Clint Eastwood Movies
With his rugged good looks and icon status,
Clint Eastwood was long one of the few actors whose name on a movie marquee could guarantee a hit. Less well-known for a long time (at least until he won the Academy Award as Best Director for
Unforgiven), was the fact that
Eastwood was also a producer/director, with an enviable record of successes. Born May 31, 1930, in San Francisco,
Eastwood worked as a logger and gas-station attendant, among other things, before coming to Hollywood in the mid-'50s. After his arrival, he played small roles in several Universal features (he's the pilot of the plane that napalms the giant spider at the end of
Tarantula [1955]) before achieving some limited star status on the television series
Rawhide. Thanks to the success of three Italian-made
Sergio Leone Westerns --
A Fistful of Dollars (1964),
For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966) --
Eastwood soon exchanged this limited status for bona fide international stardom.
Upon his return to the U.S.,
Eastwood set up his own production company, Malpaso, which had a hit right out of the box with the revenge Western
Hang 'Em High (1968). He expanded his relatively limited acting range in a succession of roles -- most notably with the hit
Dirty Harry (1971) -- during the late '60s and early '70s, and directed several of his most popular movies, including 1971's
Play Misty for Me (a forerunner to
Fatal Attraction),
High Plains Drifter (1973, which took as its inspiration the tragic NYC murder of Kitty Genovese), and
The Outlaw Josey Wales (1976). Though
Eastwood became known for his violent roles, the gentler side of his persona came through in pictures such as
Bronco Billy (1980), a romantic comedy that he directed and starred in.
As a filmmaker,
Eastwood learned his lessons from the best of his previous directors,
Don Siegel and
Sergio Leone, who knew just when to add some stylistic or visual flourish to an otherwise straightforward scene, and also understood the effect of small nuances on the big screen. Their approaches perfectly suited
Eastwood's restrained acting style, and he integrated them into his filmmaking technique with startling results, culminating in 1993 with his Best Director Oscar for
Unforgiven (1992). Also in 1993,
Eastwood had another hit on his hands with
In the Line of Fire. In 1995, he scored yet again with his film adaptation of the best-selling novel The Bridges of Madison County, in which he starred opposite
Meryl Streep; in addition to serving as one of the film's stars, he also acted as its director and producer.
Aside from producing the critical and financial misstep
The Stars Fell on Henrietta in 1995,
Eastwood has proven to be largely successful in his subsequent efforts. In 1997, he produced and directed the film adaptation of
John Berendt's tale of Southern murder and mayhem,
Midnight in the Garden of Good and Evil, and he followed that as the director, producer, and star of the same year's
Absolute Power, 1999's
True Crime, and 2000's
Space Cowboys. With
Eastwood's next movie,
Blood Work (2002), many fans pondered whether the longtime actor/director still had what it took to craft a compelling film. Though some saw the mystery thriller as a fair notch in
Eastwood's belt, many complained that the film was simply too routine, and the elegiac movie quickly faded at the box office.
If any had voiced doubt as to
Eastwood's abilities as a filmmaker in the wake of
Blood Work, they were in for quite a surprise when his adaptation of the popular novel Mystic River hit screens in late 2003. Featuring a stellar cast that included
Sean Penn,
Tim Robbins, and
Kevin Bacon,
Mystic River was a film that many critics and audiences cited as one of the director's finest. A downbeat meditation on violence and the nature of revenge, the film benefited not only from
Eastwood's assured eye as a director, but also from a screenplay (by
Brian Helgeland) that remained fairly faithful to
Dennis Lehane's novel and from severely affecting performances by its three stars -- two of whom (
Penn and
Robbins) took home Oscars for their efforts.
With
Eastwood's reputation as a quality director now cemented well in place thanks to
Mystic River's success, his remarkable ability to craft a compelling film was nearly beginning to eclipse his legendary status as an actor in the eyes of many. Indeed, few modern directors could exercise the efficiency and restraint that have highlighted
Eastwood's career behind the camera, as so beautifully demonstrated in his 2004 follow-up,
Million Dollar Baby. It would have been easy to layer the affecting tale of a young female boxer's rise from obscurity with the kind of pseudo-sentimental slop that seems to define such underdog-themed films, but it was precisely his refusal to do so that ultimately found the film taking home four of the six Oscars for which it was nominated at the 77th Annual Academy Awards -- including Best Director and Best Picture.
Eastwood subsequently helmed two interrelated 2006 features that told the story of the Battle of Iwo Jima from different angles. The English-language
Flags of Our Fathers relayed the incident from the American end, while the Japanese-language
Letters from Iwo Jima conveyed the event from a Japanese angle. Both films opened to strong reviews and were lauded with numerous critics and industry awards, with
Letters capturing the Golden Globe for Best Foreign Language film before being nominated for a Best Picture Academy Award. Nowhere near slowing down, Eastwood would direct and star in the critically acclaimed Gran Torino, as well as helming critical favorites like Invictus, the Changeling, Hereafter, and J. Edgar, racking up numerous awards and nominations.
A prolific jazz pianist who occasionally shows up to play piano at his Carmel, CA restaurant, The Hog's Breath Inn,
Eastwood has also contributed songs and scores to several of his films, including
The Bridges of Madison County and
Mystic River. Many saw his critically championed 1988 film
Bird, starring
Forest Whitaker (on the life of
Charlie "Bird" Parker), as the direct product of this interest.
Eastwood also served as the mayor of Carmel, CA, from 1986 until 1988. ~ Bruce Eder, Rovi

