Clint Eastwood Receives Special Palme d’Or
This award was presented to Eastwood a few months before the Cannes Film Fest launches. The statement about Eastwood said was “the talent of a grand master at the summit of his craft.” Jacob said it also was a “testimony of my admiration and a quarter-century of complicity.”
Eastwood will next bring the Nelson Mandela story to the big screen with Morgan Freeman in the lead. Freeman is starring with Eastwood for the third time. The first two films, Unforgiven and Million Dollar Baby, both won Best Picture. This is what is going to bring the Oscar chatter to a fevered pitch. One must only remember Munich to see how “on paper” Oscar favorites are as hit and miss as any other.
Flapp says:
Friday, February 27, 2009 at 9:54am
Morgan Freeman winning an Oscar as Leading!
I can´t imagine anything better to think for one year…
GO, FREEMAN, GO!!!!!!!!!!!!!!!!!
Gregoire says:
Friday, February 27, 2009 at 9:54am
If it brings Morgan Freeman into play for another Oscar, that’s okay with me. There are few living actors who are as talented as Morgan, and he has pretty good taste in terms of picking scripts. Of course, when Clint comes a-callin’….
Dominik says:
Friday, February 27, 2009 at 10:26am
I hope there will be another “Slumdog” next year to steal it away from the big anticipated prestige-hollywood-drama, that was winning Oscars way too often in award history…
Mr vdwyudvcu says:
Friday, February 27, 2009 at 10:36am
Funny how people on here always fall for the belief that Clint makes big Oscar-bait pictures. He doesn’t. In fact what distinguishes his pictures – Flags, Letters, even Changeling – is how intimate they invariably feel.
I don’t doubt that the South African pic will be any different.
In any case it’s not even a big, sweeping biography of Mandela but a story about how he united the country using a failed rugby team that nobody took seriously at the time.
Tufas says:
Friday, February 27, 2009 at 10:50am
Freeman playing Mandela in a Clint Eastwood movie? That year’s BP oscar is SEALED.
Coincidence, I’m finishing up on my 2008 movies and last night finally saw Gran Torino.
F A N T A S T I C
And that song. Brilliant. Big snubs there in screenplay and original song.
I’m with Mr vdwyudvcu. Clint. He almost can’t do no wrong.
And Clint himself was brilliant.
Loyal Mehnert says:
Friday, February 27, 2009 at 10:53am
As for the Munich mention, even as polarizing as it was, it still managed a BP nod.
I don’t expect a win here but yeah, it’s coming to the dance.
Proman says:
Friday, February 27, 2009 at 11:08am
What a stupid comment. There’s nothing hit and miss about Munich, and it should have been obvious from the beginning that the movie would cause controversy. That controversy doesn’t equal criticism and just because a few idiots were very vocal for political reasons doesn’t mean the movie, which is perhaps in the top 5 of this decade wasn’t appreciated.
It’s funny too, because the detractors couldn’t insult it based on it’s craft which is flawelss but instead they try talking politics. Too bad those people just aren’t mentally capable of discussing politics on that level.
I’d rather watch another movie like Munich than watch another Oscar-winning crapfest like Slumdog Millionaire.
chrisw says:
Friday, February 27, 2009 at 11:30am
Munich is awesome and it got shat on because Hollywood din’t like that Speilberg said what we all know: Israelis are just as bad as Palestinians/terrorists.
I hated Portman after she voiced her displeasure.
Mr vdwyudvcu says:
Friday, February 27, 2009 at 11:36am
Here is Gilles Jacob’s speech in honor of Clint Eastwood, who now shares with no less a figure than Ingmar Bergman the distinction of being the only other winner of this Cannes award.
“My dear Clint, allow me to begin with a guessing game. What do you suppose is the greatest frustration a festival president can feel ? Do you give up ? And yet it’s not hard : he never gets to voice his opinion when the most important of moments arrives, and I’m talking about the moment when the prizes are given out. And that’s why we’re having this meeting here today, between old friends. Don’t be hurt, but I’m two weeks younger than you!
