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Clint Eastwood
Clinton Eastwood Jr. is an American actor, filmmaker, musician, and political figure. After achieving success in the Western TV series Rawhide,
he rose to international fame with his role as the Man with No Name in Italian filmmaker Sergio Leone's Dollars Trilogy of spaghetti Westerns during the 1960s,
and as antihero cop Harry Callahan in the five Dirty Harry films throughout the 1970s and 1980s. These roles, among others, have made Eastwood an enduring cultural icon of masculinity.
For his work in the Western film Unforgiven and the sports drama Million Dollar Baby, Eastwood won Academy Awards for Best Director and Best Picture, as well as receiving nominations for Best Actor.
Eastwood's greatest commercial successes have been the adventure comedy Every Which Way But Loose and its sequel, the action comedy Any Which Way You Can, after adjustment for inflation.
Other popular films include the Western Hang 'Em High, the psychological thriller Play Misty for Me, the crime film Thunderbolt and Lightfoot, the Western The Outlaw Josey Wales, the prison film Escape from Alcatraz,
the action film Firefox, the suspense thriller Tightrope, the Western Pale Rider, the war films Where Eagles Dare, Kelly's Heroes, and Heartbreak Ridge, the action thriller In the Line of Fire,
the romantic drama The Bridges of Madison County, and the drama Gran Torino. In addition to directing many of his own star vehicles, Eastwood has also directed films in which he did not appear,
such as the mystery drama Mystic River and the war film Letters from Iwo Jima, for which he received Academy Award nominations, the drama Changeling, and the South African biographical political sports drama Invictus.
The war drama biopic American Sniper set box-office records for the largest January release ever and was also the largest opening ever for an Eastwood film.
Eastwood received considerable critical praise in France for several films, including some that were not well received in the United States.
Eastwood has been awarded two of France's highest honors: in 1994 he became a recipient of the Commander of the Ordre des Arts et des Lettres, and in 2007 he was awarded the Legion of Honour medal. In 2000,
Eastwood was awarded the Italian Venice Film Festival Golden Lion for lifetime achievement. Since 1967, Eastwood has run his own production company, Malpaso Productions, which has produced all,
but four of his American films. Starting in 1986, Eastwood served for two years as mayor of Carmel-by-the-Sea, California, a non-partisan office.
Early life
Eastwood was born on May 31, 1930, in San Francisco, California, the son of Clinton Eastwood Sr. and Ruth Wood. Ruth later took the surname of her second husband, John Belden Wood,
whom she married after the death of Clinton Sr. Eastwood was nicknamed "Samson" by the hospital nurses, because he weighed 11 lb at birth. He has one younger sister, Jeanne Bernhardt. Eastwood is of English, Irish,
Scottish, and Dutch ancestry. He is descended from Mayflower passenger William Bradford, and through this line is the 12th generation of his family born in North America. During the 1930s,
his family moved often as his father worked at jobs along the West Coast. Contrary to what Eastwood has indicated in media interviews, they did not move at all between 1940 and 1949. Settled in Piedmont, California,
the Eastwoods lived in a very wealthy part of town, had a swimming pool, belonged to the country club, and each parent drove their own car. Eastwood attended Piedmont Middle School,
where he was held back due to poor academic scores; records indicate he also had to attend summer school. From January 1945 to at least January 1946, he attended Piedmont High School,
but was asked to leave for writing an obscene suggestion to a school official on the athletic field scoreboard, and for burying someone in effigy on the school lawn, on top of other school infractions.
He transferred to Oakland Technical High School and was scheduled to graduate in January 1949 as a midyear graduate, although it is not clear if he ever did. "Clint graduated from the airplane shop.
I think that was his major," joked classmate Don Kincaid. Another high school friend, Don Loomis, echoed "I don't think he was spending that much time at school, because he was having a pretty good time elsewhere."
"I think what happened is he just went off and started having a good time. I just don't think he finished high school," explained Fritz Manes, a boyhood friend two years younger than Eastwood,
who remained associated with him until their falling out in the mid-1980s. Biographer Patrick McGilligan notes that high school graduation records are a matter of strict legal confidentiality.
