Published in 2009 by I.B.

Tauris & Co Ltd

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175 Fifth Avenue, New York NY 10010
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Distributed in the United States and Canada Exclusively by Palgrave Macmillan

175 Fifth Avenue, New York NY 10010

Copyright © 2009 Howard Hughes

The right of Howard Hughes to be identified as the author of this work has been
asserted by the author in accordance with the Copyright, Designs and Patents
Act 1988.

All rights reserved. Except for brief quotations in a review, this book, or any part thereof,
may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in
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without the prior written permission of the publisher.

ISBN: 978 1 84511 902 7

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A full CIP record is available from the Library of Congress

Library of Congress Catalog Card Number: available

Printed and bound in Great Britain by CPI Antony Rowe, Chippenham

HoHugh_i-xxxii.indd iv 6/24/2009 3:38:54 AM

 CONTENTS

List of Figures ix
Preface: Aim for the Art xiii
Acknowledgements xvii
Universal Casting: The Early Films xix
Ridin’ Easy: Rawhide xxv

Part One: The Westerns

1. A Fistful of Dollars (1964) 3

2. For a Few Dollars More (1965) 8
3. The Good, the Bad and the Ugly (1966) 10
4. Hang ’Em High (1968) 16
5. Two Mules for Sister Sara (1970) 21
6. Joe Kidd (1972) 25
7. High Plains Drifter (1973) 27
8. The Outlaw Josey Wales (1976) 31
9. Pale Rider (1985) 35
10. Unforgiven (1992) 38

Part Two: The Cops

1. Coogan’s Bluff (1968) 45

2. Dirty Harry (1971) 49
3. Magnum Force (1973) 53
4. The Enforcer (1976) 58
5. The Gauntlet (1977) 62
6. Sudden Impact (1983) 65
7. Tightrope (1984) 69
8. City Heat (1984) 72
9. The Dead Pool (1988) 75
10. The Rookie (1990) 78
11. In the Line of Fire (1993) 79
12. A Perfect World (1993) 83

Part Three: The Lovers

1. The Witches (1967) 89

2. Paint Your Wagon (1969) 91
3. The Beguiled (1971) 95
4. Play Misty for Me (1971) 101

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 viii Aim for the Heart

5. Breezy (1973) 105

6. The Bridges of Madison County (1995) 108

Part Four: The Comedies

1. Every Which Way But Loose (1978) 117

2. Bronco Billy (1980) 121
3. Any Which Way You Can (1980) 125
4. Pink Cadillac (1989) 129

Part Five: The Dramas

1. Honkytonk Man (1982) 135

2. Bird (1988) 138
3. White Hunter Black Heart (1990) 143
4. Midnight in the Garden of Good and Evil (1997) 147
5. Space Cowboys (2000) 149
6. Mystic River (2003) 152
7. Million Dollar Baby (2004) 155

Part Six: The Thrillers

1. Thunderbolt and Lightfoot (1974) 165

2. The Eiger Sanction (1975) 170
3. Escape from Alcatraz (1979) 174
4. Absolute Power (1996) 178
5. True Crime (1999) 180
6. Blood Work (2002) 183

Part Seven: The War Movies

1. Where Eagles Dare (1968) 191

2. Kelly’s Heroes (1970) 194
3. Firefox (1982) 196
4. Heartbreak Ridge (1986) 200
5. Flags of Our Fathers (2006)/Letters from Iwo Jima (2006) 202

Epilogue 209
Eastwood Filmography 215
Bibliography and Sources 237
Index 241

HoHugh_i-xxxii.indd viii 6/24/2009 3:38:54 AM

 PART ONE
THE WESTERNS

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 In the early sixties, western films were still locked in a range war for audiences with
TV westerns – and losing. What cinema needed was an out-of-towner, a hired gun, a
specialist who could turn the tide and entice audiences from their comfy sofas back
into theatres, where seats cost money. Their unlikely saviour was an Italian director
named Sergio Leone.
Hollywood had counterattacked TV in the late fifties with a series of hugely
popular, adult-themed big-screen westerns – including The Man from Laramie (1955),
The Searchers (1956), The Big Country (1958) and Rio Bravo (1959) – but they were
few and far between. By the early sixties some interesting genre one-offs had driven
the western into new and interesting territory. Paramount among these was a remake
of Akira Kurosawa’s Japanese action drama Seven Samurai (1955) as The Magnificent
Seven (1960), which was a massive hit in Italy where the heroes’ mercenary adven-
tures struck a chord.

A Fistful of Dollars (1964)

When Sergio Leone cast Clint Eastwood in a trio of westerns, A Fistful of Dollars fol-
lowed by For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966),
it gave the genre a much needed fuel-injection of style, wit, violence and grit. The
‘Dollars’ trilogy made Eastwood a stratospheric celebrity climber, from TV star
to global success story, and his character ‘The Man with No Name’ who ‘sold lead
in exchange for gold’ is still probably the most recognisable gunslinger in cinema.
Eastwood’s hero killed with passion, but no compassion, and was a slender moral
cut above the villains he dispatched. ‘No Name’ was a loner (like perennial western
stalwarts Gary Cooper, Alan Ladd and James Stewart) and had no relationships with
women and decidedly untrustworthy ones with men. He was just on the side of ‘law
and order’, but only for his own ends – his rewards were a fistful of dollars, a cartload
of valuable ‘Wanted’ corpses or a coffin brimming with stolen gold coins. In an era
when image was everything, the trappings of ‘The Man with No Name’ – the Mexican
poncho, the cheroot cigar, the two-days’ growth of stubble – were as recognisable and
marketable as The Beatles’ black suits and mop tops, Barbarella’s skimpy space out-
fits, raffiné Holly Golightly’s Givanchy, Tiffany diamonds and cigarette holder, and
James Bond’s tux and tie.
There have been many different versions of how Eastwood came to be cast in
A Fistful of Dollars. The most accepted one is that in the autumn of 1963 a script
called ‘Il Magnifico Straniero’ (‘The Magnificent Stranger’) arrived at the William
Morris Agency, Eastwood’s representatives. Eastwood was hardly the first choice for
the lead role of ‘Joe the Stranger’ – the list of actors who had already been contacted
included Henry Fonda, James Coburn, Charles Bronson, Henry Silva, Rory Calhoun
and Richard Harrison. The project was to be financed by Italian, West German and

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 4 Aim for the Heart

Spanish investors and directed by Leone, then known only for ‘sword and sandal’
flicks. The fi lm’s entire budget was only $200,000 and none of the actors approached
would accept the $15,000 offered. Eastwood recognised the verbose, thick manu-
script, which resembled a telephone directory and ‘wasn’t even typed up in regular
script form’, as a rewrite of Yojimbo, a successful 1961 Japanese samurai fi lm directed
by Kurosawa, which he’d seen on its American release as Yojimbo – The Bodyguard.
Eastwood loved Kurosawa’s action comedy, masterfully shot in black and white
Tohoscope, and though not especially keen on the dialogue rewritten in Leone’s
adaptation, he accepted the offer and flew to Rome in April 1964, for the $15,000
all-in salary – even though he and Paul Brinegar were making that kind of money in
a single engagement as entertainers on the rodeo publicity tours for Rawhide.
Interviewed in 1971 for Photoplay, Eastwood recalled, ‘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 anti-hero’. Leone
had screened ‘Incident of the Black Sheep’ from Rawhide, some sources claim with
an eye on casting Eric Fleming, but this seems unlikely as Fleming hardly figures
in the story. Leone cast Eastwood, though the hero envisioned by Leone was a far
cry from Rowdy Yates. Leone’s co-scriptwriter Duccio Tessari had wanted to call the

1.1 Spaghetti Westerns: Bounty hunters ‘The Man With No Name’ and Colonel Douglas
Mortimer in For a Few Dollars More (1965); Clint Eastwood and Lee Van Cleef on location
in Los Albaricoques, Almeria. Image courtesy Kevin Wilkinson Collection.

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 Part One: The Westerns 5

protagonist Ringo. The original script called him ‘Texas Joe’, while the published
script (issued in Italy in 1979) calls him Joe, lo Straniero (‘Joe the Stranger’), but all
UK/US publicity marketed him as ‘The Man with No Name’.
Joe arrives by mule in the Mexican border town of San Miguel, where he dis-
covers from cantina owner Silvanito (Pepe Calvo) that the district is controlled by
two rival gangs of bandits and smugglers: the Rojos, who deal bootleg liquor, and the
Baxters, big gun merchants. The gangs employ hired gunmen and pay in dollars; in
Leone’s original script, both factions were Mexican (the Rojos and the Morales). ‘If
you don’t mind doing a little killing, you will have no trouble finding someone eager
to pay you’, Silvanito advises. The stranger sees an opportunity to make a few dollars
and exploits the gangs’ rivalry, hiring himself as a gunhand to the Rojos. The Rojos’
leader, Ramon (Gian Maria Volonte), leads a raid on a Mexican army convoy, steal-
ing their shipment of gold, and tries to make peace with the Baxters. But Joe stirs up
trouble, taking payment from both factions. Soon the feud is as fervid as ever, with
the gangs shooting it out in a cemetery. Joe helps Marisol (Marianne Koch), a woman
who has been blackmailed into living with Ramon as his mistress, to escape, but the
subterfuge is discovered and the Rojos capture Joe and beat him up. He escapes and
the Rojos search the town, massacring the Baxters, burning them out and shooting
them down. Whisked out of town by coffin-maker Piripero (Josef Egger), Joe recovers
in a disused mine. When Silvanito is caught bringing supplies to Joe and is tortured,
the stranger returns to San Miguel for the last time, killing the Rojos in a duel before
unhitching the coffin-maker’s mule and riding back into the sierras.
When Eastwood arrived in Rome, he brought his Rawhide props (boots, gunbelt,
spurs and Cobra-handled Colt), plus a hat, some black drainpipe jeans and a battered
sheepskin waistcoat. Leone and costume designer Carlo Simi draped him in a rather
unusual addition – a fringed Spanish poncho, essentially a square piece of fabric with
a slit for the head, decorated with a series of concentric patterns, including a rope
motif, criss-cross lines and geometric Grecian designs. This poncho appears green in
some washed-out prints of the film and almost black in Italian prints, but it’s actually
brown. In the original script, Eastwood’s character, a Confederate sergeant called Ray,
steals it from a Mexican peon swimming in the Rio Grande. In Fistful’s duel scenes,
the stranger flicks this poncho over his shoulder to quicken his draw. Eastwood also
grew a stubbly beard for the role, possibly inspired by Toshiro Mifune, who played
Sanjuro Kuwabatake, the unshaven lead in Yojimbo. One key mannerism Eastwood
stole from Mifune was his thoughtful chin rubbing. Joe smokes cheroots throughout,
even though Eastwood was in reality a non-smoker and the cigar is rarely lit. It is as Joe
that he perfected the Clint squint, reputedly caused by the strong Spanish sunlight. The
stranger’s costume, props and mean demeanour fashioned Eastwood’s screen image,
which he honed into what became known by critics and fans as spaghetti westerns,
Euro-westerns, macaroni westerns, pizza westerns or Western All’Italiana (‘Westerns,
Italian-style’). After years of being told that he looked ‘wrong’ for starring roles, that he
was too tall, too ungainly, that he didn’t look like the popular stars of the day, or that he
squinted too much, he found that in this new style western he was the look.