However, let’s get back to business. We’ve decided to grant ourselves, exceptionally, a privilege that is usually beyond the control of Thierry or myself. There is a precedent for this, the Palme des Palmes given to Bergman: but today it’s you that we’d like to honor, in the name of the Festival de Cannes.
The Festival isn’t making some kind of revolutionary action by doing this, the symbolic gesture simply joins the enthusiasm that cinema-goers and critics the world over have for you. What’s more, we find it impossible to determine which of your films over all the others would most deserve the prize. How can we expect to choose between BIRD, MYSTIC RIVER, MILLION DOLLAR BABY, your Japanese diptych or GRAN TORINO, already acclaimed as being the film “in which Clint Eastwood brings together his thoughts on film, his career and his country”.
So it would seem just the right moment to dedicate the Palme to Clint Eastwood, the maker of all these masterpieces. And to hell with your legendary modesty !
I mentioned your huge talent. What you need to know is that there are two Clint Eastwoods, each blending into the features of the lonesome American hero who so deeply moved the hearts of our Old World. There’s the one who is famous for his charisma, his temper and his ability to pull out his 38 Magnum faster than lightning : I am of course talking about Inspector Harry and the other highly popular characters that you kill once and for all in GRAN TORINO. They did, however, enable you to gain your independence, as well as a certain reputation. And they enabled the other, more confidential Clint, to make personal films that surprised people who do not know you, by their charm, their originality, their little night music, my dear Mozart – because life isn’t just about Jazz, you know – and their tempered lyricism. In these two currents of your work, the Bad and the Misty, we can all easily recognize the American mainstream versus the European touch. I’ll let you guess which one I prefer. But what’s comforting about it is that cinema-goers slowly became interested as much, if not more, in your films “about people” as with your action films.
Your directing skill is such that you shoot love scenes like thrillers, and thrillers like… thrillers! The journey of Million Dollar Baby, which I’m very found of, is proof of this: who would have thought that this dark, infinitely sad film would touch the hearts of so many audiences and thus become a classic ?
The same is true of your other masterpieces. Just like the great filmmakers the world over: Bresson; Ford; Ozu; Satyajit Ray or Rossellini, you very quickly understood that simplicity, the camera centered on the person, the exact length of a shot, the type of lens, the editing or the placing of music were crucial decisions. And, for each of them, there is only ever one choice – and not another. This is how one slowly takes one’s place in the History of film.
And, finally, sometimes, someone can be a great artist and a raving egomaniac. It happens! But not in your case. When Pierre Rissient, who’s been “bearing your flag” for so long, was unexpectedly brought to Cedar Sinaï Hospital, what did he see when he opened his eyes, half-conscious ? Clint Eastwood at his bedside. How long you’d been there, nobody knows, but you’d arranged for treatment, for nurses, for everything, and that foreigner suddenly found himself bathed in such an aura of popularity that even the most daunting of nurses was charmed. Why did I mention this unknown anecdote? Simply because these human qualities, so rare these days, are also one of the reasons we honor you today. Disproving the phrase from Scott Fitzgerald with which you epigraphed BIRD: “There are no second chances for an American hero”, I’m now, my dear Clint, going to present you with the Palme d’Or, as a token of our admiration and a quarter century of shared complicity.”
Nyc Oscar Buff says:
Friday, February 27, 2009 at 12:41pm
I would be astonished following a year when Clint was double snubbed for Director (on two films) & Lead Actor where it looked like he picked up a lot of steam with Gran Torino’s January B.O success.
Mandela, Freeman, Eastwood, Damon co-starring it’s all in place. The Mandela film is bound to be a front-runner along with Lovely Bones, Public Enemies, & Nine.
The love & respect Morgan Freeman has attained (deservedly one of our most talented American actors) will finally get him a Lead nomination & front runner status for the win.
Let’s all admit Jamie Foxx didn’t deserve an Oscar for his imitation performance let’s hope this year a man of color deserves the Oscar.
Aleksis says:
Friday, February 27, 2009 at 1:11pm
“I hated Portman after she voiced her displeasure.”