- 1969
- PG13
- Add Paint Your Wagon to Queue
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After a debut on Broadway in 1951, Paramount spent an estimated 17 to 20 million dollars in production costs for this Lerner and Loewe musical. With Loewe's permission, Lerner wrote five additional tunes for the film with Andre Previn. Ben Rumson (Lee Marvin) is the grizzled prospector trying his luck panning for gold in California. Pardner (Clint Eastwood) is his companion. When Ben buys a woman from a Mormon, Elizabeth (Jean Seberg) expects equal rights for her gender and chooses to live with both men. Ben and Pardner tunnel under the boomtown to gather the fallen gold dust that has filtered through the cracks of the saloon and other places. The musical comedy features 13 songs, the most recognizable being "They Call The Wind Maria". The Nitty Gritty Dirt Band helps out on the song "Hand Me Down That Can O' Beans". Both Clint Eastwood and Lee Marvin are given a chance to show their vocal ability (or lack of it) in several songs. The initial release fell far short of regaining the millions put into the production, and most critics dipped their pens in poison to pan the picture -- though the film plays better than the critics would lead anyone to believe. Many jumped on the Paint Your Wagon smear campaign after the film proved to be not nearly as successful as other musicals. ~ Dan Pavlides, Rovi
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- Starring:
- Lee Marvin, Clint Eastwood, (more)

- 1968
- PG
- Add Where Eagles Dare to Queue
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An expensive but enormously profitable war picture, Where Eagles Dare centers upon a daring rescue and even more daring escape. Disguised as Nazi officers, commandoes Maj. John Smith (Richard Burton), Lt. Morris Schaffer Clint Eastwood and six other courageous souls parachute behind enemy lines. Their mission: to rescue an American general, held captive in a supposedly impenetrable Alpine castle. Aiding and abetting the commandoes are Allied undercover agents Mary (Mary Ure) and Heidi (Ingrid Pitt). Also on hand is a British officer (Patrick Wymark), who masterminded the mission. Somewhere, somehow, someone amongst the Allies is going to turn out to be a traitor. There's also a neat plot twist in store when the commandoes manage to reach the American general -- which leads to yet another twist. The vertigo-inducing climax has made Where Eagles Dare one of the most sought-after of "early" Eastwood starring features. The film was written directly for the screen by espionage novelist Alistair MacLean. ~ Hal Erickson, Rovi
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- Starring:
- Richard Burton, Clint Eastwood, (more)