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 6 Aim for the Heart

Leone shot Fistful in Italy and Spain. The budget didn’t allow much room for
luxury and Eastwood even brought along his own stunt double – Bill Thompkins
from Rawhide. It is Thompkins as Joe who gallops through the desert in the night-
time riding sequences; he also plays the Baxter gunman in the green shirt during the
hostage exchange. San Miguel was fi lmed in ‘Golden City’, a western set at Hojo De
Manzanares (north of Madrid) and the adobe village of Los Albaricoques in Almeria,
southern Spain. The interiors of Rojo’s residence and its whitewashed walled court-
yard were Casa Da Campo, a Madrid museum. The small adobe house where Marisol
is imprisoned, currently a hotel called Cortijo El Sotillo, is near San Jose in Almeria,
while the Rio Bravo gold ambush was fi lmed on the River Alberche at Aldea Del
Fresno. Filming commenced on Rome interiors in April at Cinecitta studios, moved
to Hojo De Manzanares and its environs (for the graveyard shootout and the town
scenes) and then wrapped in the Almerian desert.
A notable aspect of Fistful is the severe bloody beating Joe the Stranger suffers at
the hands of the Rojos in their wine cellar, probably the worst onscreen pummelling
Eastwood has taken in his entire career. As Eastwood remembered, ‘In the ‘Dollars’
fi lms, stoic was the word. It was comedy and yet it was played dead straight. The vio-
lence tag was hung too tightly around my neck. The fact that they were made by an
Italian in Europe had some people going in as edgy as I was when I made them. I per-
sonally don’t think of them as violent, only perhaps as black humour’. In Fistful, Joe
is so badly injured (one eye is almost closed) and immobilised that the coffin maker
has to sneak him out of town in a casket. This rough treatment reappeared in many of
Eastwood’s later fi lms and his heroes have had to recover quickly to defeat the villain:
a symbolic ‘resurrection’.
Fistful contains two quintessential action moments in Eastwood’s transform-
ation from clean-cut TV western hero to screen idol. In the first, he guns down
four Baxter gunmen hanging around the San Miguel corral, for $100 in Rojo blood
money. Having already spooked Joe’s mule as a warning, the quartet tells him to
leave town. The gang find their threats amusing, but the stranger doesn’t: ‘My mule
don’t like people laughing, gets the crazy idea you’re laughing at him’. His mood sud-
denly changes, from amiable cowboy kidding around to lethal killer demanding an
apology. Joe flicks his poncho over his shoulder and the tension mounts, until in a
flash, guns blaze and four Baxters bite the dust. Having ordered three coffins before
the confrontation, Joe corrects his order: ‘My mistake ... four coffins’. The Saturday
Review scathingly noted that ‘Eastwood ... makes full use of his one expression’, but
the actor’s underplayed performance and his delivery marked Eastwood as a new type
of action movie star, one for whom understatement and stoicism were trademarks.
In the fi lm’s finale, Joe faces Ramon and four of his men in the plaza of San
Miguel, near a water tower. The stranger announces his return with two dynamite
explosions, which wreath the street in dust, unnerving his opponents: it’s a powerful
image, with the stranger striding out of the dust cloud. Earlier Ramon has quoted a
Mexican proverb to the stranger, claiming that a Colt .45 is inferior to a Winchester
rifle. We already know from Ramon’s demonstrations of marksmanship that he

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 Part One: The Westerns 7

always aims for the heart. ‘Shoot to kill, you better hit the heart’, goads the stranger,
‘The heart Ramon, aim for the heart, or you’ll never stop me’. Ramon fires at Joe
repeatedly, hitting him, but each time the stranger gets back to his feet, seemingly
supernatural. Eventually, when he’s within pistol range, Joe reveals that he’s been
wearing a sheet of iron strapped to his chest, an armour hidden under his poncho,
and there are seven bullet dents in the area of his heart. Real-life professional killer
and lawman Jim Miller, known variously as ‘Killin’ Jim’ and ‘The Deacon’, wore a
breastplate during his gunfights. One of the most deadly, not to say indestructible
shootists, Killin’ Jim survived 14 gun battles.
Fistful’s memorable score was composed by Ennio Morricone, a school friend of
Leone’s. The main theme (or ‘titoli’) deployed acoustic guitar, bells and whip-cracks
backing the melody, voiced by a whistler and an electric guitar (both performed by
Alessandro Alessandroni), while I Cantori Moderni (‘The Modern Singers’) supplied
harmonies. This accompanied the pop-art title sequence, deploying rotoscope, an
animation process that converts action from the fi lm into garish, comic-strip vio-
lence. The titles begin with hypnotic smoke rings, which reveal the galloping hero
and ricocheting gunshots herald Eastwood’s name onscreen. Elsewhere Morricone
used the ominous piano and harmonica of ‘Almost Dead’ (for the stranger’s arrival
in town), the cacophonous percussion and trumpet of ‘The Chase’, the eerie build-up
to ‘Without Pity’ (for the Baxter massacre), and the Mexican trumpet ‘Deguello’, a
funereal Mariachi backed by strings and chorus. Entitled ‘A Fistful of Dollars’ on
soundtrack albums, this was released by RCA as a 45rpm single under the title ‘The
Man with No Name’. This music and that of Eastwood’s later spaghetti westerns
were inexorably linked to the actor throughout his career. They became Eastwood’s
‘theme tunes’ and his later fi lms occasionally deployed Morricone-style musical cues
as knowing references to his career as ‘The Man with No Name’.
Fistful was released in Italy as Per Un Pugno di Dollari (‘For a Fistful of Dollars’)
in September 1964, to great word-of-mouth success, eventually becoming the biggest-
grossing Italian film of all time up to that point. Italian posters for its premiere trum-
peted ‘The most recent and sensational western film with the new American idol’. For
international release, United Artists dubbed the film A Fistful of Dollars (shortened in
the animated title sequence to simply Fistful of Dollars) and prepared a high-profile
publicity campaign ahead of the opening in the US in January 1967. Key art featured
Eastwood in his poncho, with the taglines ‘He’s going to trigger a whole new style in
adventure’, ‘In his own way he is perhaps the most dangerous man who ever lived!’
and ‘The first motion picture of its kind. It won’t be the last!’ Fistful was rated ‘M’ in
the US and ‘X’ in the UK, even after it was trimmed for violence; subsequent DVD
releases, rated ‘15’, are uncut. In the US, Fistful took $4.25 million in 1967 and eventu-
ally grossed $14.5 million. Many Italian and Spanish westerns of the sixties and early
seventies capitalised on the success of Leone’s film, with derivative titles and poncho-
clad heroes, including ‘Vance Lewis’/Luigi Vanzi’s For a Dollar in the Teeth (1966 – aka
A Stranger in Town), starring Tony Anthony as the stranger and Frank Wolff (Leone’s
original choice for Ramon Rojo) as bandit leader Aguila (‘The Eagle’). Eastwood made

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 8 Aim for the Heart

better films and he also made much more money, but A Fistful of Dollars facilitated
his leap from TV fame to international superstardom. When, in December 1980, the
Museum of Modern Art paid tribute to Eastwood with a one-day retrospective of his
films, the works chosen were Escape from Alcatraz, Play Misty for Me, Bronco Billy and
A Fistful of Dollars.

For a Few Dollars More (1965)

Fistful certainly wasn’t the last motion picture of its kind and Eastwood was soon
back in Italy and Spain filming a sequel, literally For a Few Dollars More – his salary
this time was $50,000. As ‘the anti-hero to end all anti-heroes’ (as Films and Filming
christened him), Eastwood was again a gunfighter, now a bounty hunter named
Manco. The story was based on an original outline by Leone and his brother-in-law
Fulvio Morsella, with a screenplay by Leone, Luciano Vincenzoni and an uncredited
Sergio Donati.
Manco and Colonel Douglas Mortimer (Lee Van Cleef) are two deadly bounty kill-
ers, ridding the American southwest of renegade outlaws and cashing in their rewards.
When the territory’s most notorious criminal El Indio (Gian Maria Volonte) escapes
from prison, the pair teams up to scoop the $10,000 reward offered ‘Dead or Alive’. Indio
and his cadre of bandidos target the three-ton safe in El Paso, a supposedly impreg-
nable fortress containing almost a million dollars. Working to Mortimer’s stratagem,
‘one from the outside, one from the inside’, Manco infiltrates Indio’s gang and tries to
sabotage their plan, but Indio is smarter and the gang flees with the loot. The robbers lie
low in Agua Caliente, a New Mexican pueblo, where Mortimer also joins the gang and
carefully opens the safe without destroying the cash. The bounty killers steal the money
and hide it, before being caught and viciously beaten by Indio. Indio releases the gringo
gunmen and sets them against his gang in a gun battle, but soon only Indio is left alive,
and in a final duel, Mortimer faces Indio and kills him. The colonel reveals that Indio
raped his sister, who then killed herself, and that Mortimer has been seeking vengeance
ever since. His vendetta complete, the colonel allows Manco to keep the reward.
This time Leone had a larger budget than Fistful – $600,000. Leone visited the
US in January 1965, re-signing Eastwood (for $50,000), and also hired Lee Van Cleef
(for $17,000). Van Cleef was a supporting actor from fifties western, sci-fi and gang-
ster movies; he had guested in two episodes of the 1964–65 season of Rawhide but
was currently employed as a freelance artist. Leone wanted Henry Fonda, Charles
Bronson or Lee Marvin as his colonel, but their unavailability led to Van Cleef’s cast-
ing – Leone noted: ‘His glare makes holes in the screen’. Eastwood received top bill-
ing, as the star who would ensure the fi lm’s success, even though ex-soldier Colonel
Mortimer, ‘the best shot in the Carolinas’, was the focus for much of the story.
Leone again fi lmed the interiors at Cinecitta but lensed the majority in Spain:
partly near Madrid, but mostly in Almeria, with Eastwood present at most locations.
The desolate Spanish deserts, sierras and ramblas (dried-up riverbed canyons) took
centre stage, as a memorable and breathtaking backdrop. The great riding scenes,