Goodness. You hate people for not having the same views as you?
Portman’s criticism was very mild & fair towards Spielberg. She said she disagreed “with half” of what he’d portrayed in the film but recognised that the nature of “political” film-making was that it was divisive, so ultimately it was a polite & respectful disagreement on her part. It’s not like she came out saying, “Munich suxx! Spielberg is a self-hating buttface!!!” which is what your “hate” of her would imply.
Afrika says:
Friday, February 27, 2009 at 1:15pm
I AM SICK OF WHITE PEOPLE MAKING MOVIES ABOUT BLACK HEROES AND BLACK STRUGGLES…
THIS NONSENSE HAS GOT TO END…
WHEN APARTHEID WAS HAPPENING IN SOUTH AFRICA, WHY WEREN’T THEY MAKING MOVIES ABOUT THE EVIL REGIME? RONALD REAGAN WAS BUSY FINANCING THE RACIST REGIME AND ENABLING THEIR OPPRESSION. NOW THAT MANDELA HAS FREED HIS NATION, THEY ALL WANT TO TELL HIS STORY. I AM SICK OF THIS BULLSH*T!!
chrisw says:
Friday, February 27, 2009 at 1:20pm
God, everyone jumps on each other’s backs on this site. It’s a little unreal. I exaggerated the word hate, man.
I just thought it was retarded that a lot of Jewish people hated this film because it painted a fair, almost balanced account of the fight.
And my views are pretty neutral, they’re both wrong.
Take an enema.
Tufas says:
Friday, February 27, 2009 at 1:21pm
Calm down Afrika.. calm down
Here. **passes smoke peace pipe**
T.
Paul Outlaw says:
Friday, February 27, 2009 at 1:37pm
Is it April yet?
uk watcher says:
Friday, February 27, 2009 at 1:47pm
Be clear, the film is NOT about Mandela (Freeman), it is about how the South African rugby team won the 1995 Rugby World Cup against all odds and the relationship between Mandela & the captain of the team, Francois Pienaar (Damon). I have read the screenplay, it’s a film about RUGBY. Do Americans even know what that is? Selling or promoting it as a film about Mandela is misleading and setting everyone up for disappointment.
Pierre de Plume says:
Friday, February 27, 2009 at 1:47pm
Let’s all admit Jamie Foxx didn’t deserve an Oscar for his imitation performance
Let’s not.
Sorry, Nyc Oscar Buff, but I couldn’t help being a little bit bitchy. I thought Foxx did fine.
Afrika, I agree with you that we need to see more black filmmakers doing their stuff.
Dudley says:
Friday, February 27, 2009 at 1:53pm
“Funny how people on here always fall for the belief that Clint makes big Oscar-bait pictures. He doesn’t. In fact what distinguishes his pictures – Flags, Letters, even Changeling – is how intimate they invariably feel.”
Well said.
Alfredo - Year One says:
Friday, February 27, 2009 at 2:08pm
It’s so sad that he is old and maybe we have like only 5 more years of him.
Rob says:
Friday, February 27, 2009 at 2:14pm
I feel rather unwell, at yet more gratuitous Eastwood lovin’.
I’m fine with Freeman (although I don’t get what all the fuss is about), but seriously Eastwood is like an Oscarbait train. It’s exhausting.
SaltireFlower says:
Friday, February 27, 2009 at 2:54pm
You know Afrika, as loud as you’re being I have to say that I agree with you. I look forward to seeing this movie because of Morgan Freeman and Matt Damon, but where were filmmakers when apartheid was happening? It’s all very well and good to make a film about Mandela after he has made his country whole again. It’s wonderful to make statues of him in London and name streets after him, but where was the west while he he was in prison? It’s very hip to be on Mandela’s side now, but not so long ago it wasn’t.
I always look forward to Eastwood’s movies, but if people go on about how courageous it was to make this film or lavish praise on people simply for making a movie about Mandela, I think I’m going to scream.
Afrika says:
Friday, February 27, 2009 at 3:01pm
” it’s a film about RUGBY. Do Americans even know what that is?”
