum. Journalists, with few exceptions, are parasites. The law will not save you from evil-doers. Women need protection, even the ones who go around shooting men in the genitals. Nobody likes getting old. Women get mistreated in Eastwood movies. They get punched in the face in Play Misty for Me, they get punched in the face in The Gauntlet, and they get punched in the face in Million Dollar Baby. In fairness to Eastwood, an awful lot of men get punched in the face, too — most especially him.

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He also gets his leg chopped off in The Beguiled the original film , not the remake by Sofia Coppola. This is the only one of his films where Eastwood seems to have made a concerted effort to actually and honestly emote on screen. He was just too stiff. After The Beguiled, Eastwood mostly danced with the one that brung him — scowling, frowning, doing that thing with the eye.