- 1968
- R
- Add Coogan's Bluff to Queue
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Clint Eastwood stars as Walt Coogan, an Arizona deputy sheriff who has been sent to New York City to extradite escaped killer James Ringerman (Don Stroud). On arrival, he's forced to wait by NYPD detective Lieutenant McElroy (Lee J. Cobb), who informs him that Ringerman is recovering from a bad acid trip at Bellevue Hospital. After briefly flirting with attractive probation officer Julie Roth (Susan Clark), Coogan heads for Bellevue, where he's able to con the hospital's staff into releasing the criminal. The cop and the fugitive are on the way to catch a flight back to Arizona, when Ringerman's hippie girlfriend Linny (Tisha Sterling) and a large accomplice spirit the killer away, leaving Coogan unconscious. Luckily, Julie is the girl's probation officer, and Coogan manages to get her address from the woman's files while getting to know her better. He tracks the girl to a popular psychedelic club, whereupon, deciding she likes the deputy, she takes him back to her apartment for further interrogation. The first in a series of films on which Eastwood would collaborate with director Don Siegel, it features a memorable scene in which a battle fought with billiard balls and cue sticks suggests the birth of a new martial art. Although its seemingly innocuous scenes of sex and violence drew criticism at the time, it served as the source for television's considerably more benign McCloud, starring Dennis Weaver as the laconic fish out of water. ~ Michael Costello, Rovi
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- Starring:
- Clint Eastwood, Lee J. Cobb, (more)

- 1968
- PG13
- Add Hang 'Em High to Queue
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Ex-lawman turned rancher Jed Cooper (Clint Eastwood) is moving a small herd of cattle when a group of nine men on horseback, led by Captain Wilson (Ed Begley Sr.), ride up and accuse him of having stolen the cattle and killed their owner. Refusing to believe his account, they string him up by the neck and leave him for dead, but they don't do the job right. Cooper is dangling there, barely alive, a few minutes later when Deputy U.S. Marshal Bliss (Ben Johnson) spots him and cuts him down. He survives the next few days in Bliss' tumbleweed wagon with the other prisoners, and is later cleared of any wrongdoing and released by Judge Fenton (Pat Hingle), just in time to witness the hanging of the man who really murdered the owner of the cattle and took Cooper's money. Cooper still wants revenge on the nine men who tried to hang him, but Fenton insists that he leave the bringing of them to justice to his deputy marshals. As it happens, Fenton is in desperate need of deputy marshals for the territory that he oversees, and he also knows that Cooper was a good lawman. Cooper, in turn, is now broke and in need of a job, and does want to see justice done. They strike an uneasy bargain, Cooper agreeing to wear a badge and bring in the men he's looking for -- alive -- for trial. The latter proves easier said than done, however, when the first of them that he spots tries to draw on him when he makes the arrest. One of the hanging party, Jenkins (Bob Steele), soon turns himself in and provides the names of the others. Cooper takes Stone (Alan Hale Jr.) alive, but the hapless blacksmith is later shot by the local sheriff (Charles McGraw) while trying to escape. The other men, led by Wilson, have no intention of dying, or even being brought to trial, without a fight. Two of them go on the run out of the territory, while Wilson and two of the others decide to take the law into their own hands once again. Meanwhile, Cooper becomes a hero when he single-handedly brings back a trio of rustlers who are also guilty of murder. This leads to Cooper's first confrontation with Judge Fenton, who, in a gripping scene, explains why it is essential that he be as seemingly quick to hang a man as he is. Unless the people are convinced that the law will do its job -- including hanging men who deserve it -- they will keep taking the law into their own hands and there will be more lynch mobs like the one that tried to kill Cooper. In the course of his quest for justice, Cooper also makes the acquaintance of Rachel (Inger Stevens), a young woman with her own search for justice, haunted by her own ghosts, and the two of them are drawn together, no more so than when Wilson and two of the others try to gun Cooper down in cold blood. The final confrontation between Cooper and Wilson escalates in violence to its savage, irony-laced conclusion. ~ Bruce Eder, Rovi
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- Starring:
- Clint Eastwood, Inger Stevens, (more)