- Uk watcher
I always find it laughable and ironic when Europeans talk smack about America. So Americans don’t know what rugby is huh?
When is England going to have her first black or Indian P.M? what? when? what did you say? yeah, I thought so too.
*shakes head*
waLtz says:
Friday, February 27, 2009 at 3:07pm
“One must only remember Munich to see how “on paper” Oscar favorites are as hit and miss as any other.”
0 wins, but 5 noms, including Best Pic. Did you mean that as a negative? That’s how it sounds….
dela says:
Friday, February 27, 2009 at 3:15pm
I look forward to seeing Nelson Mandela film. Still, I will ask this: Why isn’t anyone making biopics (I use that term loosely) about black women? Ray, King of Scotland, Happyness, Hurricane, American Gangster etc..
Rosa Parks and Dorothy Dandrige were not worthy of big screen? IMO, Angela Bassett and Halle Berry gave Oscar nomination worthy performances.
SaltireFlower says:
Friday, February 27, 2009 at 3:29pm
Or women of color in general dela. I would love to see a biopic about Josephine Baker or Anna May Wong.
Christopher King says:
Friday, February 27, 2009 at 3:32pm
I don’t know know about BP, but Morgan Freeman playing Nelson Mandela, you might as well engrave his name on a statue right now! I have never seen anyone that the hollywood elite flock too as an example of human rights than Mr. Mandela. So there you have it. Best Actor is a lock already.
Joao Mattos says:
Friday, February 27, 2009 at 4:30pm
I will repeat myself. Hope Clint’s movie about Mandela will be better than that disguting one with Dennis Haysbert and Joseph Fiennes directed by Bille August. Well, there is no way it will be so bad. But, and I hope I’m wrong, this Clint movie smells “prestige”. And I love Clint, love “Gran Torino” and “The Changeling”.
As far as black filmmakers doing films about the history of black public figures, the monumental flop of “Miracle at St. Anna” doesn’t help to allow black filmmamkers to do their vision of history.
Joao Mattos says:
Friday, February 27, 2009 at 4:33pm
Mistery. Why give and special Palm D’or to Clint in February, and not during the next edition of the festival, in May as usual? I can’t remember when this happen. Woody Allen, etc, all these directors receive their special Palm during the festival, not in another period of time.
BTW: two times Golden Lion winner in Venice, Ang Lee is going to be the president of the jury for the next edition in September.
Scott says:
Friday, February 27, 2009 at 5:20pm
“Still, I will ask this: Why isn’t anyone making biopics (I use that term loosely) about black women?”
Not to worry, Beyonce wants an Oscar so bad we’ll keep seeing her in projects.
Snarkiness aside, I would love to see B. in a musical biopic. While she gets on my nerves at times, she is very talented…
“The Jennifer Hudson Story” anyone?
Ben M. says:
Friday, February 27, 2009 at 5:52pm
I agree with Loyal Mehnert that Munich was an early oscar favorite that still kinda came through since it got a BP nod, I wouldn’t count other favorites like Cold Mountain and Dreamgirls as oscar flops either since they both racked up a lot of noms and won an acting category. Now for an early favorite that fell completely flat there are still plenty of those (Alexander, Reservation Road, Miracle at St. Anna etc.)
dela says:
Friday, February 27, 2009 at 5:55pm
Please, NO Beyonce. I am tired of her getting all the good parts available to younger actors. She is a talented musician but we should not forget the likes of Kimberly Elise, Audra McDonald, or Gabrielle Union are far better actors.
If she sticks to music, she will win her Oscar one day.
““The Jennifer Hudson Story” anyone?” starring Beyonce LOL
Afrika says:
Friday, February 27, 2009 at 6:10pm
“As far as black filmmakers doing films about the history of black public figures, the monumental flop of “Miracle at St. Anna” doesn’t help to allow black filmmamkers to do their vision of history.”