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 Part One: The Westerns 9

fi lmed in the Almerian sierras, where Manco loses a posse from El Paso, display
Eastwood’s consummate horsemanship to best advantage; Bill Thomkins didn’t
double for Eastwood in this sequel. The towns depicted were ‘played’ by a variety of
fi lm sets. White Rocks was a set at Colmenar Viejo, near Madrid; Tucumcari was the
San Miguel set at Hojo De Manzanares; a western set at Cinecitta appeared as ‘Santa
Cruz’. El Paso, the focus for the middle section of the fi lm, was designed and built
in grand style by Carlo Simi (who was also the fi lm’s costumier) in the desert near
Tabernas, Almeria. The whitewashed Spanish village of Los Albaricoques (named
‘The Apricots’, after its fruit trees) was Agua Caliente, the isolated pueblo which is
the setting for the fi lm’s last 45 minutes. The ruined, roofless Church of Santa Maria
at Turillas was used for Indio’s hideout when he breaks out of prison. Las Palmeras,
where Manco rendezvous with Indio after the robbery, was El Oasis, a patch of desert
with clumps of palm trees, which had been planted during Lawrence of Arabia (1962).
El Paso still stands in Spain. Now called ‘Mini Hollywood’, it attracts sunburnt tour-
ists to its ‘Wild West’ show re-enactments.
The script, which Eastwood and Van Cleef pruned, was tighter than Fistful and
Leone’s visual style began to flourish. This is illustrated by Manco’s first appearance
in the fi lm. Colonel Mortimer asks the Tucumcari sheriff if he knows the where-
abouts of outlaw Red ‘Baby’ Cavanagh. The lawman answers that a stranger stopped
by, also asking after Red. ‘I’ve never seen him before’, says the sheriff of the stran-
ger, ‘His name is Manco’. Leone cuts to a close-up of Eastwood’s trademark rattle-
snake gripped pistol, fringed poncho and a leather gauntlet he wears on his gun hand
(accompanied by a crash of thunder on the soundtrack), as Eastwood stalks past the
camera into White Rocks in the lashing rain. When Eastwood reaches the saloon,
he flicks back his poncho, takes a match from his breast pocket and lights a cheroot,
as he slowly raises his head – his face has been obscured by the brim of his hat – and
reveals his face for the first time (as a thunderclap crashes on the soundtrack). In
For a Few, Eastwood’s hero is more humorous, he even smiles occasionally, and has
a great final punchline. As he loads the bandits’ corpses into a cart to take back to El
Paso, his bounty haul calculations fall short of expectations and he realises he’s one
villain short. At that moment Manco spins around and shoots outlaw Groggy, who
is about to plug him in the back. At the sound of gunfire the colonel shouts, ‘Any
trouble boy?’; ‘No old man’, answers Manco, ‘Thought I was having trouble with my
adding – it’s all right now’.
It is Van Cleef’s Colonel Mortimer, the Bible-reading ‘Reverend’, and his track-
ing of Indio, that drives the fi lm. His vendetta is symbolised by the pair of gold
pocket watches (a larger male and smaller female version of the design) in a heart-
shaped box. Mortimer’s revenge ends the fi lm satisfyingly, with the bandito and ‘Il
Colonnello’ facing each other in a broken ring, marked by a low, crumbling wall
and quarried stones – a dusty circle of destiny. Manco, armed with Indio’s Volcanic
calibre .38 carbine, referees this final confrontation, with the moment the two men
draw decided by the carillon of Mortimer’s watch – the chiming countdown to life
and death.

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 10 Aim for the Heart

Ennio Morricone once again provided the distinctive score, with a main theme
deploying Jew’s harp, flute, whistling, chorus and electric guitars – a ‘riding theme’
powered along by pounding hoofbeat drums. For duels Morricone created ‘La Resa
Dei Conti’ (‘The Settling of Accounts’, also called ‘Sixty Seconds to What?’ or ‘Paying
off Scores’), with its tinkling watch melody, reverberating Flamenco guitar, blasts of
church organ and trumpet: a vocal version was recorded by Maurizio Graf entitled
‘An Eye for an Eye’ but wasn’t used in the fi lm. Eerie feedback scores Indio’s gang cas-
ing the adobe bank in ‘The Watcher Watched’, while the side-drums, piano, brass and
tolling bell of ‘Il Colpo’ (‘The Raid’) accompany them emptying the safe. The delicate
guitar and oboe of ‘Vice of Killing’ bursts into life with galloping snare drums and
a heavenly, wordless vocal, as Indio’s band speed across the desert with their loot-
laden wagon, and as Manco rides alone into unwelcoming Agua Caliente. ‘Goodbye
Colonel’ (sometimes billed as ‘Addio Colonnello’ or ‘Bye Bye Colonel’), with lyrical
oboe, strings, carillon and chorus, scored Mortimer’s slow ride into the sunset.
For a Few Dollars More was released in Italy as Per Qualche Dollaro in Piu in
December 1965, to massive and influential success: there was even a parody of the
fi lm called For a Few Dollars Less (1966). For a Few Dollars More was released in the US
rated ‘M’ (later ‘R’) four months after Fistful, to even greater success, initially taking
$5 million. Posters featuring Eastwood (‘The Man With No Name Is Back’) and Van
Cleef (‘The Man In Black Is Waiting’) warned, ‘As if one wasn’t enough ... as if death
needed a double. It’s the second motion picture of its kind! It won’t be the last’. The
UK trailer introduced Volonte and Eastwood as ‘the men who excited you so in For
a Fistful of Dollars’. The superior US trailer, one of Eastwood’s best promos, touted:
‘Clint Eastwood is The Man with No Name ... Lee Van Cleef is Waiting’. The UK print
cut violence, garnering an ‘X’ certificate, removing, among others, the final explana-
tory flashback depicting Mortimer’s sister’s suicide. Even Indio’s mad cackling laugh
was shortened for US/UK prints, so demonic was his villainy. Critically reviled at the
time, For a Few Dollars More is one of the most financially profitable Italian westerns
ever made, with Eastwood now dubbed ‘Il Cigarillo’ by his Italian fans.

The Good, the Bad and the Ugly (1966)

Eastwood’s next project with Leone, The Good, the Bad and the Ugly, would today
be called a ‘threequel’, although in chronological relation to the first two fi lms it’s a
prequel. In early 1862, Confederate forces led by General Sibley invaded New Mexico
from Texas. Amid the confusion, as the war engulfs the Rio Grande, three men have
something else on their minds: hired gun Angel Eyes (Lee Van Cleef), Mexican out-
law Tuco Ramirez (Eli Wallach) and his partner, shifty drifter Blondy (Eastwood), are
searching for a cashbox containing $200,000 in gold coin buried in a grave marked
‘Arch Stanton’ in Sad Hill. It is missing following a Union surprise attack on a
Confederate payroll wagon destined for the 3rd Cavalry. In Sad Hill, the trio confront
each other: Blondy kills Angel Eyes and splits the cash with Tuco, leaving his partner
stranded in the middle of nowhere with his hands bound, but $100,000 richer.

HoHugh_001-042.indd 10 6/24/2009 3:14:00 AM

 Part One: The Westerns 11

1.2 ‘The Man With No Name is Back!’: original poster for the 1967 US release of Sergio
Leone’s For a Few Dollars More (1965). Author’s collection.

HoHugh_001-042.indd 11 6/24/2009 3:14:00 AM

 12 Aim for the Heart

One scene in For a Few Dollars More hints at the central three-way deception of
The Good. Following the El Paso bank raid, Mortimer and Manco agree to convince
Indio to head north, so they can ambush him in Rio Bravo Canyon, but duplicitous
Manco suggests to Indio they head south, to the Mexican border. Indio, equally sus-
picious, rides east, to Agua Caliente, but miraculously Mortimer out-guesses them
and arrives there first, telling Manco: ‘I just reasoned it out’. The Colonel knew that
Manco would ignore their plan and that Indio would second-guess them – ‘Since El
Paso’s out of the question, well here I am’. This elaborate web of trickery and double-
cross became the skeletal plot of Leone’s third western.
The epic story was written by Leone and Luciano Vincenzoni. Sergio Donati
and Age-Scarpelli also worked on the screenplay, which was then translated into
English by Mickey Knox. Again working with producer Albert Grimaldi of PEA,
Leone had a budget of $1.2 million. This time Eastwood drove a hard bargain:
for his role as Blondy ‘The Good’, he received a quarter of a million dollars (more
than the amount the fi lm’s cashbox contains), noting, ‘I’m probably the highest-
paid American actor who ever worked in Italian pictures. Only Mastroianni gets
more in Italy. For the fi rst time in my life, I can pick the parts I want to play’. Lee
Van Cleef returned to villainy, with his role as Angel Eyes ‘The Bad’. Originally
called Banjo in the script, then Sentenza during shooting, his name became Angel
Eyes during the English dubbing. Eli Wallach, an outlaw in The Magnificent Seven
(1960) and How the West Was Won (1962), played Tuco ‘The Ugly’. The remain-
der of the cast was a rogue’s gallery of actors – good, bad and ugly – to play the
assorted ruffians and trail trash the heroes encounter. Italian Aldo Giuffre played
drunken Unionist captain Clinton who dreams of blowing to smithereens a bridge
he’s been ordered to take intact. Antonio Molino Rojo portrayed a prison camp
commandant with a gangrenous leg, similarly disillusioned with the Union cause.
Luigi Pistilli played Tuco’s brother, Brother Pablo, a monk tending wounded sol-
diers at his San Antonio Mission. Mario Brega appeared as brutal Unionist cor-
poral Wallace, at his happiest beating seven shades of grey out of Confederate
prisoners of war. Canadian Al Mulock played a one-armed bounty hunter who
traps Tuco in a bubble bath but crows too long: ‘If you have to shoot – shoot, don’t
talk’, Tuco tells his corpse.
Filming took place between May and July of 1966. That Spanish spring and sum-
mer was perfect weather, with solid-blue skies and smoky cloud formations. Interiors
were filmed at Elios Studios. Elios’ western set was also where the town of Mesilla was
filmed, for Tuco’s first escape from hanging. His second escape, in Valverde, was shot
at the ‘El Paso’ set in Almeria. The same set was also used for the scene where Tuco robs
a gunsmith, when Angel Eyes questions a prostitute in Santa Ana, and when Sibley’s
Confederate column retreats through Santa Fe. Other New Mexican locations – the
Sierra Magdalena and the Sangre De Cristo (‘Blood of Christ’) Mountains, and white-
washed dusty pueblos, ghost towns and farms – were filmed in Almeria. The notorious
90-mile desert, the Jornado Del Muerto (the ‘Day’s Journey of the Dead Man’), where
Tuco tortures blistered Blondy, was fi lmed at Cabo De Gata. The Union railway depot