- 1966
-

- 1966
- R
- Add The Good, the Bad and the Ugly to Queue
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In the last and the best installment of his so-called "Dollars" trilogy of Sergio Leone-directed "spaghetti westerns," Clint Eastwood reprised the role of a taciturn, enigmatic loner. Here he searches for a cache of stolen gold against rivals the Bad (Lee Van Cleef), a ruthless bounty hunter, and the Ugly (Eli Wallach), a Mexican bandit. Though dubbed "the Good," Eastwood's character is not much better than his opponents -- he is just smarter and shoots faster. The film's title reveals its ironic attitude toward the canonized heroes of the classical western. "The real West was the world of violence, fear, and brutal instincts," claimed Leone. "In pursuit of profit there is no such thing as good and evil, generosity or deviousness; everything depends on chance, and not the best wins but the luckiest." Immensely entertaining and beautifully shot in Techniscope by Tonino Delli Colli, the movie is a virtually definitive "spaghetti western," rivaled only by Leone's own Once Upon a Time in the West (1968). The main musical theme by Ennio Morricone hit #1 on the British pop charts. Originally released in Italy at 177 minutes, the movie was later cut for its international release. ~ Yuri German, Rovi
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- Starring:
- Clint Eastwood, Eli Wallach, (more)

- 1966
-
This Dino De Laurentiis production from 1965 is actually an anthology of five different directors' work, each telling their own stories about witches. The five stories are "The Witch Burned Alive," "Civic Sense," "The Earth As Seen From The Moon," "The Girl From Sicily," and "A Night Like Any Other." Silvia Mangano appears in all five, with Clint Eastwood starring in the last featured vignette. Like many gang-directed projects, this film is also plagued by a lack of continuity and by the pretentiousness of the individual directors. ~ Dan Pavlides, Rovi
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- Starring:
- Silvana Mangano, Annie Girardot, (more)

- 1965
- R
- Add For a Few Dollars More to Queue
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This pulse-pounding follow-up to Sergio Leone's A Fistful of Dollars brings back Clint Eastwood as the serape-clad, cigar-chewing "Man With No Name." Engaged in an ongoing battle with bounty hunter Col. Douglas Mortimer (Lee Van Cleef), the Man joins forces with his enemy to capture homicidal bandit Indio (Gian Maria Volontè). Both the Eastwood and Van Cleef characters are given understandable motivations for their bloodletting tendencies, something that was lacking in A Fistful of Dollars. In both films, however, the violence is raw and uninhibited -- and in many ways, curiously poetic. Leone's tense, tight close-ups, pregnant pauses, and significant silences have since been absorbed into the standard spaghetti Western lexicon; likewise, Ennio Morricone's haunting musical score has been endlessly imitated and parodied. For a Few Dollars More was originally titled Per Qualche Dollaro in Più; it would be followed by the last and best of the Man with No Name trilogy, The Good, the Bad and the Ugly. ~ Hal Erickson, Rovi
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- Starring:
- Clint Eastwood, Lee Van Cleef, (more)

- 1964
- R
- Add A Fistful of Dollars to Queue
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By the time Sergio Leone made this film, Italians had already produced about 20 films ironically labelled "spaghetti westerns." Leone approached the genre with great love and humor. Although the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961), Leone managed to create a work of his own that would serve as a model for many films to come. Clint Eastwood plays a cynical gunfighter who comes to a small border town and offers his services to two rivaling gangs. Neither gang is aware of his double play, and each thinks it is using him, but the stranger will outwit them both. The picture was the first installment in a cycle commonly known as the "Dollars" trilogy. Later, United Artists, who distributed it in the U.S., coined another term for it: the "Man With No Name" trilogy. While not as impressive as its follow-ups For a Few Dollars More (1965) and The Good, the Bad, and the Ugly (1966), A Fistful of Dollars contains all of Leone's eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Not released in the U.S. until 1967 due to copyright problems, the film was decisive in both Clint Eastwood's career and the recognition of the Italian western. ~ Yuri German, Rovi
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- Starring:
- Clint Eastwood, Marianne Koch, (more)

