Clint Eastwood

1963–1969: Spaghetti Westerns and stardom

In late 1963, Eastwood's Rawhide co-star Eric Fleming rejected an offer to star in an Italian-made western called A Fistful of Dollars (1964), filmed in a remote region of Spain by a then–relatively unknown director, Sergio Leone. Richard Harrison suggested Eastwood to Leone because Harrison knew that Eastwood could play a cowboy convincingly. Eastwood thought the film would be an opportunity to escape from his Rawhide image. He signed a contract for $15,000 in wages for eleven weeks' work, with a bonus of a Mercedes-Benz automobile upon completion. Eastwood later said of the transition from a TV 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 antihero." Eastwood was instrumental in creating the Man with No Name character's distinctive visual style and, although a nonsmoker, Leone insisted Eastwood smoke cigars as an essential ingredient of the "mask" he was attempting to create for the character. "I needed a mask more than an actor," Leone would later explain, "and back then Eastwood had only two facial expressions: with the hat and without the hat".

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 the American stereotype of the western herο by offering a morally ambiguous antihero. The film's success made Eastwood a major star in Italy and he was rehired to star in For a Few Dollars More (1965), the second of the trilogy. Through the efforts of screenwriter Luciano Vincenzoni, the rights to For a Few Dollars More and the trilogy's final film, The Good, the Bad and the Ugly (1966), 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, The Witches (Le Streghe, 1967), opposite De Laurentiis's wife, Silvana Mangano. Eastwood's 19-minute installment took only a few days to shoot. Two months later he began work on 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 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.

I wanted to play it with an economy of words and create this whole feeling through attitude and movement. It was just the kind of character I had envisioned for a long time, keep to the mystery and allude to what happened in the past. It came about after the frustration of doing Rawhide for so long. I felt the less he said, the stronger he became and the more he grew in the imagination of the audience.

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 three 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 being ranked for the first time on Quigley's Top Ten Money Making Stars Poll in 1968 in fifth place. All three received poor 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 called For a Few Dollars More "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 drew attention to the film's wooden acting, especially Eastwood's, though a few critics such as Vincent Canby and Bosley Crowther of The New York Times praised his coolness. Leone's cinematography was widely acclaimed, even by critics who disparaged the acting.

Stardom brought Eastwood more roles. He signed to star in the American revisionist western Hang 'Em High (1968) alongside Inger Stevens, Pat Hingle, Ed Begley, 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 $400,000 and 25% of its net box office. Using money earned from the Dollars trilogy, Eastwood's advisor Irving Leonard helped establish Eastwood's own production company, Malpaso Productions, named after Malpaso Creek on Eastwood's property in Monterey County, California. The 38-year-old actor was still relatively unknown as late as a month prior to the film's release, as evidenced by a July 1968 news item by syndicated columnist Dorothy Manners: "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, 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 called it "a western of quality, courage, danger and excitement".

Before Hang 'Em High's release, Eastwood had already begun working on Coogan's Bluff (1968), about an Arizona deputy sheriff tracking a wanted psychopathic criminal (Don Stroud) through 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 scored several Eastwood films in the 1970s and 1980s, including the Dirty Harry films.

Eastwood was paid $750,000 for the war epic Where Eagles Dare (1968), about a World War II squad parachuting into a Gestapo stronghold in the Alps. 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 co-star in a musical, Paint Your Wagon (1969). Eastwood and Lee Marvin play gold miners who buy a Mormon settler's less favored wife (Jean Seberg) at an auction. Bad weather and delays plagued the production, and the film's budget eventually exceeded $20 million, which was high for the time. The film was not a critical or commercial success, but was nominated for a Golden Globe Award for Best Motion Picture – Musical or Comedy.