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 Part One: The Westerns 13

1.3 ‘Sorry Shorty’: Tuco the Ugly gets the drop on Blondy in the desert; Clint Eastwood in
the Spanish dunes for The Good, the Bad and the Ugly (1966). Author’s collection.

was La Calahorra Station (on the Almeria-Guadix line) and the San Antonio Mission
was Cortijo De Los Frailes (‘House of the Brothers’); the mission’s interior was filmed
at the Monastery of San Pedro de Arlanza, north of Madrid. Battle-torn Peralta was
filmed at Colmenar Viejo’s western set near Madrid. The scene where Blondy and Tuco
first meet was lensed at rocky Manzanares El Real, further north. Most of the Civil War
scenes were shot between Madrid and Burgos, in Castilla-León. The entrenched battle
between the blue and the grey raged at Covarrubias, on the River Arlanza. Betterville
prison camp was built at Carazo and Sad Hill’s amphitheatre of the dead, ringed with
concentric circles of tombs, was also south of the Arlanza, at Contreras. All three loca-
tions were less than 20 kilometres apart, with the prison camp location actually just
over the mesa behind Angel Eyes during the final showdown.
Leone’s anti-heroic depiction of the American Civil War fi lled his towns with refu-
gees and troops, while the military hospitals are packed with the bloodied wounded.
Outside Valverde’s ‘Ballroom Music Hall’, Angel Eyes questions a Confederate caval-
ryman who has lost both his legs, calling him a ‘Half Soldier’. Betterville Prison Camp
had its origins in terrible Federal stockades such as Camp Douglas, Chicago, which
lost almost 10 percent of its 3,880 inmates in a single month to dreadful conditions
and disease. The fi lm’s battle scenes deployed hundreds of extras (played by Spanish
soldiers in Civil War period costume) and heavy-duty artillery, including Gatling
Guns, Parrott Guns and mortars. The entrenched defence works at Langstone Bridge
were also based on archive photos, depicting tiered wicker and sandbagged breast-
works, rifle pits, bomb-proof shelters, gun emplacements and the spiky criss-crossed
log defences (an anti-cavalry barricade known as ‘chevaux-de-frise’). Costume

HoHugh_001-042.indd 13 6/24/2009 3:14:01 AM

 14 Aim for the Heart

designer Carlo Simi included such details as the Confederate soldiers wearing colour-
coded kepis (caps), collars and cuffs, denoting their branch of service: yellow for cav-
alry, blue for infantry and red for artillery. Leone loved the film’s ‘big scope’; ‘And I
liked it, I must say’, remembered Eastwood, ‘Especially coming from television where
you didn’t have the opportunity to do that’. As Leone boasted, ‘This picture is more
accurate than any American western’.
Eastwood’s drifting nowhere man is a nomadic con man christened ‘Blondy’ by
Tuco. The Italian print dubs him ‘Biondo’ (after Eastwood’s fair complexion) while
the fi lm’s novelisation has Mexican Tuco calling him ‘Whitey’. His business partner-
ship with Tuco – where he turns the wanted outlaw over to the law and then saves
him by shooting through the hanging rope during the execution – provides much
humour, as neither trusts the other. Blondy tires of their partnership, reasoning that
Tuco will never be worth more than $3,000: ‘There’s really not too much future with
a sawn-off runt like you’. Eventually he cuts loose of Tuco in the desert, 70 miles from
Valverde: ‘I’ll keep the money and you can have the rope’.
In his third Leone outing, Eastwood’s performance is confident and effortless.
He deploys his full range of ‘Man with No Name’ mannerisms: the double takes,
the squint, mouthing the cigar, the deadpan asides, the long silences and the empty
half-smile. Blondy uses a Colt Navy pistol, again fitted with snake grips, and a Henry
repeating rifle with a telescopic sight. This time there is more humility and humanity
to Eastwood’s gunman. Blondy offers a dying Confederate artilleryman a last drag
on his cigar. Before Blondy detonates Langstone Bridge, he tells a badly wounded
Union officer, ‘Take a slug of this capt’n ... keep your ears open’. In one unusual scene,
Blondy bides his time in war-torn Peralta by playing with a kitten in his hat. Such
compassion, almost tenderness, would be rare in Eastwood’s westerns, even in mature
works such as The Outlaw Josey Wales and Unforgiven. During the Battle of Langstone
Bridge, as the Union and Confederate forces suicidally attack the bridge under heavy
artillery fire, he watches and mutters, ‘I’ve never seen so many men wasted so badly’.
But Blondy loots his trademark poncho from the dead Confederate artilleryman and
becomes ‘The Man with No Name’ for the final duel.
Morricone’s most famous composition, the fi lm’s title music, is cut to an equally
memorable title sequence, with colourful tinted stills from the film, explosions and
dust. The main theme, a coyote-howling, guitar-twanging, bugle charge, is one of the
most famous western themes of all time – its ‘Ay-ey-ay-ey-ahhh!’ answered ‘Wah-
wah-wah!’ instantly recognisable. Elsewhere, mournful tunes – ‘The Fort’, ‘Marcetta’,
‘March without Hope’ and the ballad ‘The Soldier’s Story’ – score the Civil War dev-
astation. The epic ‘The Desert’ accompanies Blondy’s bubbled agony in the dunes and
in ‘Ecstasy of Gold’, the rolling piano and Edda Dell’Orso’s soprano solo soar as Tuco
frantically scours Sad Hill. With epic battles and scores of extras, it is ironic that the
finale involves only the three antagonists competing for the prize – the contents of
the grave marked ‘Unknown’, the tomb with no name, next to Arch Stanton’s, which
contains a cashbox. It is one of the most memorable endings to a western and a fit-
ting climax to the ‘Dollars’ trilogy, as the Good, the Bad and the Ugly shoot it out in

HoHugh_001-042.indd 14 6/24/2009 3:14:02 AM

 Part One: The Westerns 15

the epicentre of the vast graveyard, with Morricone’s music ‘Il Triello’ (‘The Trio’)
thundering on the soundtrack.
For its US release, United Artists considered several different titles for the fi lm –
The Good, the Ugly, the Bad (a literal translation of the original Italian title, Il Buono,
Il Brutto, Il Cattivo), River of Dollars (a translation of Un Fiume Di Dollari, the Italian
title of a spaghetti western released in the US by UA as The Hills Run Red) and even
The Man With No Name – before settling on The Good, the Bad and the Ugly. Cynical
posters announced: ‘For Three Men the Civil War Wasn’t Hell ... It was Practice’ and
‘This time the jackpot’s a cool $200,000’. In equal parts impressive and incompetent,
the eventful, epic trailer intoned, ‘The Good, the Bad, the Ugly ... the blue, the grey,
the Civil War ... the questions, the answers, the showdown ... the reason? The gold!’
The US trailer misidentified Tuco as ‘The Bad’ and Angel Eyes as ‘The Ugly’, which
saddled Van Cleef with the epithet ‘Mr Ugly’ for his subsequent spaghetti westerns.
Critics were divided on the merits of Leone’s third western. On 25 January 1968,
the New York Times, who called it ‘The Burn, the Gouge and the Mangle (the screen
name is simply inappropriate)’, said that it ‘must be the most expensive, pious and
repellent movie in the history of its peculiar genre’. Variety noted, ‘A curious amal-
gam of the visually striking, the dramatically feeble and the offensively sadistic’.
But most critics agreed that Leone was a talented director with an eye for detail and
action. Next to Wallach, Eastwood and Van Cleef were deemed ‘expressionless char-
acters with poker faces’ as animated as ‘a slab of boot leather’. It ran 161 minutes in
the US (rated ‘M’, later ‘R’); in the UK, it was cut to 148 minutes (rated ‘X’). The origi-
nal Italian version, which premiered over Christmas 1966, was 171 minutes long and
included several extra scenes. In 2003, Eastwood and Wallach, plus Simon Prescott,
a Van Cleef voice impersonator (Van Cleef died in 1989), dubbed the missing Italian
scenes into English, but in this version the gunshots, cannon fire, explosions and
sound effects were altered. The Italian version, which runs 169 minutes on video and
has correct sound effects, is the definitive version of the fi lm, while the best English
language version runs 156 minutes, still rated ‘18’ on DVD.
A paperback tie-in of The Good, the Bad and the Ugly written by Joe Millard
was published in 1967. In this version, Tuco doesn’t take part in the final duel and
Angel Eyes (or Sentenza, as he’s known in the book) carries a custom-made pistol
with a 14-inch barrel, like Colonel Mortimer. A cover version of Morricone’s theme,
rearranged and conducted by Hugo Montenegro, was released by RCA Victor on
both sides of the Atlantic in 1968 – backed by ‘There’s Got to Be a Better Way’ from
Bandolero! (1968) in the UK and ‘March without Hope’ in the US. It went to number
one in the UK in November 1968 and peaked at number two in the US. Its success
contributed to the film’s massive grosses – in the US alone it took over $6 million,
putting it inside the 10 most successful westerns of the sixties.
In Italy ‘new releases’ El Maladetto Gringo, Il Magnifico Straniero and El
Gringhero welded together Rawhide episodes (‘Incident of the Running Man’ and
‘The Backshooter’), until an injunction gunned them down. The ‘Dollars’ fi lms’ suc-
cess in Italy led to the ‘spaghetti western’ craze, which produced hundreds of fi lms

HoHugh_001-042.indd 15 6/24/2009 3:14:02 AM

 16 Aim for the Heart

in the next ten years and revitalised, some would say saved, the Italian fi lm industry.
Following The Good, Eastwood and Leone didn’t see each other for years, as their
careers diverged on different projects – Eastwood was offered a guest star role in
Leone’s next fi lm, Once Upon a Time in the West (1968), as one of the killers waiting
for Charles Bronson in the fi lm’s opening scene, but he declined. When Leone was in
the US in the early eighties making Once Upon a Time in America, Eastwood visited
him at his hotel. ‘I’ve often been asked if I could make another fi lm with him’, said
Leone, ‘I always refuse. It is impossible’. They could never have surpassed the Dollars
trilogy, especially The Good, the Bad and the Ugly, their masterpiece.