- Joao Mattos
You’ve got some nerve you know that? Spike has been making brilliant films for decades…so just because he had one flop last year, the case for black film makers to tell their own stories isn’t strong enough? you’ve really got some nerve. How about we sideline every white film maker if his or her movies flops? will that sound right to you? the subtle racism underlining some comments are just outrageous. Shows you the type of world we still live inspite of America having a black president.
Good riddance!
Afrika says:
Friday, February 27, 2009 at 6:15pm
Of course the movie is going to white-washed and the story of the rugby team cheapened to please American audiences. And of course I will have to put up with American actors, Damon and Freeman, butchering “African” accents and then receiving awards for doing so. Same old bullsh*t!!
Antoinette says:
Friday, February 27, 2009 at 6:24pm
I really like Clint Eastwood as a director. I was very impressed that he got out to great movies last year in Changeling and Gran Torino. This is award is much deserved, imo.
And Munich was perfect, imo. Making the Crash win only stupider.
Daniel says:
Friday, February 27, 2009 at 6:30pm
Just for the record, I thought Munich was incredibly boring (despite the excellent production values). But there you go.
Anyway, I think this Mandela-rugby movie will be quite good and definitely a contender next year, especially for best actor (can we call a nomination lock this early on?). We can rest assured that anything Clint does will least be good, even if it isn’t great.
Scott says:
Friday, February 27, 2009 at 6:35pm
Afrika, we all have “some nerve”.
I prefer to call it opinions, observations.. you know, the whole POINT of these comments!
For the record, many high profile directors – white, black, blue, polka dotted – have taken heat for their flops. I think Joao Mottos’ point was that even black directors can make so-so movies about black history. Just ’cause you’re a black director doesn’t mean you will always make great black movies. And just ’cause you’re white doesn’t mean they’ll be bad. Sheesh! We’re all humans. Some of us will make great movies, some won’t. Racism still exists, but I can’t think of any time that there have been blatantly race-related director or acting snubs in the recent past. Racism is a serious issue, stop playing the race card (yes, I did just say “race card”) when someone disagrees with you. Observations ABOUT race in movies, does not always equate to racism.
Afrika says:
Friday, February 27, 2009 at 6:57pm
scott
yeah we go again with this race card ish. We live in two different worlds so don’t tell me what to think. And you don’t need to lecture me about the severity of racism ok? I pretty much think I already know that.
AND I WILL SAY IT AGAIN, ENOUGH WITH WHITE PEOPLE EXPLOITING OUR AFRICAN STORIES AND WHITE-WASHING THEM TO PLEASE THEIR AUDIENCES.
If you haven’t been in my shoes then don’t tell me what is on my mind.
…and I’m out
Ripley says:
Friday, February 27, 2009 at 7:53pm
That speech by Jacob above really summed up the appeal of Clint both as an actor and director, and as a person. He is a treasure and I always look forward to his latest release. Quite an honor he received! The SA movie with Damon and Freeman has great potential.
Cinefanatic says:
Friday, February 27, 2009 at 8:27pm
Afrika-
Please, show some restraint. Most people in large part agree with you; its no secret that black directors, directors of color, and, for that matter, female directors all have huge stumbling blocks to overcome.
But when you start typing in caps lock, YA KNOW, LIKE THIS?, it seems to demonstrate ignorance. And when you ask, where were western directors when the apartheid was happening, but then complain, repetitively, about white people using African stories for their films, it smacks of rather immediate hypocrisy.
As for your comment about no black or indian prime ministers in the UK, fair enough. But don’t fool yourself-if not for Obama showing up, in the way he did, it could’ve been decades before America ever took that step. And don’t forget, the UK beat us long ago to having a first elected female leader.
Flapp says:
Friday, February 27, 2009 at 10:50pm
“Let’s all admit Jamie Foxx didn’t deserve an Oscar for his imitation performance ”
I agree, obviously.
Di Caprio deserves that.
Pierre de Plume says:
Friday, February 27, 2009 at 10:54pm
As far as black filmmakers doing films about the history of black public figures, the monumental flop of “Miracle at St. Anna” doesn’t help to allow black filmmamkers to do their vision of history.
