American actor Clint Eastwood:

In his films, American actor Clint Eastwood often embodied the cool Desperado that follows his laws. As a director, he portrayed and investigated the abysses of US society into old age.

At the end, when Dirty Harry has finally hunted down the serial killer, he throws away his badge: out of disgust at a permissive society that has no other answer to the challenge of violence than a bigoted executor like him.

But his mandate has not ended; he has still used four times on the screen: an outsider who is lost without the system.

Clint Eastwood's figure was scourged as a fascistoid in 1971. You don't have to see it differently four decades later.

But one can concede to this ancient American icon that it is no longer what it was. Clint Eastwood's career is full of credible U-turns and occasional ideological relapses.

The amoral man without a name from the Italowestern, the former cold-blooded Hollywood star, has not tired for years to name the high price of killing.

This gentle voice giant that has survived four of its voice actors is a miracle of endurance

 He has long since become, as an actor, director and producer, a figure of a character width whose inconsistency once celebrated Walt Whitman and which echoes in Bob Dylan's new song "I Contain Multitudes".

Clint Eastwood, born on May 31 in San Francisco, was lucky enough to be underestimated for a long time. He found admirers, including Fellini, Welles and Godard, who dedicated a film to him.

But he was able to work on a cinematic cosmos that is independent of fashion, in the protection of a firmly contoured image and as a reliable emotional value at the box office.

In doing so, he refined a directorial style that melded excess and puritanical restraint (he learned his lessons from Sergio Leone's operatic exaggeration as well as Don Siegel's dry Laconia) and expanded the initially limited rhetoric of his playing with facial expressions and gestures.

His career began in parallel, but regardless of the New Hollywood departure. He was not an iconoclast like Coppola or Scorsese, but a rebellious traditionalist.

He captured the climate of the time just as precisely: his civil war western "The Texan" from 1976 is a parable of the conflict between the United States and Vietnam - and at the same time, his first film in which the instance of the loner breaks and he has a multi-ethnic substitute family around him start, who will be his teacher.

He also exposed Dirty Harry to the demands of an enlightened society and provided him with Latinos, blacks and women as partners.

In the 80s you could despair of him. As an actor, he no longer allowed idiosyncratic directors to correct his star persona.

In 1988, his Charlie Parker biography "Bird" showed what ambitions he had, what a sense of the unruly nature of jazz and the tragedy of unresolved American biographies.

In 1992 his cinema won the gravitas of self-doubt that had been hidden in him for a long time with the late western "Merciless".

From now on he has the sovereignty to radically revise his image and the myths of an entire genre.

Suddenly his films got Oscars, and each of them threw a clearer light on the previous ones. Clint Eastwood imposed a gesture of apology and penance on his cinema.

Self-irony alone was no longer enough. In “Mystic River”, the horror of abuse, crime and murder gains its appropriate dimension, precisely because Clint Eastwood does not show it, but reconstructs it: the consequences of violence can be felt.

Since then he has remained committed to that American morality of immediate reach - a neighbourhood regulates its problems itself.

But in "Million Dollar Baby" and "Gran Torino" (2009) he conclusively transfers the tension of when his heroes will give up their self-sufficiency.

With age, caring presses into his characters, which goes hand in hand with the knowledge that his way of life should be adapted to the times.

You learn to conclude a new generation contract. The new America will never be yours again, but you can accept that.

The drug-smuggling pensioner from “The Mule” would not deny that his way of life is politically incorrect.

He takes it out as freedom that must grant him the new tolerance. With this role, Clint Eastwood becomes the incarnation of the reversal of identity politics. But not for their nightmare.

Eleven of his last thirteen directorial works are based on real stories. They are explorations of craft and heroism.

He describes the battle for Iwo Jima in "Flags of our Fathers" and "Letters from Iwo Jima" from an American and Japanese perspective: out of admiration for the military performance of the Japanese commander, but ultimately as a fresco of devastation and visitation.

The sniper from “American Sniper” and Nelson Mandela in “Invictus” are classic Clint Eastwood outsiders, but their director knows that they represent other varieties of professionalism: one takes the war home, the other is an instinct politician who does his torn Country unites by putting reconciliation in place of retribution.

For him, the individual is still the highest authority. But he asks curious questions about his current legitimacy in civil society. His most recent film, The Richard Jewell Case, is a political fable that speaks of deep distrust of the institutions.

Clint Eastwood's stance may have remained conservative, but she is narratively flexible out of intuition. The only thing he has not yet achieved is confidence: that American life works without violence.


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