Eastwood held a number of jobs, including as a lifeguard, paper carrier, grocery clerk, forest firefighter, and golf caddy. Eastwood has said that he tried to enroll at Seattle University in 1951,
but instead was drafted into the United States Army during the Korean War. "He always dropped the Korean War reference, hoping everyone would conclude that he was in combat and might be some sort of hero. Actually,
he'd been a lifeguard at Fort Ord in northern California for his entire stint in the military," commented Eastwood's former longtime companion, Sondra Locke.
Don Loomis recalled hearing that Eastwood was romancing one of the daughters of a Fort Ord officer, who might have been entreated to watch out for him when names came up for postings.
While returning from a prearranged tryst in Seattle, Washington, he was a passenger on a Douglas AD bomber that ran out of fuel and crashed into the ocean near Point Reyes. Using a life raft, he
and the pilot swam 2 mi to safety.
1950s: Early career struggles
According to the CBS press release for Rawhide, the Universal film company was shooting in Fort Ord when an enterprising assistant spotted Eastwood and invited him to meet the director.
According to Eastwood's official biography, the key figure was a man named Chuck Hill, who was stationed in Fort Ord and had contacts in Hollywood. While in Los Angeles, Hill became reacquainted with Eastwood
and managed to sneak Eastwood into a Universal studio, where he introduced him to cameraman Irving Glassberg. Glassberg arranged for an audition under Arthur Lubin, who, although very impressed with Eastwood's appearance
and stature at 6'4", disapproved initially of his acting skills, remarking, "He was quite amateurish. He didn't know which way to turn or which way to go or do anything". Lubin suggested that he attend drama classes
and arranged for Eastwood's initial contract in April 1954, at $100 per week. After signing, Eastwood was initially criticized for his stiff manner and delivering his lines through his teeth, a lifelong trademark.
In May 1954, Eastwood made his first real audition for Six Bridges to Cross, but was rejected by Joseph Pevney. After many unsuccessful auditions,
he was eventually given a minor role by director Jack Arnold in Revenge of the Creature, a sequel to the recently released The Creature from the Black Lagoon. In September 1954,
Eastwood worked for three weeks on Arthur Lubin's Lady Godiva of Coventry, won a role in February 1955, playing "Jonesy", a sailor in Francis in the Navy and appeared uncredited in another Jack Arnold film, Tarantula,
where he played a squadron pilot. In May 1955, Eastwood put four hours' work into the film Never Say Goodbye and had a minor uncredited role as a ranch hand in August 1955 with Law Man, also known as Star in the Dust.
Universal presented him with his first television role on July 2, 1955, on NBC's Allen in Movieland, which starred comedian Steve Allen, actor Tony Curtis and swing musician Benny Goodman.
Although he continued to develop as an actor, Universal terminated his contract on October 23, 1955. Eastwood joined the Marsh Agency,
and although Lubin landed him his biggest role to date in The First Traveling Saleslady and later hired him for Escapade in Japan, without a formal contract Eastwood was struggling. Upon the advice of Irving Leonard,
his financial advisor, he changed talent agencies to the Kumin-Olenick Agency in 1956 and Mitchell Gertz in 1957.
He landed several small roles in 1956 as a temperamental army officer for a segment of ABC's Reader's Digest series, and as a motorcycle gang member on a Highway Patrol episode. In 1957,
Eastwood played a cadet in West Point series and a suicidal gold prospector on Death Valley Days. In 1958, he played a Navy lieutenant in a segment of Navy Log
and in early 1959 made a notable guest appearance on Maverick opposite James Garner as a cowardly villain intent on marrying a rich girl for money.
Eastwood had a small part as an aviator in the French picture Lafayette Escadrille and played a major role as an ex-renegade of the Confederacy in Ambush at Cimarron Pass, a film which Eastwood viewed disastrously
and professes to be the lowest point of his career. In 1958, Eastwood was cast as Rowdy Yates for the CBS hour-long western series Rawhide, the breakthrough in his career he had long been searching for. However,
Eastwood was not especially happy with his character; Eastwood was almost 30, and Rowdy was too young and too cloddish for Eastwood to feel comfortable with the part. Filming began in Arizona in the summer of 1958.
It took just three weeks for Rawhide to reach the top 20 in TV ratings and although it never won an Emmy, it was a major success for several years, and reached its peak at number six in the ratings between October 1960
and April 1961. The Rawhide years were some of the most grueling of Eastwood's career, often filming six days a week for an average of twelve hours a day,
yet he still received criticism by some directors for not working hard enough. By late 1963 Rawhide was beginning to decline in popularity and lacked freshness in the script;
it was canceled in the middle of the 1965–66 television season. Eastwood made his first attempt at directing when he filmed several trailers for the show,
although he was unable to convince producers to let him direct an episode. In the show's first season Eastwood earned $750 an episode. At the time of Rawhides cancellation, he received $119,000 an episode as severance pay.