- 1963
-
This episode of Rawhide sees racial tensions explode between White ranchers and Comanche Indians. When Joseph (Michael Ansara, a Comanche, is hired by a short-handed Rowdy Yates (Clint Eastwood) for a cattle drive, his presence catalyzes racial tension within the camp that heightens with the arrival of Colonel Macklin (James Whitmore), who once led a massacre of the Comanche. Macklin, who is paranoid and insecure, has a grudge against Chief Iron Bull, whom he is convinced is out to get him. The Colonel's racist taunting and the killing of a Native American boy set the stage for a showdown that can only be prevented if trail boss Gil Favor (Eric Fleming) turns Macklin over to the Comanche. ~ Rebecca Flint Marx, Rovi
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- 1959
-
Long before their teaming in the 1998 theatrical feature Space Cowboys, James Garner and Clint Eastwood shared screen time in this hilarious Maverick episode. As a favor to his old friend Jed Christiansen (Edgar Buchanan), Bret Maverick (Garner) agrees to break up the romance between Jed's daughter Carrie (Abby Dalton) and her shiftless cowpoke boyfriend Red Hardigan (Eastwood). Unfortunately, Red has a reputation of being the fastest gun in town, which puts something of a damper in Bret's original plan to expose Red as a coward in fromt of Carrie. Quickly reverting to Plan Two, our hero claims that he will be unable to shoot it out with Red until he settles a score with the notorious gunslinger John Wesley Hardin...who bears a startling resemblance to Bret's brother Bart (Jack Kelly). ~ Hal Erickson, Rovi
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- 1959
-

- 1958
-
Despite the glut of TV westerns in 1958, 20th Century-Fox's Regal Films subsidiary continued grinding out profitable sagebrushers. In Ambush at Cimarron Pass, cavalry sergeant Scott Brady is ordered to escort a prisoner through treacherous Indian territory. A diehard Union sympathizer, Brady is forced to rely upon a group of ex-Confederates to successfully complete his mission. This may be difficult, however: the Apaches drive off the troop's horses, forcing them to complete the arduous journey on foot. Billed third in Ambush at Cimarron Pass is Clint Eastwood, no longer a bit player but not yet a star. ~ Hal Erickson, Rovi
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- Starring:
- Scott Brady, Margia Dean, (more)

- 1958
-
Though director William Wellman was attached to the Lafayette Flying Corps during WW1, many people believed that he was actually with the celebrated Lafayette Escadrille, and this 1958 actioner does little to dispel that belief. The film concentrates on a group of courageous young American aviators who, long before the USA's entry into the Great War, band together to fight the minions of the Kaiser in the skies of France. One of these reckless flyboys is Thad Walker (Tab Hunter), who arrives in Paris after being thrown out of his wealthy father's home. Joining the Escadrille with Walker are fellow expatriates Tom Hitchcock (Jody McCrea), Duke Sinclaire (David Janssen) and "Wild Bill" Wellman (played by the director's son, Bill Wellman Jr.). After a bit of parlez-vous with the local mademoiselles, Walker and his pals take to the air, and at this point, the film really gets off the ground (no pun intended). The spectacular aerial sequences are evocative of those in Wellman's silent classic Wings, though Lafayette Escadrille itself falls a bit short of classic status. ~ Hal Erickson, Rovi
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- Starring:
- Tab Hunter, Etchika Choureau, (more)