1970–1989: Directorial debut and Dirty Harry

Eastwood starred with Shirley MacLaine in the western Two Mules for Sister Sara (1970), directed by Don Siegel. The film follows an American mercenary, who becomes 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 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. Around the same time, Eastwood starred as one of a group of Americans who steals a fortune in gold from the Nazis, in the World War II film Kelly's Heroes (also 1970), 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. Shot on location in Yugoslavia and London, the film received mostly a positive reception and its anti-war sentiments were recognized. Siegel directed Eastwood's next film, The Beguiled (1971), a tale of a wounded Union soldier, held captive by the sexually repressed matron (played by Geraldine Page) of a Southern girls' school. Upon release the film received major recognition in France and is considered one of Eastwood's finest works by French critics. 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 (Eastwood), who has a casual affair with Evelyn (Jessica Walter), 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, 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 (Drama), for her performance in the film.

I know what you're thinking – "Did he fire six shots or only five?" Well, to tell you the truth, in all this excitement, I've kinda lost track myself. But, being as this is a.44 Magnum, the most powerful handgun in the world and would blow your head clean off, you've got to ask yourself one question: "Do I feel lucky?" Well, do you, punk?

Dirty Harry (1971), written by Harry and Rita Fink, centers on a hard-edged New York City (later changed to San Francisco) 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 (quoted above) 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, released in December 1971, earned $22 million in the United States and Canada. 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 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. After having been second for the past two years, Eastwood was voted first in Quigley's Top Ten Money Making Stars Poll in 1972 and again in 1973.

Following Sean Connery's announcement that he would not play James Bond again, Eastwood was offered the role but turned it down, saying, "that was someone else's gig. That's Sean's deal. It didn't feel right for me to be doing it." He next starred in the loner Western Joe Kidd (1972), 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.

Eastwood's first western as director was High Plains Drifter (1973), in which he also starred. The film had a moral and supernatural theme, later emulated in Pale Rider. The plot follows a mysterious stranger (Eastwood) 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 (1973), a film starring William Holden and Kay Lenz about love blossoming between a middle-aged man and a teenage girl. Various actresses had lobbied for the title role, including Eastwood's future longtime companion Sondra Locke, who at 29 was nearly twice the character's age. The film, shot very quickly and efficiently by 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. Eastwood then stepped back in front of the camera to reprise his role as Harry Callahan in Magnum Force (1973), a sequel to Dirty Harry, about a group of rogue young officers (among them David Soul, Robert Urich, and Tim Matheson) 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 (a record for Eastwood), 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".

Eastwood teamed up with Jeff Bridges and George Kennedy in the buddy action caper Thunderbolt and Lightfoot (1974), a road movie about a veteran bank robber Thunderbolt (Eastwood) and a young con man drifter, Lightfoot (Bridges). 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.

1990–2009: Critical acclaim and awards success

Eastwood directed and starred in White Hunter Black Heart (1990), an adaptation of Peter Viertel's roman à clef, about John Huston and the making of the classic film The African Queen. Shot on location in Zimbabwe in the summer of 1989, the film received some c

Health and leisure activities

Eastwood has been a health and fitness fanatic since his teens. During the production of Rawhide, he appeared in magazines and journals that often documented his health-conscious lifestyle. In an August 1959 edition of TV Guide, for example, Eastwood was photographed doing push-ups. He offered tips on fitness and nutrition, advising people to eat plenty of fruit and raw vegetables, take vitamins, and avoid sugar-loaded beverages, excessive alcohol, and overloading on carbohydrates.

Eastwood's father's death from a heart attack at age 64 in 1970, described by Fritz Manes as "the only bad thing that ever happened to him in his life", came as a shock to Eastwood, especially since his grandfather had lived to be 92. It had a profound impact on his life; from that point forward he became more productive, working with greater speed and efficiency on set, and adopted an even more rigorous health regimen. Despite abstaining from hard liquor, he co-opened an old English-inspired pub called the Hog's Breath Inn in Carmel-by-the-Sea in 1971. Eastwood eventually sold the pub in 1999 and now owns the Mission Ranch Hotel and Restaurant, also located in Carmel-by-the-Sea.

Eastwood is an avid golfer and owns the Tehàma Golf Club. He is an investor in the world-renowned Pebble Beach Golf Links west of Carmel and donates his time to charitable causes at major tournaments. Eastwood is an FAA-licensed fixed wing and rotary craft private pilot and often flies his helicopter to the studios to avoid traffic.