Hang ’Em High (1968)

Following his success as the ‘Man with No Name’, Eastwood said ‘Arrivederci Roma’
and returned to the US, had a shave and gained a name, as Jed Cooper in Hang ’Em
High, which straddled the badlands between spaghetti and Hollywood westerns.
Eastwood was initially approached to star in the Hollywood western Mackenna’s Gold
(1968), but he turned it down and Gregory Peck eventually took the treasure-hunting
role – an adventurer seeking fabled Apache gold in the Canyon Del’Oro. Shot partly
in Monument Valley, its plot bore echoes of The Good and even featured Eli Wallach
in a supporting role.
Though Eastwood had noted during the making of The Good that he could pick
the parts he wanted to play, on his return to the US he capitalised on the success
of the ‘Dollars’ fi lms by typecasting himself as a Leonesque western hero. With his
‘Dollars’ earnings and a $119,000 Rawhide payoff, Eastwood formed his own produc-
tion company, Malpaso (named after Malpaso Creek on his land is Monterey), with
a view to having a personal stake in his films: this way he would be able to control
his own career and the projects he participated in. All of his subsequent westerns
were made with Malpaso as co-producer. In collaboration with Leonard Freeman
Productions, Malpaso co-produced and financed Hang ’Em High, which was released
through United Artists. Freeman wrote the script with Mel Goldberg, and Ted Post,
who had worked with Eastwood on Rawhide, directed the fi lm.
Cooper, an ex-lawman from St Louis, is herding his recently bought cattle through
Oklahoma, when he is accused by a posse of stealing the herd from Johansen, a rancher
who has since been murdered. The men, led by their employer Captain Wilson (Ed
Begley), are Miller, Reno, Stone, Jenkins, Maddow, Tommy, Loomis and Charlie
Blackfoot. They lynch Cooper and leave him for dead, but Marshall Dave Bliss (Ben
Johnson) finds Cooper, revives him and takes him to Fort Grant, where ‘Hangin’ Judge
Fenton’ (Pat Hingle) presides. Acquitted and left with a nasty scar around his neck
(which he conceals with a neckerchief), Cooper is convinced by Fenton to become a dep-
uty marshal, which will enable him to take revenge on the men he seeks legally. While on
a routine jail pickup, Cooper kills Reno. Then Jenkins turns himself in at Fort Grant and
Cooper discovers that the rest of the lynch party are in the town of Red Creek. Cooper
arrests Stone, Red Creek’s blacksmith, and tracks down Miller, but Wilson, Loomis and

HoHugh_001-042.indd 16 6/24/2009 3:14:02 AM

 Part One: The Westerns 17

Tommy try to kill Cooper during a public hanging at Fort Grant. Cooper is nursed back
to health by widow Rachel Warren (Inger Stevens), who is searching for the men who
raped her and killed her husband. On his recovery, Cooper rides out to Wilson’s ‘Big W’
ranch and kills Loomis and Tommy, before discovering that Wilson has hanged himself
high, committing suicide. Not convinced that the law always hangs the right people,
Cooper negotiates amnesty for Jenkins, who was only a bystander, before riding out after
the remaining killers, Maddow and Charlie.

1.4 Clint Eastwood, in costume as Jed Cooper, on set with director Ted Post during the
making of their 1968 revenge western, Hang ’Em High. Author’s collection.

HoHugh_001-042.indd 17 6/24/2009 3:14:02 AM

 18 Aim for the Heart

Commencing in June 1967, Hang ’Em High had a budget of $1.6 million, of which
Eastwood received $400,000, plus 25 percent of the box office. It was filmed on loca-
tion near Las Cruces in New Mexico – in the Organ Mountains (the posse’s pursuit
of Miller), the spectacular White Sands dunes (Cooper’s trek with three rustlers) and
beside the Rio Grande River (Cooper’s lynching). Some location footage was shot at
the Albertson Ranch in Conejo Valley, California (for Jed and Rachel’s picnic). Fort
Grant’s interiors and exteriors were shot on a town set at Lot Three in MGM Studios.
Hang ’Em High has a rich western cast, blending old hands with up-and-coming
talent. The younger cast members included Dennis Hopper and Bruce Dern, two
counterculture actors who would go on to make their names in biker movies. Dern
honed his screen persona in a series of western roles as a toothy maladjust. Hopper
has a startling two-minute cameo as ‘The Prophet’, a mad zealot (‘He’s plumb loco’)
wearing a claw necklace and sackcloth rags, who dies theatrically when shot by sheriff
Ben Johnson. Johnson himself had appeared in many John Ford westerns and would
enjoy a renaissance in the sixties working for Sam Peckinpah, as would L.Q. Jones,
cast here as taggle-haired Loomis. Reliable supporting character actors included
Charles McGraw as the sheriff with a ‘cardboard jail’ and a permanently bad back,
Pat Hingle as almighty Judge Fenton and Ed Begley (from 12 Angry Men) as bad
guy Captain Wilson. Eastwood’s onscreen lovers were blonde Swedish beauty Inger
Stevens as storekeeper Rachel and brassy redhead Arlene Golonka as Jennifer, a pros-
titute. Roxanne Tunis, Eastwood’s lover from Rawhide days, appeared briefly as a
prostitute in a blue dress amongst the crowd attending a public hanging.
Judge Adam Fenton and the mass hangings at Fort Grant are based on real-
life ‘Hanging Judge’ Isaac Charles Parker and his courthouse on the edge of Indian
Territory in Arkansas, which operated from 1870 to 1891. Parker’s gallows could
accommodate 12, but the most that was carried out simultaneously was six, as
depicted in Hang ’Em High. Homer Croy’s 1952 biography of the judge was called
He Hanged Them High. Parker’s trusted, notorious lord high executioner was George
Maledon, photographs of whom show he had all the charm of a reanimated cadaver.
James Westerfield, who played a tobacco-chewing criminal hanged by Fenton in Hang
’Em High, actually played Parker in the opening Fort Smith scenes of John Wayne’s
True Grit (1969). Hang ’Em High is set in 1889, towards the end of Parker’s period, and
accurately depicts Parker’s macabre event hangings, with huge crowds enjoying the
hymn singing and the carnivalesque public holiday atmosphere. This scene at MGM
was the largest crowd to be filmed in Hollywood since Gone with the Wind (1939).
From its opening sequence, where Eastwood appears in cowboy chaps, herd-
ing cattle across the Rio Grande, Hang ’Em High more closely resembles a TV west-
ern than Leone’s fi lms, its excessive, bloody moments of violence excepted. Though
Eastwood affects a cigar and wears his trademark gunbelt and boots, Jedediah Cooper
is not ‘The Man with No Name’. Hang provides its black-clad deputy marshal with
legal justification for his revenge killings. As Fenton tells him, ‘You used the law and
a badge to heal that scar on your neck’. The New York Times noted that the fi lm at
least ‘had a point, unlike the previous sadomasochistic exercises on foreign prairies

HoHugh_001-042.indd 18 6/24/2009 3:14:04 AM

 Part One: The Westerns 19

where the grizzled Mr Eastwood stalked around in a fi lthy serape, holster-deep

in corpses’. The story bears a passing resemblance to The Ox-Bow Incident (1943),
one of Eastwood’s favourite fi lms, which cast Henry Fonda as a drifter enlisted in a
posse that lynches three blameless men for murder. The name Jed Cooper references
Hollywood westerns, recalling High Noon’s Gary Cooper. In 1966, Vittorio De Sica
had introduced Eastwood to the French press during a promotional appearance for
For a Few Dollars More as ‘the new Gary Cooper’. Hang ’Em High, the only period
western where Eastwood plays a straightforward lawman role, sees the star attempt
to don Cooper’s mantle onscreen.
Hang ’Em High is a Hollywood attempt at a spaghetti western, but the camera-
work is overly lit and devoid of style, the MGM town set looks rather newly built
and the fi lm’s costumes too clean. Even Dominic Frontiere’s score attempts to repli-
cate Morricone’s ‘Dollars’ cues. In fact, when Hugo Montenegro and his Orchestra
and Chorus recorded ‘Music for the Man with No Name’, a tribute album to the
‘Dollars’ trilogy in 1967, the Hang ’Em High theme was tacked on to it. Variety
famously called the fi lm ‘a poor American-made imitation of a poor Italian-made
imitation of an American-made western’. But the script is too verbose, especially
in Judge Fenton’s monologues detailing capital punishment, his moral abhorrence
at revenge and the fact that, for some judged men, the only arbiter between Fenton
and God is a length of rope. These scenes do give an early insight into the way
subsequent Eastwood characters, in particular Harry Callahan, would argue at
length with City Hall officialdom. Eastwood is at his best when bluntly confront-
ing the judge’s reasoning. When told to go to Hell, Cooper answers, ‘I’ve already
been there judge’.
The lynch mob deals its justice in uncompromising fashion, which led to the
bloodier, boot-twitching shots of Eastwood being cut for TV screenings. Cooper is
dragged across the Rio Grande by the neck, beaten and strung up. When Bliss finds
Cooper he is near to death and the bumpy journey to Fort Grant in the mule-drawn
tumbleweed prison wagon, essentially an iron cage on wheels, is suitably arduous,
with Eastwood at his most dishevelled. Such a vehicle had also been the focus of the
first ever episode of Rawhide, ‘Incident of the Tumbleweed Wagon’. When, in unex-
pected subplot padding, Cooper is side-tracked into leading a posse pursuing three
rustlers it emerges that one of them is lynch mob member Miller. But when the posse
deserts him, Cooper must bring the trio in alone. ‘You ain’t ever gonna get me alive
to Fort Grant, boy’, sneers Miller, looking at the three-to-one odds. ‘Then I’ll get you
there dead, boy’, replies Cooper, through gritted teeth. The thirsty trek across White
Sands culminates in a lengthy fistfight between Cooper and Miller, during which
Miller’s arm is savagely broken by Cooper. Already Eastwood’s screen heroes will go
to any lengths to see justice done.
Hang ’Em High was released in the US in August 1968, rated ‘M’. Posters depicted
cigar-smoking Eastwood and the six-man gallows, with the tagline: ‘They made two
mistakes – they hanged the wrong man and they didn’t finish the job’, a sensational
variation of the subtle moral message of The Ox-Bow Incident. It made $6.7 million in

HoHugh_001-042.indd 19 6/24/2009 3:14:04 AM

 20 Aim for the Heart

1.5 Original advertising for United Artists’ release of Hang ’Em High featuring Clint
Eastwood, his trademark cigar and the six-man Fort Grant scaffold; Australian daybill,
courtesy Ian Caunce Collection.