- 1957
-
- Add Maverick [TV Series] to Queue
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Created by Roy Huggins and debuting September 22, 1957 on ABC, the weekly, hour-long Maverick started out as a relatively straightforward western series with a slight twist: The main characters were professional gamblers rather than lawmen or gunslingers. James Garner and Jack Kelly starred respectively as Bret and Bart, the Maverick brothers, who traveled throughout the west in search of poker games and other such lucrative pursuits. Though both of the Mavericks were fairly adept at fisticuffs, they tended to avoid violence and confrontation (a good thing too, since neither brother could by any stretch of the imagination be described as a "fast gun"), preferring to use their wits and the words to wriggle out of jams--and, conversely, to win over the pretty girls they met along the way. Originally, the episodes were evenly divided between the two brothers, with Bret or Bart alternately handling the plotlines, sometimes teaming up when the going got rough. By the end of the first season, however, James Garner had emerged as the more popular of the two stars--and as a bonus, Garner was possessed of a deft comic touch that such scriptwriters as Marion Hargrove and such directors as Douglas Heyes were quick to capitalize upon. As a result, the stories became more humorous and satirical in nature, with star, writers and directors unafraid to emphasize the more cowardly and larcenous aspects of Bret Maverick's character. One of the series' most endearing motifs was Bret's habit of relying upon the pearls of wisdom passed down to him by his grey-haired "Pappy"--who, when he finally appeared on camera, was portrayed by a heavily made up James Garner. By season three, the pattern of Maverick was fairly well set, with Jack Kelly handling the more serious and action-oriented episodes (which became fewer and farther between) and Garner doing the funny stuff. In keeping with the tongue-in-cheek nature of the series, the writers had a field day spoofing such rival western shows as Gunsmoke and Bonanza, and even such non-westerns as Dragnet. In addition, there were the occasional westernized adaptations of "the classics", notably Shakespeare's Romeo and Juliet and Richard Brinsley Sheridan's The Rivals. After James Garner left the series over a contract dispute in 1960, Maverick's home studio Warner Bros. tried out a brace of potential replacements. During season four, future "James Bond" Roger Moore was introduced as Bret and Bart's British cousin Beau Maverick; and later that same season, Robert Colbert showed up as the hitherto unrevealed third Maverick brother, Brent. But by the time the series entered its fifth and final season, the only Maverick on screen was old reliable Bart, who starred in the handful of episodes that were filmed to fill out what had essentially become a portfolio of reruns from the James Garner days. The final episode of Maverick was telecast on July 8, 1962; however, the property would be revived on TV in 1979 as Young Maverick, with Charles Frank playing cousin Ben Maverick, and in 1981 as Bret Maverick, with James Garner reviving his original role. And in 1994, Garner shared billing with Mel Gibson and Jodie Foster in a delightful theatrical-feature version of Maverick, which nostalgically showcased a number of familiar western actors in cameo roles. ~ Hal Erickson, Rovi
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- 1957
-
Filmed on location, Escapade in Japan stars child actors Jon Provost and Roger Nakagawa. Separated from their parents, Tony (Provost) and Hiko (Nakagawa) wander through such sites as a Shinto temple, the teeming streets of Kyoto and a geisha house. Believing that they've somehow broken the law, the boys do their best to elude the authorities, who of course only want to reunite the kids with their families. Teresa Wright and Cameron Mitchell co-star as Provost's parents, Kuniko Miyake and Susumu Fujita play Nakagawa's mom and dad, and a young Clint Eastwood shows up as a Marine named "Dumbo." Produced by rapidly fading RKO Radio Pictures, Escapade in Japan was distributed by Universal-International. ~ Hal Erickson, Rovi
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- Starring:
- Teresa Wright, Cameron Mitchell, (more)

- 1956
-
In this western, a lawman tries to mediate between irate farmers and angry ranchers who are trying to decide the fate of a captured killer. The killer was hired by the ranchers who want him freed. The farmers, egged on by a schoolteacher, want to see the gunman swing. Meanwhile the real troublemaker, the town banker, votes for the death penalty. Look carefully and see Clint Eastwood as a ranch hand. ~ Sandra Brennan, Rovi
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- Starring:
- John Agar, Mamie van Doren, (more)