You know, I’m not black, but when I read this my heart rate went up. If Afrika wants to type in ALL CAPS that’s fine with me.
Flapp says:
Friday, February 27, 2009 at 10:55pm
And I understand Afika´s point of veiw.
But I can´t agree.
Hearts, souls and minds have no color.
Pierre de Plume says:
Friday, February 27, 2009 at 11:30pm
It’s true, Flapp, that hearts, souls and minds have no color. But not everyone is on that page.
I don’t agree with every opinion here, including some of Afrika’s and others. Vive la difference and all that. Disagreement can lead to learning.
I like it when people express their feelings with passion as long as the passion doesn’t get in the way of communication.
Dorothy Porker says:
Friday, February 27, 2009 at 11:58pm
As far as black filmmakers doing films about the history of black public figures, the monumental flop of “Miracle at St. Anna” doesn’t help to allow black filmmamkers to do their vision of history.
You know, I’m not black, but when I read this my heart rate went up. If Afrika wants to type in ALL CAPS that’s fine with me.
Pierre, I could not agree more. That is, without a doubt, one of the most offensive and ignorant things I’ve read on AD/OW. Just ridiculous and presumptuous.
And as for Eastwood, while I loved “Changeling,” I thought “Gran Torino” was a steaming pile. The worst of the over-hyped dreck I saw last year.
Joao Mattos says:
Saturday, February 28, 2009 at 12:12am
I got some nerve, Afrika? Be calm, chill out, lady. I dont know if you are so nervous out of here, and I really don’t care, it’s not my business, but in this board, you are letting your feelings be agressive with other people, people you don’t know, and agressive whitout any justification, in a very silly way. The “Shows you the type of world we still live inspite of America having a black president”, in the context of my commentary and others, are nothing but hilarious. And naive.
I’m far from being a political correct person, in fact, I deeply despise that, but since the object of discussion have my sincere afection, I will clarify some things not for you (your idea about me are sufficiently established, since that you were so emphatical in your criticism), but to other people:
I know that Spike Lee is one of the best directors working in USA in the last 25 years. I saw allf of his films, including almost all of them made for TV. And his one the best american filmmakers, no matter the directors on this list are white, black, or blue with green small balls painted over it.
I wrote that in the press of my country several times, even making aesthetics analyzes of some of his trademark shots, for instance. I fought – not alone, of course – for a better release of some of the Lee’s films, because his work are geting an erratic distribution here since the early ninetie’s, because, unfortunely, the majority of them does not interest the mainstream audience here (Brazil), white or black. Several went straight to VHS, and DVD (whitout doing any effor to remember them all, just some of them: “Get on The Bus”, “Crooklyn”, “She Hate Me”, “He Got Game”). Other USA black filmmakers here are even more rare, like Charles Burnett or the late political documentary filmmaker St. Claire Bourne – who, by the way, did one of his most mainstream works about “Do the Right Thing”. Fortunely, I could see their works here, in special exhibitions.
I showed “When the Leeves Broke” in “TV and Great Authors”, a festival with my guardianship and works from people from all over the world, composed as the title says, only with TV material from extremely important filmmakers, very well know, or that people should discover – IMO, like french female filmmaker Noémie Lvovsky. From USA, only Spike and Robert Altman (I had troubles to get the rights of the works from other USA directors I try to put on the list, such as Tim Burton and Francis Ford Coppola).
Showed “When” to different audiences that mostly don’t have cable (in Brazil, only 14% of the population has), that couldn’t be able to see on the solitary and badly divulged exhibition on the local HBO here. Some thanked me at the end of it.
What I mean when I wrote that about Lee and the “Miracle at Sta. Anna”: it’s not easy for black filmmakers to do their versions of black people history, right? We all agree on that. So, from the point of the view of the industry, when a movie made by a black filmmaker flops, these industry, that usually don’t care a lot for these kind of project, at this time, really, I mean, really won’t bother at all to support these type of movie, personal views, and the industry thinks like that because on the mind of the people who run the industry, they are right since the start, precisely because projects like “Miracle”… flops, “proving” that. And that is not something to discuss. “Miracle” was a comercial flop.