HoHugh_001-042.indd 20 6/24/2009 3:14:04 AM

 Part One: The Westerns 21

the US, eventually garnering $11 million. The New York Post praised Eastwood: ‘His
good-looking tranquillity in the midst of life and death issues may really be noth-
ing but the limitation of a strong, silent hero, but it looks good on him’. In the UK,
rated ‘X’ following some cuts, the Daily Express joked, ‘Eastwood has made his first
talking picture’, while Films and Filming noted that the movie ‘has an air of sincere
earnestness which the Italian fi lms carefully invert, and so it is far harder to accept
its graphic depiction of violence’. Most agreed that this was better than his three spa-
ghetti westerns, a consensus that hasn’t stood the test of time.

Two Mules for Sister Sara (1970)

Two Mules for Sister Sara, Eastwood’s second film with director Don Siegel following
their collaboration on Coogan’s Bluff (1968), was the closest that an Eastwood film
came to resurrecting ‘The Man with No Name’. The story was originally written by
Budd Boetticher with Robert Mitchum in mind; Boetticher was a director already
noted for The Tall T (1957), Ride Lonesome (1959) and Comanche Station (1960). But
the script was transformed by Albert Maltz into something that closely resembled a
Leone western, made on a $4 million budget and shot on location in Mexico in 65 days
with a predominantly Mexican crew. Ennio Morricone even supplied the score.
Elizabeth Taylor had shown Eastwood the Two Mules script during the making
of Where Eagles Dare in London in 1969. Taylor planned to star as nun Sister Sara,
with the production lensed in Spain. But Taylor bowed out and Shirley MacLaine
was cast instead as feisty Sara. Eastwood received second-billing as Hogan (named
Lucy in Boetticher’s story); in Italy, Eastwood received top-billing in the retitled ver-
sion Gli Avvoltoi hanno Fame (‘The Vultures Are Hungry’). Following the American
Civil War, Hogan is drifting south through Mexico towards Chihuahua to meet up
with Juarista revolutionaries fighting the French. On the way, he saves Sara from
three drunken bandits and she tags along with him and reveals that she’s wanted by
the French for collecting funds for the revolutionaries. Mercenary Hogan plans to
dynamite the French Treasury at Chihuahua, which has a heavily armed garrison,
for a fortune in gold and agrees to take Sara with him. Sara knows that the garrison
will be drunk on 14 July, celebrating Bastille Day. At the railway depot at San Tevo,
they discover an armaments train is due to reinforce the French. Although Hogan
is wounded by an arrow in his shoulder during a Yaqui Indian ambush, he and Sara
manage to blow up a trestle bridge with dynamite, obliterating the train. They con-
tact Juaristas in the El Gato Negro cantina in Santa Maria and hook up with Colonel
Beltran (Manolo Fabregas) and his rebel forces in the hills. But the train attack has
alerted the garrison and on the 14th no one is drunk. During a night-time assault on
the stronghold, orchestrated through a tunnel from the former Bishop’s residence,
now a ‘cathouse’ (whose employees seem to know Sara very well), the Juaristas and
Hogan overrun the French and take the treasury.
The action-packed story is set during the French Intervention (1862–67), also
the locale for Vera Cruz (1954), Major Dundee (1965), The Undefeated (1969) and

HoHugh_001-042.indd 21 6/24/2009 3:14:05 AM

 22 Aim for the Heart

Adios Sabata (1970), though the weaponry on display, including Colt Peacemakers
and Winchesters, is too early for the period. Siegel placed Eastwood’s gunslinger in
the middle of some pyrotechnic action sequences. Hogan demolishes a bridge and
fights for ‘the cause’, participating in the Juarista assault on Chihuahua’s 200-strong
garrison and artillery. Hogan is in the thick of the action, lighting sticks of dynamite
with his cigar, commandeering a Gatling gun and surviving a French bayonet-charge.
Trailers called Eastwood a ‘one-man suicide squad’ and ‘Mister Action himself ... a
hero for hire’. The blown up supply train and trestle bridge were created, highly con-
vincingly, in miniature by the Mexican special effects crew, while the rebels’ attack
on Chihuahua commenced with an explosive piñata (usually filled with sweets and
treats). Buddy Van Horn, Eastwood’s regular stunt double from Coogan’s Bluff (1968)
onwards, supervised the finale’s elaborate stunts. Unsurprisingly, Boetticher, who’d
conceived the project as a realistic, low-key story, wasn’t very impressed with the spa-
ghetti western-style results, calling it ‘another Eastwood thing’.
The fi lm’s main point of interest is the attempt to cast Eastwood’s lonesome ‘Man
with No Name’ opposite a strong female lead – and they don’t come much stronger
than Shirley MacLaine. A rewrite re-nationalised her from Mexican to Anglo, as
MacLaine is fair-skinned and redheaded. The audience knows Sara isn’t a nun almost
immediately. On the trail she exhibits several bad habits behind Hogan’s back: swig-
ging whiskey, swearing and smoking cigar dog-ends. The Hollywood Reporter cru-
elly commented on the obvious plot ending: ‘The only one who was surprised when
[Sara] became a hooker was Clint Eastwood’. For the demolition of the bridge scene,
wounded Hogan gets drunk and slurs a bawdy ballad, while Sara removes the Yaqui
arrow from his shoulder. Eastwood maintained that this was the best scene he’d ever
played. But Time wrote of his performance that he ‘looks grizzled, stares into the
sun and sneers, but anything more demanding seems beyond his grasp’. Throughout
their journey Eastwood rides a horse, while Sara wobbles along behind on a mule
(a horse-donkey hybrid) and later a burro (a thoroughbred donkey); MacLaine had
trouble staying on the mule, so the burro was written into the story. The fi lm’s run-
ning joke is that Hogan is as stubborn as her mule (she christens him ‘Mr Mule’) and
thinks he’s in control, while Sara craftily always gets her own way. But according to
Boetticher, Martin Rackin, the fi lm’s producer, admitted in interviews of not know-
ing ‘who the second mule was’.
Two Mules for Sister Sara is one of Eastwood’s best post-Leone westerns. The
comedy is well played by the two co-stars and Gabriel Figueroa’s Panavision pho-
tography of a crumbling, unforgiving Mexico ensured it looked splendid. The fi lm
was shot around Cuautla and Jantetelco in Morelos from February 1969. The fort
and the surrounding settlement of Chihuahua were constructed from scratch in six
months. The ruins at Pantitlan and Cauixtla also appeared in the fi lm. Two Mules
has a special place in Eastwood’s post-Leone western fi lmography as it boasts a
Morricone score – not an imitation of a Morricone score, as most of his other non-
Italian westerns did – as part of the Clint Eastwood-spaghetti western ‘brand’. The

HoHugh_001-042.indd 22 6/24/2009 3:14:05 AM

 Part One: The Westerns 23

1.6 Wounded Hogan uses Sister Sara as a tripod for target practice; Clint Eastwood and
Shirley MacLaine on location in Mexico for Two Mules for Sister Sara (1970). Author’s
collection.

HoHugh_001-042.indd 23 6/24/2009 3:14:05 AM

 24 Aim for the Heart

main theme, as Eastwood rides out of a burnished orange Mexican dawn, crossing
the plains and fording a river, opens the fi lm in fi ne style. Morricone orchestrates
flute trills, honking ‘mule brays’ and angelic incantations (intoning ‘Lead Us Not
into Temptation’ sung in Italian), backed by a very unusual off-kilter guitar and
strings arrangement. This opening scene was actually shot in two weeks by second
unit director Joe Cavalier, with Eastwood and a menagerie of desert and moun-
tain wildlife, including an owl, fish, jackrabbits, snakes, a cougar and a tarantula.
Hogan’s horse crushes the spider with one of its hooves, the second time Eastwood
had exterminated an arachnid onscreen. Morricone also deployed delicate Spanish
guitars on the moving ‘A Time for Miracles’, echoing strings and juddering Flamenco
guitars on ‘La Cueva’ (‘The Cave’ – used for the trek to Beltran’s mountain HQ);
there’s even a Mariachi Deguello for the fi ring squad scene at San Tevo. Two Mules’s
great score, recorded in Rome by Morricone and his Italian orchestra, is one of the
fi lm’s plusses.
There are also several typically spaghetti western moments, with Sara’s rescue the
best example. Hogan shoots two of her attackers, but the third (Armando Silvestre)
takes her hostage. Hogan lights a stick of dynamite and tosses it from cover behind
a rock. It lands at the bandit’s feet and he panics and runs, whereupon Hogan coolly
shoots him in the back. Hogan saunters down, cuts the fuse and then proceeds to loot
the corpses. This is comic book western action, stylised and implausible, and Maltz’s
script strives for pseudo-religious significance. Sara’s beliefs dictate that the Lord will
provide on her journey. Hogan indicates to the corpses: ‘Three more like them?’; ‘He
also provided you’, she smiles. Hogan looks just like Leone’s hero, in waistcoat, hat
and neckerchief – he even dons a poncho disguise to spy on the Chihuahua garrison.
But it is Sara who wins their battle of wits and in the final scene, Hogan sullenly leads

1.7 ‘Sierra Torride’: Spanish poster for Two Mules for Sister Sara retitles the film Torrid
Sierra. Poster courtesy Ian Caunce Collection.

HoHugh_001-042.indd 24 6/24/2009 3:14:06 AM

 Part One: The Westerns 25

his packhorse, now loaded with hat boxes and luggage, into the desert, followed by
Sara in a gaudy, low-cut red dress, hat and feathers, under a parasol and still riding
her mule. Like Eastwood’s bounty hunters, Sara has got her man.
In the US, the fi lm was released on 16 June 1970, rated ‘M’ (later re-rated ‘PG’)
and took $5 million. It was even more successful worldwide; in the UK, it was
distributed by Rank, rated ‘A’. Posters concentrated on Eastwood’s stranger and
the Sergio Leone connection, with the tagline: ‘The deadliest man alive faces a
whole army with 2 guns and a fistful of dynamite!’ Women’s Wear Daily thought
of Siegel’s fi lm, ‘Eastwood acts with greater naturalness than he has in the past’,
Variety said that the stars ‘don’t generate any chemistry’, while the New York Times
praised their efforts: ‘I’m not sure it’s a great movie, but it is very good and it stays
and grows in the mind the way only movies of exciting narrative intelligence do’.
Whatever the critics’ opinions, for once they couldn’t argue that Eastwood’s acting
was second to nun.