- 1956
-
Based on the novel by Kenneth M. Dodson, Away All Boats stars Jeff Chandler as a tough Navy captain who takes charge of a group of raw, undisciplined sailors during World War 2. To keep his men from getting on each other's nerves, Chandler makes himself the target of their excess hatred by assuming the pose of a rigid martinet who cares nothing about his crew's wellbeing. He finds an ally in lieutenant George Nader, who catches on to Chandler's "act" and helps him maintain discipline. The crew survives numerous Japanese air and sea attacks with flying colors. ~ Hal Erickson, Rovi
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- Starring:
- Jeff Chandler, George Nader, (more)

- 1956
-
Ginger Rogers ended her 23-year association with RKO Radio with the indifferent musical comedy western The First Travelling Saleslady. Ginger and Broadway favorite Carol Channing (whose only starring film this was) play a pair of corset salespersons who head westward in 1897 to hawk their wares. Finding a limited market for corsets, the ladies switch to selling barbed wire, which rests not at all well with cattle baron James Arness. Rescuing Ginger and Carol from Arness' hired guns are horseless-carriage inventor Barry Nelson and callow young cowpoke Clint Eastwood. Whenever asked about First Travelling Saleslady in later years, Carol Channing would blithely refer to it as "the picture that killed RKO"; she wasn't too far wrong in this assessment. ~ Hal Erickson, Rovi
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- Starring:
- Ginger Rogers, Barry Nelson, (more)

- 1956
-
This emotional drama concerns a WWII medic who marries a German woman but leaves her in a jealous rage, taking their baby with him. They lose touch after she is arrested behind the Iron Curtain after the war. Eight years later, she sees him in a Chicago cafe, rushes across the street to see him, and is hit by a truck. He operates on her and saves her life, and they get back together. Eventually, the daughter accepts her mother, and the whole family is reunited. ~ Steve Huey, Rovi
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- Starring:
- Rock Hudson, Cornell Borchers, (more)

- 1955
-
To say that Lady Godiva is historically inaccurate is a moot point, since most historians agree that the whole Lady Godiva story never happened. At any rate, Maureen O'Hara stars in the title role, as the rebellious Saxon wife of a Norman nobleman. To show her fidelity to her people, and to protest Norman taxation, Lady Godiva rides naked through the streets of Coventry. All the elements of the original middle-ages legend are in attendance, including the blinding of "Peeping Tom" (about the only effective moment in the whole film). Whatever audience titillation there might have been in the dreary climactic ride was dissipated by tons of studio publicity which insisted that Maureen O'Hara wasn't really naked under her long red tresses. Lady Godiva is interesting only for its supporting cast, including such veterans as Victor McLaglen and a few newcomers like Clint Eastwood. ~ Hal Erickson, Rovi
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- Starring:
- Maureen O'Hara, George Nader, (more)

- 1955
-
Revenge of the Creature is, of course, the sequel to Universal's fabulously successful The Creature from the Black Lagoon--and like its predecessor, the film was lensed in 3-D (though released "flat" in most theatres). Though the audience had seen the Gill-Man shot full of holes in the first picture, he still resides in the Black Lagoon in the sequel, apparently none the worse for wear. Two oceanographers (John Bromfield and Robert B. Williams) capture the creature and put him on display at Florida's Ocean Harbor Park (actually Marineland of the Atlantic). Here the hapless Gill-Man is taught a few words of English by compassionate icthyologists John Agar and Lori Nelson. Eventually, however, the creature reverts to type, kills one of his captors and goes on a rampage. And once again, he manages to briefly abduct the heroine and carry her off. Not nearly as good as the first Creature, this followup is saved by the underwater photography of Charles S. Welbourne--and by the effective performance by Ricou Browning as the Gill-Man. ~ Hal Erickson, Rovi
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- Starring:
- John Agar, Lori Nelson, (more)