Spiritual beliefs and meditation

In 1973, Eastwood told the film critic Gene Siskel, "No, I don't believe in God." In 2023, his daughter Kathryn stated, "Most of my earthly family do not believe in or worship God. They either have a lack of faith or reject the god in the Bible in favor of other idols or ideas." Eastwood has said that he finds spirituality in nature (as suggested by his Western, Pale Rider, 1985), explaining that "I was born during the Depression and I was brought up with no specific church. We moved every four or five months during the first 14 years of my life, so I was sent to a different church depending on wherever we lived. Most of them were Protestant, but I went to other churches because my parents wanted me to try to figure out things for myself. They always said, 'I just want to expose you to some religious order and see if that's something you like'. So although my religious training was not really specific, I do feel spiritual things. If I stand on the side of the Grand Canyon and look down, it moves me in some way."

He has also said: "It would be wonderful to talk with my parents again, who are, of course, deceased. It makes the idea of death much less scary. But then again, if you think that nothing happens after you die, maybe it makes you live life better. Maybe you're supposed to do the best you can by the gift you're given of life and that alone."

In 1975, Eastwood publicly acknowledged his participation in Transcendental Meditation when he appeared on The Merv Griffin Show with Maharishi Mahesh Yogi, the founder of Transcendental Meditation. He has meditated every morning for years.

Real estate interests

While serving in the US Army at nearby Fort Ord, Eastwood developed an interest in Carmel area real estate. Using income from his acting career, on December 24, 1967, he bought five parcels totaling 283 acres (115 ha) of land from Charles Sawyer along Highway 1 near Malpaso Creek, south of the Carmel Highlands.

In May 1968, Eastwood and actor James Garner bought 340 acres (138 ha) of wooded land in Carmel Valley from the Howard Hattan estate for $640,000. The property was located across Carmel Valley Road from the Rancho Cañada Country Club and golf course. Eastwood and Garner donated the undeveloped land to the Housing Authority of the County of Monterey in November 1983, with the stipulation that part of it be used for senior housing.

He named his production company Malpaso Productions. Eastwood later bought another parcel in the Highlands, together totaling 650 acres (263 ha) across six parcels. In 1995, Monterey County purchased the Malpaso land from him for $3.08 million and placed a permanent conservation easement on the property. Using the proceeds from the sale, Eastwood bought the 134 acres (54 ha) Odello Ranch at the mouth of the Carmel River that same year. He paid to lower the levees along the southern side of the Carmel River to protect the Mission Ranch resort he owned, as well as the neighboring Mission Fields residential area on the north side of the river, both of which were flooded in 1994.

In 1997, Eastwood and his former wife Maggie Johnson, acting as the Eastwood Trust, donated 49 acres (20 ha) of the Odello Ranch property east of Highway 1 to the Big Sur Land Trust, along with the associated water rights. On June 28, 2016, Eastwood donated the remaining Odello East land.

He also purchased 550 acres (223 ha), known as the Cañada Woods development, immediately east of the Odello Ranch.

In 2010, at age 80, Eastwood spent approximately $20 million to build a 15,949-square-foot (1,481.7 m2) compound in Carmel-by-the-Sea. His California real estate portfolio also includes a 6,136-square-foot (570.1 m2) Spanish-style mansion in Bel-Air, the 1,067.5-acre (432.0 ha) Rising River Ranch near Cassel, an apartment in Burbank, and a 5,575-square-foot (517.9 m2) Desert modern home in La Quinta (sometimes misidentified as Palm Springs), as well as a large but understated house located next door to his longtime primary Bel-Air residence. Eastwood is also known to have purchased property in two other states. He owns a 5,700-square-foot (530 m2) house in Sun Valley, Idaho, and a 1.13-acre, oceanfront manor in Kihei, Hawaii. The latter was featured in an episode of the 2012 reality show Mrs. Eastwood & Company.

Eastwood previously lived in Studio City, Sherman Oaks, Tiburon, and Pebble Beach.