1960s
 [^]  In late 1963, Eastwood's co-star on Rawhide, Eric Fleming, rejected an offer to star in an Italian-made western called A Fistful of Dollars,
to be directed in a remote region of Spain by the then relatively unknown Sergio Leone. Richard Harrison suggested Eastwood to Leone, because Harrison knew Eastwood could play a cowboy convincingly.
Eastwood thought the film would be an opportunity to escape from his Rawhide image. Eastwood signed a contract for $15,000 in wages for eleven weeks' work, with a bonus of a Mercedes automobile upon completion.
Eastwood later spoke of the transition from a television western to A Fistful of Dollars: "In Rawhide I did get awfully tired of playing the conventional white hat. The hero who kisses old ladies and dogs
and was kind to everybody. I decided it was time to be an anti-hero." Eastwood was instrumental in creating the Man with No Name character's distinctive visual style and, although a non-smoker,
Leone insisted Eastwood smoke cigars as an essential ingredient of the "mask" he was attempting to create for the loner character. A Fistful of Dollars proved a landmark in the development of spaghetti Westerns,
with Leone depicting a more lawless and desolate world than traditional westerns, and challenging American stereotypes of a western hero with a morally ambiguous antihero.
The film's success made Eastwood a major star in Italy and he was re-hired to star in For a Few Dollars More, the second of the trilogy. Through the efforts of screenwriter Luciano Vincenzoni,
the rights to For a Few Dollars More and the final film of the trilogy were sold to United Artists for about $900,000. In January 1966, Eastwood met producer Dino De Laurentiis in New York City
and agreed to star in a non-Western five-part anthology production named Le Streghe opposite De Laurentiis' wife, actress Silvana Mangano. Eastwood's nineteen-minute installment took only a few days to shoot,
but his performance did not please the critics, one writing that "no other performance of his is quite so 'un-Clintlike'." Two months later Eastwood began work on the third Dollars film, The Good, the Bad and the Ugly,
again playing the mysterious Man with No Name. Lee Van Cleef returned as a ruthless fortune seeker, with Eli Wallach portraying the cunning Mexican bandit Tuco Ramirez.
The storyline involved the search for a cache of Confederate gold buried in a cemetery. During the filming of a scene in which a bridge was blown up, Eastwood urged Wallach to retreat to a hilltop.
"I know about these things," he said. "Stay as far away from special effects and explosives as you can." Minutes later confusion among the crew over the word "Vaya!"
resulted in a premature explosion that could have killed Wallach.  [^]  The Dollars trilogy was not released in the United States until 1967, when A Fistful of Dollars opened on January 18,
followed by For a Few Dollars More on May 10, and The Good, the Bad and the Ugly on December 29. All the films were commercially successful, particularly The Good, the Bad and the Ugly,
which eventually earned $8 million in rental earnings and turned Eastwood into a major film star. All three films received bad reviews,
and marked the beginning of a battle for Eastwood to win American film critics' respect. Judith Crist described A Fistful of Dollars as "cheapjack,"
while Newsweek considered For a Few Dollars More as "excruciatingly dopey." Renata Adler of The New York Times said The Good, the Bad and the Ugly was ".the most expensive, pious
and repellent movie in the history of its peculiar genre." Time magazine drew attention to the film's wooden acting, especially on the part of Eastwood, though a few critics such as Vincent Canby
and Bosley Crowther of The New York Times praised Eastwood's coolness in playing the tall, lone stranger. Leone's cinematography was widely acclaimed, even by critics who disparaged the acting in the film.