The movie cost 45 miliion. Worldwide, again, worldwide, did 9,2 million. If “Miracle” did well, gross 130 million, 80 million, 65 million, any studio boss would open a wide smile and puts money, let’s say, in a biopic of James Baldwin directed by Lee and starring Terrence Howard or Don Cheadle (too bad Charles S. Dutton is a bit old for the part).
But at tis moment, I doubt that Spike Lee can convince any studio to give him 45 million to do another historical epic. Maybe in the future.
Right now they will give 45 or more to Spike for the sequel of “Inside Man”. It’s clear that Lee is sad with the failure of the movie. He even fired his agent (what is the agent guilt on the failure, I can’t guess).
Forgot to tell: I haven’t seen yet “Miracle at Sta. Anna”. Don’t know if it is a artistic triumph, or also a flop, but in terms of quality. Doubt that. The only Lee movie that I don’t like is “Girl 6″. And is not a disaster.
Guess what? Since that, it’s a major flop, the brazilian distributor thought for a few months to cancel the theatrical distribution. Among other colleagues, I did some gentle pressure, asking for the company not to cancel the release. Don’t know if it’s our merit, but the fact is that: “Miracle” straight to DVD release was canceled, and the movie opens here April 24th. Now, I’m trying to convince the company to let me interview Lee when the movie is about to be released.
David says:
Saturday, February 28, 2009 at 1:44am
Afrika, you’re being a dick. Just calm down and stop being so aggressive. Please…
And going back to post 22 – Americans might not be so knowledgable about rugby union because it isn’t supported as widely there as in the UK or South Africa. That’s all it meant. What the fuck does Obama have to do with that. Stop looking for confrontation. Although it is kind of funny reading your posts so go on if you must.
This movies is going to bad… It has the most stereotypical casting I have ever seen and I dont think Eastwood is the right man to handle the material. Not that I dont love me a little Eastwood from time to time. This should have been left to a South African director to do when the time was right. I think its just going to be a bait-a-thon. He tells American stories so well, why does he have to come and snatch up and no doubt butcher one of ours? And the script isnt great either. Also, Morgan Freeman does not have what it takes to do the accent , or the acting for this part. Sorry Morgan lovers.
Pierre de Plume says:
Saturday, February 28, 2009 at 2:20am
Although Eastwood has done some good stuff, I’m not a great fan of his. Letters From Iwo Jima I thought was quite good. I think the success of a Mandela film directed by Eastwood depends to a large degree on the quality of the script. Freeman may do okay, but a lesser known actor might do as well or even better.
And thanks for the comment, Dorothy, not to mention the typographic emphases.
Scott says:
Saturday, February 28, 2009 at 2:21am
Afrika, I love the “you have to walk in my shoes” argument as much as the race card.
I am a 22 year old white gay Virgo. So unless you’ve been a 22 year old white gay Virgo, you can’t have an opinion about my opinions.
And what’s with the “white washing” nonsense? If a movie depicts black people as “just like everyone else”, you quickly jump to the “whitewashed” argument. But if black people are depicted as different in any way, then it’s racist?
Guess what – if a movie that aims to show the struggles/accomplishments/stories of black or African people, and that movie doesn’t do a good job of it, it doesn’t mean it’s some racist propoganda. It quite simply means IT’S A BAD MOVIE!
Plus, I love how you say that you are “tired of white people” white washing stories of black history – as if black people aren’t capable of making shitty movies. Have you ever seen Superfly? Is that the “real” image of black people you want out there?
lac says:
Saturday, February 28, 2009 at 8:00am
Congrats to Mr Eastwood. I’ve been a fan of most of your movies ever since I first saw “Play Misty For Me”.
frederic lyon says:
Saturday, February 28, 2009 at 10:27am
To Joao Matos :
Because Clint Eastwood cannot attend the Cannes Fest in May.
As I can, i will send kisses from the Côte d’Azur to all of you !