<<< January 9-14, 2004 >>>

From his humble beginnings as a young contract player at Universal, leading to his co-starring role as Rowdy Yates (the assistant trail boss on the 50’s hit TV series "Rawhide"), Clint Eastwood was always a consummate professional. Unbeknownst to everyone, perhaps even to himself, he was honing his chops to become the pre-eminent American icon of rugged individualism, self-reliance, and macho cool in the movies – a title he has held pretty much unchallenged since his star-making turn in Sergio Leone’s first spaghetti western, FISTFUL OF DOLLARS, in 1964. But he has also excelled in a parallel career of directing cinema, upping the ante with each successive picture since his directorial debut, PLAY MISTY FOR ME, in 1971. Counting masters like Don Siegel as mentors, as well as friends, Eastwood developed his own powerful, unique style as director, mixing his qualities as an actor with perceptive intelligence and uncommon sensitivity to character. He has been responsible for rousing entertainments as well as thought-provoking dramas. From his western sagas like HIGH PLAINS DRIFTER, THE OUTLAW JOSEY WALES, and UNFORGIVEN, to BIRD, his moving portrait of Charlie Parker, to superb adult dramas like A PERFECT WORLD, WHITE HUNTER BLACK HEART, and his latest, MYSTIC RIVER, Eastwood has charted a course of taste and integrity, and emerged as one of the most important American filmmakers in the last half century.

Friday, January 9 – 7:30 PM

Double Feature:

THE OUTLAW JOSEY WALES, 1976, Warner Bros., 135 min. Dir. Clint Eastwood. Long considered an Eastwood masterpiece, WALES tells the story of a farmer (Eastwood) who sets out to avenge the murders of his family. With a refreshing blend of heart-pounding action, complex characters, and offbeat comedy, WALES still stands as one of the greatest Westerns ever to hit the screen.  Discussion following with editor Joel Cox.

HIGH PLAINS DRIFTER, 1973, Universal, 105 min. Clint Eastwood directs himself as the hardboiled stranger hired by a town to protect it from outlaws. But this stranger may not be who he seems to be. As the hypocrisy of the townspeople is stripped away layer by layer, we learn Eastwood has his own tragic past there, which may just be the reason he’s returned. Suspense mounts to the surprising conclusion in Eastwood’s first western as director and an affectionate tribute to the spaghetti oaters that brought him stardom. Discussion between films with actor Ted Hartley (HIGH PLAINS DRIFTER).

Saturday, January 10 – 5:00 PM

UNFORGIVEN, 1992, Warner Bros., 131 min. Eastwood once again directs Eastwood, this time as reformed killer William Munney, a widowed single father trying to keep his farm. When a young loudmouth who idolizes Munney tells him about a reward for killing some sadistic cowboys that have cut up a whore, he finds himself being dragged back into the old life. Enlisting reluctant, old comrade Ned (Morgan Freeman), the trio head for town, unaware of its brutally self-righteous sheriff, Little Bill (Gene Hackman). This harrowingly dark and beautiful film is one of the most complex, uncompromising westerns ever made and won four Oscars in 1993, including Best Picture and Best Director. "…a classic Western for the ages…a tense, hard-edged, superbly dramatic yarn that is also an exceedingly intelligent meditation on the West, its myths and its heroes..." – Todd McCarthy, Variety

Saturday, January 10 – 8:00 PM

Double Feature:

WHITE HUNTER, BLACK HEART, 1990, Warner Bros., 110 min. Dir. Clint Eastwood. Loosely based on John Huston's experiences while making THE AFRICAN QUEEN, WHITE HUNTER finds director John Wilson (Eastwood) in Africa working on his film, "The African Trader." Inspired by his surroundings, Wilson becomes distracted by hunting elephants and begins neglecting his film. Told through the eyes of Wilson’s biographer (Jeff Fahey), WHITE HUNTER is an intimate portrait of and homage to the late, great John Huston. Based on the novel by Peter Viertel, one of THE AFRICAN QUEEN’s screenwriters.

BRONCO BILLY, 1980, Warner Bros., 116 min. Dir. Clint Eastwood. A charming, light-hearted tall tale about Billy McCoy (Clint Eastwood), a modern cowboy trying to keep his flea-bitten, financially-insolvent wild west show afloat. One of Eastwood’s own favorites. With Sondra Locke, Geoffrey Lewis, Scatman Crothers, and Juliette Lewis.

Sunday, January 11 – 5:00 PM

Double Feature:

PLAY MISTY FOR ME, 1971, Universal, 102 min. Clint Eastwood’s debut film as director is one of the great psychological shockers from the seventies as well as an affectionate valentine to Monterey. Eastwood also stars as the late-night DJ stalked by psychopathic fan and one-night stand, Jessica Walter. Look for footage of the Monterey Jazz Festival, as well as action auteur Don Siegel (as sage bartender, Murphy).

BIRD, 1988, Warner Bros., 161 min. Clint Eastwood’s love for jazz is reflected in every frame as he directs this heartbreakingly genuine biography of Charlie ‘Bird’ Parker (Forest Whitaker), the avant-garde bebop great ravaged by his own incendiary genius, vulnerability, and self-destructive drug addiction. With outstanding support from Diane Venora as Bird’s wife, as well as from Michael Zelniker and Keith David. Nominated for several Academy Awards, the film won an Oscar for Best Sound Recording in 1988. Discussion following with actress Diane Venora.

Wednesday, January 14 – 7:30 PM SOLD OUT

Clint Eastwood In Person:

MYSTIC RIVER, 2003, Warner Bros., 137 min. Director Clint Eastwood forges a dark, tangled web of raw emotions long suppressed in this masterful adaptation of Dennis Lehane’s crime novel. Police detective Sean Devine (Kevin Bacon) is sucked back into old neighborhood haunts when he’s assigned to investigate the murder of the daughter of his estranged childhood pal, Jimmy Markum (Sean Penn). Another boyhood friend, the deeply troubled Dave (Tim Robbins), may be involved. Sterling portrayals from an exceptional ensemble cast that includes not only Penn, Robbins, and Bacon, but also Marcia Gay Harden and Laurence Fishburne. Penn, in particular, turns in one of his finest, most volcanic performances, drawing on deep reservoirs of inarticulate anger and emotional pain.

Discussion following with director Clint Eastwood.