In 1992, when Unforgiven won director/star Eastwood the critical respect that had eluded him for a quarter-century, film critic Schickel was already a friend of 15 years. Their relationship, and a series of in-depth interviews conducted over five years, gives this biography a pleasing intimacy. Schickel believes Eastwood "has taken the presentation of the heroic male into country he has not previously ridden"; he makes a strong case for that idea in an admiring(but not fawning) book that lays the foundation for more objective works in the future. --Christine Buttery

2001-05-29 A loving portrait of a movie legend

Clint Eastwood is one of the most recognisable faces in the past 50 years. His place as a John Wayne-like icon in film is assured for an eternity. The author has known Clint for an number of years and is in total praise of the man and at times satisfyingly contradicts his public persona as a tough guy.

The history of Clint both pre and during his film career is made greatly absorbing by Richard Schickel. Especially his little known earlier career when Clint's determination to better himself was evident, the welfare of his family being the roots of this. Instead of doing the TV show 'Rawhide' for the rest of his career Clint was brave in going to Spain/Italy to work with Sergio Leone and his man with no name trilogy. Luckily they were hits and with a risk Clint left Leone to diversify, perhaps aware of his limitations as an actor and what he saw as the public pigeon holing him.

One of the best and most revealing stories is on the film set of 'Thunderbolt and Lightfoot'; Clint chose the story simply because he loved it. This emphasised with his patience of a nervous and young Jeff Bridges. On an aside it also shows how Michael Cimino could direct with modesty.

Schickel's decision, perhaps because of their friendship, not to attack Clint's more contentious choices such as the sacking the original director of 'The Outlaw Josey Welles' because he was too slow has proved a good one. Clint's determination to succeed and single minded-ness is perceived as a quality rather than sheer arrogance.

Any preconception of Clint as a narrow minded touge guy is shattered by the book. Clint chose his roles both as director and an actor because of the story and the characters, always wanting to branch out and add another string to his bow. He did 'Dirty Harry' but he also did 'The Beguiled' and 'Play Misty For Me'.

The book works best, however, when the author is left to analyse Clint's roles. Clint's political beliefs weren't as defined as those of John Wayne, who chose his roles because they represented the true and hard working American. Schickel puts forward a personal perspective of Clint's roles and in doing so with clarity and conviction he deflects much of the narrow minded criticism aimed at Clint during the years, particularly from Pauline Kael.

Along with more in depth objectionalbe literature of Clint's career such as 'The Life and Times of Clint Eastwood' this would make a terrific companion piece. But it stands on it's own as a loving portrait of a 20th century movie legend.