Joe Kidd (1972)

Following Dirty Harry (1971), his biggest box office hit to date, Eastwood’s next west-
ern was Joe Kidd – with him playing the title role. It was directed by John Sturges, who
had made several great westerns, including Bad Day at Black Rock (1955), Gunfight at
the O.K. Corral (1957), The Magnificent Seven (1960) and Hour of the Gun (1967). Joe
Kidd didn’t join that illustrious list.
The fi lm opens with Kidd, an ex-bounty hunter and tracker, languishing in the
Sinola jail for poaching on reservation land, disorderly conduct and resisting arrest.
Offered a choice between a $10 fine and 10 days in jail, he has taken the latter but is put
to work with a broom – literally cleaning up the town. A group of Mexican farmers led
by sheepherder Luis Chama (John Saxon) arrives in Sinola. They have been locked in
a two-year legal battle with gringo land barons and before escaping proceeds to burn
the land deeds at the County Court House. Sheriff Bob Mitchell (Gregory Walcott)
leads a posse in pursuit but fails to catch them and Chama becomes a wanted man.
Soon afterwards land baron Frank Harlan (Robert Duvall) steps off the train with
his ‘associates’, Lamarr Sims (Don Stroud), Olin Mingo (James Wainwright) and Roy
Gannon (Paul Koslo), professional hunters and crack shots, armed with the latest
weaponry – high-powered, long-range rifles with telescopic sights. They try to per-
suade Kidd to scout for them, in a manhunt for Chama; Kidd initially refuses but
accepts when his farm is raided by Chama, his horses run off and his foreman Emilio
trussed up with barbed wire. Kidd and the hunters head into the sierras, capture
Chama’s lover, Helen Sanchez (Stella Garcia), and hole up in Arroyo Blanco, Chama’s
home town. Harlan threatens to execute the local peons if Chama doesn’t surrender.
Kidd sides with the Mexicans, saves Helen and persuades Chama to return to Sinola
to face trial. Back in town, Harlan and the manhunters lie in wait, but Kidd busts the
ambush by driving a train though a drugstore, the Cattlemen’s Association and into
the appropriately named ‘Railroad Saloon’. In a shootout Harlan is killed and the

HoHugh_001-042.indd 25 6/24/2009 3:14:07 AM

 INDEX

Film titles in bold type denote a section devoted to the fi lm; page numbers in bold denote an
illustration. TV = TV series; doc. = documentary.

10 128 Balsam, Martin xxvii

12 Angry Men 18 Bandolero! 15
Barnes, Walter 117, 122, 219, 222, 223
Absolute Power 147, 151, 153, 165, 178–180, Barron, Baynes xxii
187, 212, 230 Barton, Dee 28, 37, 104, 105
Adams, Bryan 130, 228 Barton, James 94
Adderley, Julian ‘Cannonball’ 104, 218 Baruchel, Jay 156, 233
Adios Sabata 22 Baseheart, Richard xxix
Adler, Steven 76 Battyn, Skip 48, 217
African Queen, The 143, 144, 146 Beach, Adam 205, 233
Agar, John xix, xx Beatles, The 3
Age-Scarpelli 12 Begley, Ed xxx, 16, 18, 216
Agony and the Ecstasy, The 89 Beguiled, The xiii, xvi, xvii, 27, 50, 68,
Alessandroni, Alessandro 7 95–101, 97, 99, 106, 185, 197, 206, 211, 212,
Alexander, Dick 142 213, 218
Alexander, Jane 72, 74, 225 Bell, Jaime 205, 233
All the President’s Men 178 Benjamin, Paul 175, 222, 228
Almeida, Laurindo 40 Benjamin, Richard 72, 225
Almost a Woman 185 Berendt, John 147–148, 237
Amazing Stories (TV) episode: Vanessa in the Bergman, Alan 107
Garden 66 Bergman, Marilyn 107
Ambush at Cimarron Pass xxii–xxiv, xxiii, Beronsini, Bobby 118, 128
xxv, 215 Bible, The 89
Anders, Luana xxix Bierce, Ambrose 99
Anderson, Gordon 32, 119 Big Country, The 3
Andrews, Julie 74, 92 Big Silence, The 26, 35
Anthony, Tony 7 Big Valley, The (TV) xxxi
Any Which Way You Can xvi, 125–128, Billy Elliot 205
126, 196, 198, 212, 233 Bird xvi, 129, 135, 136, 138–143, 140, 214, 227
Apocalypse Now 200 Black Scorpion, The 67
Apollo 13 153 Blazing Saddles 74
Arachnophobia 184 Blood Work xvi, 152, 154, 165, 183–187, 232
Arlen, Harold 74 Bloom, Claire 96
Armstrong, Alun 143, 228 Bloom, Verna 28, 136–137, 219, 224
Arness, James xxi Blossom, Roberts 175, 222
Arnold, Jack xix–xx, 215 Blues Brothers, The 117
Asman, Bub 207 Blues, The (TV) 142
A-Team, The (TV) 202 Bob Roberts 153
Autumn Child (see – Reflection of Fear) Boetticher, Budd 21–22
Away all Boats xx, 215 Bogart, Humphrey 73, 144
Bolognini, Mauro 89
Babcock, Barbara 150, 231 Bonanza (TV) xxxi
Bacall, Lauren 144 Bonnie and Clyde 85, 166, 168
Bach, Catherine 96, 167, 220 Bookwalter, DeVeren 59, 68, 221
Bacon, Irving xxii Boone, Richard xxi
Bacon, Kevin 152–153, 232 Bottoms, Sam 32, 121–122, 221, 223
Bad Company 167 Boy’s Don’t Cry 157
Bad Day at Black Rock 25 Boys from the Black Stuff (TV) 181
Baldacci, David 168 Boysen, Martin 172

HoHugh_241-252.indd 241 6/24/2009 3:38:29 AM

 242 Aim for the Heart

Bradford, Jesse 203, 205, 233 Carabatsos, James 200, 202

Bradley, James 203, 205, 233 Cardiff, Jack 144
Bradley, John ‘Doc’ 203, 205, 233, Carfagno, Edward 137, 141
Brady, Mathew 98 Carley, Christopher 211, 235
Brady, Scott xxii–xxiv, xxiii Carlile, Clancy 35, 135, 137
Braga, Sonia 78, 228 Carlin, John 212
Brando, Marlon xiii, 172 Carlito’s Way 153
Breakfast at Tiffany’s 3 Carmel, Roger C. 106, 219
Breezy xvi, 53, 57, 105–108, 136, 166, 219 Carmichael, Hoagy 149
Brega, Mario 12, 215, 216 Carrey, Jim 76, 130, 226, 228
Brennan, Walter xxvi Carroll, Leo G. xx
Brent, Eve 48, 217 Carter, Forrest 31, 33, 35
Brickman, Paul 181 Cartwright, Alan 122
Bridges of Madison County, The xiii, xvi, Cash, Johnny 84
108–113, 110, 147, 149, 157, 178, 212, 214, Casino Royale 161
230 Cassidy, Jack 172, 202
Bridges, James 144 Casualties of War 83, 206
Bridges, Jeff 165–166, 169, 170, 220 Cattle Empire xxvi
Bridges, Lloyd 166 Cavanaugh, Michael 59, 127, 221, 223
Bridges, Penny Bae 181, 231 Chan, Jackie 128
Brinegar, Paul xxvi, xxviii, xxx, 4, 219 Chandler, Jeff xx
Bring it On 205 Chandler, John Davis 34, 66, 221
Bronco Billy 8, 121–125, 129, 136, 137, 174, Changeling 209–210, 234
214, 223 Channing, Carol xxi–xxii
Bronson, Charles xxxi, 3, 8, 16, 61, 69 Chaplin, Charlie 209
Broyles Jnr., William 203 Charles, Ray 125
Bruce, J. Campbell 175 Charlie Varrick 48
Buchanan, Edgar xxv Charlie’s Angels (TV) 48
Buckskin 36 Cheap Detective, The 74
Bujold, Genevieve 70, 225 Chernus, Sonia 31
Bull Durham 153 Cheyenne (TV) xxvi, xxxi
Bullit 51, 52, 76 Chinatown 146
Bumstead, Henry 28, 39, 205 Chuma, Boy Mathias 143–144, 228
Burrus, Tim 59, 221 Cimino, Michael 53, 165–166, 168, 170, 220
Burton, Richard 191, 193, 217 City Heat 36, 72–75, 73, 131, 139, 202, 225
Burton, Willie D. 142 Clark, Ben 172
Butch Cassidy and the Sundance Kid 166, Clark, Matt 32, 136, 218, 221, 224
178 Clark, Susan 45, 48, 216
Butler, Michael 35, 63 Clarke, Warren 198, 223
Byrd, Emry 142 Clarkson, Patricia 75–76, 226
Cleare, John 172
Caan, James 50 Clift, Montgomery xxvi
Cagney and Lacey (TV) 59 Cobb, Lee J. 45, 48, 216
Cagney, James 45, 72, 73, 182 Coburn, James 3
Cahn, Sammy 202 Code of Silence 69
Calhoun, Rory 3 Colley, Kenneth 198, 224
Calvo, Pepe 5, 215 Colter, Mike 156, 223
Camille 138 Comanche Station 21
Campbell, Glen 127–128, 223 Connelly, Michael 152, 183–184, 186
Canby, Vincent 49, 178 Conti , Devon 209, 234
Cannonball Adderley Quintet, The 104, Convoy 117
218 Coogan’s Bluff xvi, 21, 22, 26, 45–49, 47,
Cannonball Run, The 117, 128 63, 83, 89, 101, 127, 191, 216
Cannonball Run II 120, 128 Cooper, Gary 3, 19, 27, 193
Cara, Irene 72, 74–75, 225 Coote, Robert xxix