- 1955
-
Complaining that Francis the Mule was getting more fan mail than he was, Donald O'Connor bade adios to the "Francis" series with this 1955 entry. Once more, O'Connor plays Army lieutenant Peter Sterling, who heads to a navy base when it looks like his old pal Francis is about to be auctioned off as surplus. In short order, Sterling is mistaken for a bos'n's mate whom he resembles, and it's off to sea for both Peter and the mule. Among the able-bodied seamen in this film is a chap named Jonesy, played by a young Clint Eastwood in his second movie appearance. An eleborate slapstick finale brings this one to a rousing conclusion. Director Arthur Lubin likewise left the "Francis" series after Francis in the Navy; the next (and last) entry, Francis in the Haunted House, starred Mickey Rooney and was directed by Charles Lamont. ~ Hal Erickson, Rovi
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- Starring:
- Donald O'Connor, Martha Hyer, (more)

- 1955
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A man with a strangely misshapen face wanders out of the desert near a small town and falls to the ground dead. The county sheriff (Nestor Paiva) tentatively identifies the dead man as Eric Jacobs, a laboratory assistant to Professor Deemer (Leo G. Carroll), a research scientist living a few miles out in the desert. But there's something strange about Jacobs; his facial features and bodily extremities are distorted to a point where he's barely recognizable. The sheriff calls in Dr. Matt Hastings (John Agar), the local physician, who makes a diagnosis of acromegalia, a glandular disorder that affects the body's growth. He also tells the sheriff that it can't possibly be acromegalia, because symptoms as pronounced as those he sees in this case take years to develop, and the man was in perfect health just three months earlier. Hastings refuses to believe the professor's account of Jacobs' rapid deterioration, but the sheriff takes the word of the scientist. Back in his laboratory, Deemer continues his work, going over tests of a chemical on various animals, all of which are jumbo-sized, including guinea pigs the size of rabbits, baby mice the size of full-grown rats, and a tarantula three feet long. Suddenly, the professor is attacked by his assistant (Eddie Parker), whose face and hands are distorted in the same manner as Jacobs, and who injects the helpless scientist with the experimental chemical before collapsing dead. A fire starts during the attack and in the confusion, the tarantula's glass cage is broken and it escapes the burning laboratory, wandering out into the desert. Weeks go by, and a new assistant, Stephanie "Steve" Clayton (Mara Corday), arrives to begin work for the professor. When Hastings gives her a ride to Deemer's home, the scientist explains to the doctor that he's been working on a radioactive nutrient, that, if perfected, could feed the entire world's population. He also says that Eric Jacobs made the mistake of testing the chemical on himself and it caused the disease that killed him. Hastings and Steve begin a romance, unaware that wandering around the desert is the tarantula from Deemer's laboratory, now grown to the size of an automobile and getting bigger with each passing day. Soon livestock and then people begin disappearing, and the sheriff is at a loss to explain any of it, or the one clue left behind in each case: large pools of what seems to be some kind of venom next to the stripped skeletons of the victims. Hastings takes some of the material in for a test; meanwhile, Steve notices that Deemer is going through some bizarre changes. His mood has darkened and his features now appear to be changing, as the acromegalia, caused by the injection, manifests itself. Hastings learns that one of the professor's test animals was a tarantula, which was presumed destroyed. When he learns that the pools near the deaths are composed of spider venom -- equivalent to what it would take many thousands of spiders to generate -- he's certain that the tarantula from the laboratory survived. By this time, the title creature is bigger than a house and ravaging the countryside, killing everything in its path and knocking down power lines and telephone poles as it moves. Hastings arrives just in time to rescue Steve from the attacking creature, which destroys Deemer's house and kills the professor. The sheriff and the highway patrol are unable to slow the creature, now the size of a mountain and moving at 45 miles an hour, even with automatic rifle fire, as it follows the road through the desert toward the town. Even an attempt to blow it up with dynamite fails when the monster walking right through the blast. Finally, the creature is poised to attack the town, when jets scrambled from a nearby Air Force base (led by a young Clint Eastwood, barely recognizable behind an oxygen mask) swoop in. When rockets fail to divert the monster from its path, the jets roar in for a second pass and drop enough napalm to incinerate the creature. ~ Bruce Eder, Rovi
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- Starring:
- John Agar, Mara Corday, (more)