Stardom brought more roles for Eastwood. He signed to star in the American revisionist western Hang 'Em High, featured alongside Inger Stevens, Pat Hingle, Dennis Hopper, Ed Begley, Alan Hale, Ben Johnson, Bruce Dern,
and James MacArthur, playing a man who takes up a Marshal's badge and seeks revenge as a lawman after being lynched by vigilantes and left for dead. The film earned Eastwood a fee of $400,000
and 25 percent of its net box-office takings. Using money earned from the Dollars trilogy, accountant and Eastwood advisor Irving Leonard helped establish Eastwood's own production company, Malpaso Productions,
named after Malpaso Creek on Eastwood's property in Monterey County, California. As recently as a month prior to the film's release, 38-year-old Eastwood was still a relative unknown; in July 1968,
syndicated columnist Dorothy Manners noted "The proverbial man in the street is still asking, "Who's Clint Eastwood?" Leonard arranged for Hang 'Em High to be a joint production with United Artists;
when it opened in August 1968, it had the largest opening weekend in United Artists' history. Hang 'Em High was widely praised by critics, including Archer Winsten of the New York Post, who described it as,
"a western of quality, courage, danger and excitement." Before the release of Hang 'Em High, Eastwood had already begun working on Coogan's Bluff,
about an Arizona deputy sheriff tracking a wanted psychopathic criminal through the streets of New York City.
He was reunited with Universal Studios for it after receiving an offer of $1 million—more than double his previous salary. Jennings Lang arranged for Eastwood to meet Don Siegel,
a Universal contract director who later became Eastwood's close friend, forming a partnership that would last more than ten years and produce five films. Shooting began in November 1967, before the script had been finalized.
The film was controversial for its portrayal of violence. Coogan's Bluff also became the first collaboration with Argentine composer Lalo Schifrin,
who would later compose the jazzy score to several Eastwood films in the 1970s and 1980s, including the Dirty Harry films. Eastwood was paid $750,000 in 1968 for the war epic Where Eagles Dare,
about a World War II squad parachuting into a Gestapo stronghold in the alpine mountains. Richard Burton played the squad's commander, with Eastwood as his right-hand man.
Eastwood was also cast as Two-Face in the Batman television show, but the series was canceled before filming began. Eastwood then branched out to star in the only musical of his career, Paint Your Wagon. Eastwood
and Lee Marvin play gold miners who buy a Mormon settler's less favored wife at an auction. Bad weather and delays plagued the production, and the film's budget eventually exceeded $20 million,
which was extremely expensive for the time. The film was not a critical or commercial success, although it was nominated for a Golden Globe Award for Best Motion Picture – Musical or Comedy.
1970s
In 1970, Eastwood starred with Shirley MacLaine in the western Two Mules for Sister Sara, directed by Don Siegel. The film follows an American mercenary, who gets mixed up with a prostitute disguised as a nun,
and ends up helping a group of Juarista rebels during the reign of Emperor Maximilian I of Mexico. Eastwood once again played a mysterious stranger—unshaven, wearing a serape-like vest, and smoking a cigar.
Although it received moderate reviews, the film is listed in The New York Times Guide to the Best 1,000 Movies Ever Made. Later the same year,
Eastwood starred as one of a group of Americans who steal a fortune in gold from the Nazis, in the World War II film Kelly's Heroes, with Donald Sutherland and Telly Savalas.
Kelly's Heroes was the last film Eastwood appeared in that was not produced by his own Malpaso Productions. Filming commenced in July 1969 on location in Yugoslavia and in London.
The film received mostly a positive reception and its anti-war sentiments were recognized. In the winter of 1969–70, Eastwood and Siegel began planning his next film, The Beguiled, a tale of a wounded Union soldier,
held captive by the sexually repressed matron of a Southern girls' school. Upon release the film received major recognition in France and is considered one of Eastwood's finest works by the French. However,
it grossed less than $1 million and, according to Eastwood and Lang, flopped due to poor publicity and the "emasculated" role of Eastwood. Eastwood's career reached a turning point in 1971. Before Irving Leonard died, he
and Eastwood had discussed the idea of Malpaso producing Play Misty for Me, a film that was to give Eastwood the artistic control he desired, and his debut as a director. The script was about a jazz disc jockey named Dave,
who has a casual affair with Evelyn, a listener who had been calling the radio station repeatedly at night, asking him to play her favorite song – Erroll Garner's "Misty". When Dave ends their relationship,
the unhinged Evelyn becomes a murderous stalker. Filming commenced in Monterey in September 1970 and included footage of that year's Monterey Jazz Festival. The film was highly acclaimed with critics,
such as Jay Cocks in Time magazine, Andrew Sarris in the Village Voice, and Archer Winsten in the New York Post all praising the film, as well as Eastwood's directorial skills and performance.
Walter was nominated for a Golden Globe Best Actress Award, for her performance in the film. Dirty Harry, written by Harry and Rita Fink,
centers on a hard-edged New York City police inspector named Harry Callahan who is determined to stop a psychotic killer by any means. Dirty Harry has been described as being arguably Eastwood's most memorable character,
and the film has been credited with inventing the "loose-cannon cop" genre. Author Eric Lichtenfeld argues that Eastwood's role as Dirty Harry established the "first true archetype" of the action film genre.
His lines are regarded by firearms historians, such as Garry James and Richard Venola, as the force that catapulted the ownership of .44 Magnum revolvers to new heights in the United States;
specifically the Smith & Wesson Model 29 carried by Harry Callahan. Dirty Harry achieved huge success after its release in December 1971, earning $22 million in the United States and Canada alone.
It was Siegel's highest-grossing film and the start of a series of films featuring the character Harry Callahan. Although a number of critics praised Eastwood's performance as Dirty Harry,
such as Jay Cocks of Time magazine who described him as ".giving his best performance so far, tense, tough, full of implicit identification with his character," the film was also widely criticized as being fascistic.
Following Sean Connery's announcement that he would not play James Bond again, Eastwood was offered the role, but turned it down, because he believed the character should be played by an English actor.
He next starred in the loner Western Joe Kidd, based on a character inspired by Reies Lopez Tijerina, who stormed a courthouse in Tierra Amarilla, New Mexico in June 1967. During filming,
Eastwood suffered symptoms of a bronchial infection and several panic attacks. Joe Kidd received a mixed reception, with Roger Greenspun of The New York Times writing that it was unremarkable, with foolish symbolism
and sloppy editing, although he praised Eastwood's performance. In 1973, Eastwood directed his first western, High Plains Drifter, in which he also starred. The film had a moral and supernatural theme,
later emulated in Pale Rider. The plot follows a mysterious stranger who arrives in a brooding Western town where the people hire him to protect them against three soon-to-be-released felons.
There remains confusion during the film as to whether the stranger is the brother of the deputy, whom the felons lynched and murdered, or his ghost. Holes in the plot were filled with black humor and allegory,
influenced by Leone. The revisionist film received a mixed reception, but was a major box office success. A number of critics thought Eastwood's directing was "as derivative as it was expressive,"
with Arthur Knight of the Saturday Review remarking that Eastwood had ".absorbed the approaches of Siegel and Leone and fused them with his own paranoid vision of society." John Wayne, who had declined a role in the film,
sent a letter to Eastwood soon after the film's release in which he complained that, "The townspeople did not represent the true spirit of the American pioneer, the spirit that made America great."
 [^]  Eastwood next turned his attention towards Breezy, a film about love blossoming between a middle-aged man and a teenage girl. During casting for the film Eastwood met Sondra Locke for the first time,
an actress who would play major roles in six of his films over the next ten years and would become an important figure in his life. Kay Lenz got the part of Breezy, because Locke, at age 29, was considered too old.
The film, shot very quickly and efficiently by Eastwood and Frank Stanley, came in $1 million under budget and was finished three days ahead of schedule. Breezy was not a major critical or commercial success
and it was only made available on video in 1998. Once filming of Breezy had finished, Warners announced that Eastwood had agreed to reprise his role as Callahan in Magnum Force, a sequel to Dirty Harry,
about a group of rogue young officers in the San Francisco Police Department who systematically exterminate the city's worst criminals. Although the film was a major success after release,
grossing $58.1 million in the United States, it was not a critical success. The New York Times critic Nora Sayre panned the often contradictory moral themes of the film,
while the paper's Frank Rich called it "the same old stuff". In 1974, Eastwood teamed up with Jeff Bridges and George Kennedy in the buddy action caper Thunderbolt and Lightfoot,
a road movie about a veteran bank robber Thunderbolt and a young con man drifter, Lightfoot. On its release, in spring 1974, the film was praised for its offbeat comedy mixed with high suspense and tragedy,
but was only a modest success at the box office, earning $32.4 million. Eastwood's acting was noted by critics, but was overshadowed by Bridges who was nominated for an Academy Award for Best Supporting Actor.
Eastwood reportedly fumed at the lack of Academy Award recognition for him and swore that he would never work for United Artists again.
 [^]  Eastwood's next film The Eiger Sanction was based on Trevanian's critically acclaimed spy novel of the same name. Eastwood plays Jonathan Hemlock in a role originally intended for Paul Newman,
an assassin turned college art professor who decides to return to his former profession for one last "sanction" in return for a rare Pissarro painting.
In the process he must climb the north face of the Eiger in Switzerland under perilous conditions.
Mike Hoover taught Eastwood how to climb during several weeks of preparation at Yosemite in the summer of 1974 before filming commenced in Grindelwald, Switzerland on August 12, 1974.
Despite prior warnings about the perils of the Eiger the film crew suffered a number of accidents, including one fatality. Despite the danger, Eastwood insisted on doing all his own climbing and stunts.
Upon release in May 1975 The Eiger Sanction was marginally successful commercially, receiving $14.2 million at the box office, and was received with mixed reviews.
Joy Gould Boyum of the Wall Street Journal dismissed the film as "brutal fantasy". Eastwood blamed Universal Studios for the film's poor promotion and turned his back on them to make an agreement with Warner Brothers,
through Frank Wells, that has lasted to the present day. The Outlaw Josey Wales, a western inspired by Asa Carter's 1972 novel of the same name,
has lead character Josey Wales as a pro-Confederate guerilla who refuses to surrender his arms after the American Civil War and is chased across the old southwest by a group of enforcers.
The supporting cast included Locke as his love interest and Chief Dan George as an elderly Cherokee who strikes up a friendship with Wales. Director Philip Kaufman was fired by producer Bob Daley under Eastwood's command,
resulting in a fine reported to be around $60,000 from the Directors Guild of America—who subsequently passed new legislation reserving the right to impose a major fine on a producer for discharging
and replacing a director. The film was pre-screened at the Sun Valley Center for the Arts and Humanities in Idaho during a six-day conference entitled Western Movies: Myths and Images.
Invited to the screening were a number of esteemed film critics, including Jay Cocks and Arthur Knight; directors such as King Vidor, William Wyler, and Howard Hawks; and a number of academics.
Upon release in the summer of 1976 The Outlaw Josey Wales was widely acclaimed, with many critics and viewers seeing Eastwood's role as an iconic one that related to America's ancestral past
and the destiny of the nation after the American Civil War. Roger Ebert compared the nature and vulnerability of Eastwood's portrayal of Josey Wales with his Man with No Name character in the Dollars westerns
and praised the film's atmosphere. The film would later appear in Time "Top 10 Films of the Year". Eastwood was then offered the role of Benjamin L. Willard in Francis Coppola's Apocalypse Now,
but declined as he did not want to spend weeks on location in the Philippines. He also refused the part of a platoon leader in Ted Post's Vietnam War film, Go Tell the Spartans
and instead decided to make a third Dirty Harry film, The Enforcer. The film had Callahan partnered with a new female officer to face a San Francisco Bay area group resembling the Symbionese Liberation Army. The film,
culminating in a shootout on Alcatraz island, was considerably shorter than the previous Dirty Harry films at 95minutes,
but was a major commercial success grossing $100 million worldwide to become Eastwood's highest-grossing film to date. In 1977, he directed and starred in The Gauntlet opposite Locke, Pat Hingle, William Prince,
Bill McKinney, and Mara Corday. Eastwood portrays a down-and-out cop assigned to escort a prostitute from Las Vegas to Phoenix to testify against the mob. Although a moderate hit with the viewing public,
critics had mixed feelings about the film, with many believing it was overly violent. Ebert, in contrast, gave the film three stars and called it ". classic Clint Eastwood: fast, furious, and funny." The following year,
he starred in Every Which Way But Loose in an uncharacteristic offbeat comedy role. He played Philo Beddoe, a trucker and brawler who roams the American West searching for a lost love accompanied by his brother
and an orangutan called Clyde. The film proved surprisingly successful upon its release and became Eastwood's most commercially successful film up to that time. Panned by critics,
it ranked high among the box office successes of his career and was the second-highest-grossing film of 1978. Eastwood starred in Escape from Alcatraz in 1979, the last of his films directed by Siegel.
It was based on the true story of Frank Lee Morris who, along with John and Clarence Anglin, escaped from the notorious Alcatraz Federal Penitentiary in 1962. The film was a major success;
Stanley Kauffmann of The New Republic praised it as "crystalline cinema" and Frank Rich of Time described it as "cool, cinematic grace".
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