HoHugh_241-252.indd 242 6/24/2009 3:38:29 AM

 Index 243

Copeland, Jodie xxii–xxiv, 215 Dillinger 165

Corday, Mara xx, 67, 130, 221, 224, 228 Dillman, Bradford 58–59, 66, 221, 224
Corley, Annie 108, 110, 230 Dion, Celine 130
Corman, Roger 102 Dirty Dozen, The 191, 196
Costner, Kevin 84–85, 229 Dirty Harry xiii, xvi, 25, 32, 45, 49–53, 50,
Cox, Joel 42, 158, 205 54, 55, 56, 57, 58, 59, 60, 62, 64, 66, 68, 69,
Crash 161, 205 70, 74, 75, 76, 77, 78, 79, 81, 89, 105, 123,
Creature from the Black Lagoon xix 127, 131, 136, 172, 176, 185, 202, 209, 212,
Crist, Judith 30, 65, 99, 196 214, 218
Crofford, Cliff 120, 127 Dobrofsky, Neal 122
Cromwell, James 130, 150, 228, 231 Domino, Fats 127–128, 223
Crothers, Scatman 121, 223 Donahue, Troy xxvii
Cruel Intentions 205 Donati, Sergio 8, 12
Cujo 77 Donner, Robert xxix, 219
Cullinan, Thomas xvii, 95, 97 Donovan, Jeffrey 209–210, 234
Cullum, Jaime 211 Dorff, Steve 120, 124, 128, 130, 137
Culpepper Cattle Company, The 167 Doyle, David 48, 217
Curley, Jim 80, 229 Drake, Paul 66, 68, 224
Currie, Michael 76, 223–224, 226 Dresner, Hal 173
Curtis, Billy 27, 219 Dufour, Val xxvii
Cusack, John 147–148, 230 Dukes of Hazzard, The (TV) 117,
167
D’Angelo, Beverly 118, 222 Dumb and Dumber 184
Dalton, Abby xxv Durrill, John 128
Daly, Tyne 58–59, 221 Duryea, Dan xxx
Daniels, Jeff 184, 232 Dusay, Marj 106, 219
Dano, Royal 32, 221 Duvall, Robert 25–27, 219
Das Boot 79 Dykstra, John 198
David, Thayer 171, 220 Dysart, Richard 35–36, 226
Davidson, Diana 51, 219 Dzundza, George 143–144, 228
Davis Jnr, Sammy 128
Davis, Judy 178, 230 Earle 106, 220
Davis, Miles 140 Eastwood (nee Ruiz), Dina 112, 131–132,
Day of the Jackal, The 81, 82 157, 182, 185,
De Haven, Penny 124 Eastwood, Alison 70–71, 123, 148, 180, 223,
De Jesus, Wanda 183, 185–186, 232 225, 230
De Laurentiis, Dino 89, 216 Eastwood, Clinton Snr xix
De Niro, Robert 170 Eastwood, Jeanne xix
De Sica, Vittorio 19, 89, 216 Eastwood, Kimber 180, 230
Dead Man Walking 153 Eastwood, Kyle 106, 110, 123, 135–136, 160,
Dead Pool, The 75–78, 129, 138, 226 206, 212, 220, 221, 223, 224, 230
Dean, James xiii, xxvii, 49 Eastwood, Margaret ‘Maggie’ (nee
Dean, Margia xxii, xxiii, xxiv Johnson) xix, xxiv, 65, 201
Death Valley Days (TV) xxv Eastwood, Morgan Colette 157, 210, 233,
Death Wish 35, 61, 68 234
Deer Hunter, The 170 Eastwood, Ruth xix, 42
Dehart, Wayne 84, 230 Easy Rider 168
Deliverance 167 Ebert, Roger 112
Delon, Alain 171 Edwards, Blake 72
Dern, Bruce 18, 216 Egger, Josef 5, 215
Dern, Laura 84–85, 229 Eiger Sanction, The 165, 167, 170–174, 173,
Devane, William 150, 231 187, 200, 220
Deveau, Chablis 147–148, 230 El Condor 28
Dexter, Alan 94, 217 El Dorado 26
Diddley, Bo 184 El Gringhero 15

HoHugh_241-252.indd 243 6/24/2009 3:38:30 AM

 244 Aim for the Heart

El Maladetto Gringo 15 Forman, Bruce 160

Ellroy, James 183 Francis in the Navy xix, 215
Enforcer, The 58–62, 60, 66, 75, 78, 117, 127, Frasier (TV) 81
175, 176, 177, 185, 186, 211, 221 Frazetta, Frank 65
Enter the Dragon 76 Freeman, Leonard 16, 216
Escapade in Japan xxii, 215 Freeman, Morgan 38–39, 156–158, 157, 160,
Escape from Alcatraz 8, 32, 121, 139, 165, 212, 228, 233
174–178, 176, 177, 222 French Connection, The 28
Escrow, John 129 French, Philip 207
Evening Like the Others, An (episode in The Fresholtz, Les 142
Witches) 89, 91, 216 Friday the 13th 76
Everly, Phil 120, 222 Frontiere, Dominic 19
Every Which Way But Loose 64, 117–121,
118, 122, 124, 125, 126, 127, 128, 174, 212, Gagnon, Rene 203, 205, 233
222 Garcia, Stella 25, 219
Exorcist, The 76, 121 Gardner, Alexander 98
Garner, Erroll 101, 104
Fabregas, Manolo 21, 217 Garner, James xxv, xxxi, 150, 231
Faddis, Jon 64 Garrett, Snuff 120, 124, 128, 137
Fahey, Jeff 143–144, 228 Gauntlet, The xvi, xx, 46, 62–65, 64, 66, 67,
Fall Guy, The (TV) 117 78, 117, 119, 127, 129, 180, 221
Fame 74 Gazzo, Michael V. 68, 225
Feore , Colm 210, 234 George, Chief Dan 32, 221
Ferdin, Pamela 95–96, 218 Gerstle, Frank xxii, xxiv
Field, Betty 48 Giant Claw, The 67
Fielding, Jerry 59, 64, 142, 176 Gibson, Don 84
Figueroa, Gabriel 22 Gilkyson, Terry xxi
Fincher, David 52 Gillette, Paul J. 102
Fink, Harry Julian 49–50 Giuffre, Aldo 12, 216
Fink, Rita 49–50 Glenn, Scott 178, 180, 230
Firefox 135, 151, 196–200, 199, 223 Godfather, The 154, 155, 184
First Travelling Saleslady, The xxi–xxii, 123, Godfather Part II, The 68, 170
215 Going Ape! 125
Fischer, Bruce M. 32, 175, 221, 222, 225 Gold Diggers of 1933 72
Fishburne, Laurence 152–153, 232 Gold, Bill 52, 57
Fisher, Frances 38–39, 130, 182, 228, 229, Goldberg, Mel 16
231 Goldman, William 178, 180
Fisher-Eastwood, Francesca 182, 231 Goldsmith, Clio 74
Fistful of Dollars, A xiv, xvi, xxv, xxix, 3–8, Golonka, Arlene 18
9, 10, 26, 28, 40, 78, 89, 91, 127, 206, 211, Gone With the Wind 18, 149
215 Good, the Bad & the Ugly, The xiii, xiv, xvi,
Fitzgerald, F. Scott 142 3, 10–16, 13, 32, 34, 89, 91, 98, 119, 131,
Flack, Roberta 69, 104–105, 107 153, 174, 212, 216
Flags of Our Fathers 202–207, 204, 210, 233 Goodwin, Michael 76, 226
Flatliners 153 Goodwin, Ron 193
Fleming, Eric xxvi, xxviii, xxx Gordon, Rita 94
Flint, Shelby 107 Gordon, Ruth 118, 120, 125, 222, 223
Flynn, Errol 172 Gran Torino 160, 210–212, 214, 235
Fonda, Henry 3, 8, 19, 117 Grapes of Wrath, The 138
Fonda, Peter 128 Graysmith, Robert 52
Footloose 153 Great Escape, The 193
For a Few Dollars More xiii, xiv, 3, 4, 8–10, Green Berets 201
11, 12, 19, 28, 89, 90, 131, 212, 215 Green, Jack N. 39, 84, 110, 142, 146,
Ford, John 18, 34, 111, 122, 138, 172 153, 185
Forester, C.S. 144 Griffin, Jennifer 84

HoHugh_241-252.indd 244 6/24/2009 3:38:30 AM

 Index 245

Griffith, Gattlin 209, 234 Hell Bent for Glory (see Lafayette Escadrille)
Grimaldi, Alberto 12 Hell’s Hinges 27, 28, 138
Gross, Larry 181 Hemingway, Margaux 68
Guardino, Harry 50, 59, 125, 127, 218, 221, Hemingway, Mariel 68
223 Hepburn, Katherine 144, 146
Guarino, Ann 104 Her, Ahney 211, 235
Guérif, François 138 Hern, Pepe 26, 219
Guiry, Thomas 152, 232 Hickman, Gail Morgan 58
Gun Law (TV – see Gunsmoke) Hidden Fortress, The 206
Gunfight at the O.K. Corral 25 High Chaparral, The (TV) xxx, xxxi
Guns ‘n’ Roses 76, 149, 227 High Noon xxi, xxvi, 19, 27, 166, 182
Gunsmoke (TV) xxvi, xxxi High Plains Drifter 27–31, 29, 35, 37, 39, 41,
53, 56, 96, 105, 106, 108, 131, 137, 138, 167,
Hackin, Denis E. 122, 200 186, 219
Hackman, Gene 38–39, 42, 77, 178–179, Highway Patrol (TV) xxv
228, 230 Hill, Bernard 181, 231
Haggard, Merle 124, 223 Hill, Marianna 28, 96, 219
Haggis, Paul 155–156, 158, 160, 161, 203, Hill, William 211, 235
205 Hingle, Pat 16, 18, 48, 64, 66, 216, 221, 224
Hall, Irma P. 148, 230 Hipp, Paul 148, 230
Halloween 76 Holbrook, Hal 42, 53, 56, 66, 220
Hamilton, Lisa Gay 181, 231 Holden, Scott 106, 220
Hancock, John Lee 84, 147 Holden, William 105–107, 219
Hang ’Em High 16–21, 17, 20, 27, 45, 48, 53, Holder, Mitch 151
64, 78, 89, 138, 170, 174, 191, 216 Hollier, Jill 202
Hankin, Larry 175, 222 Honkytonk Man 35, 66, 135–138, 139, 185,
Harden, Marcia Gay 150, 152–153, 155, 231, 211, 224
232 Hoover, Mike 172
Hardin, Melora 178, 230 Hopkins, Linda 136, 224
Harner, Jason Butler 210, 234 Hopper, Deborah 205
Harold and Maude 118 Hopper, Dennis 18, 216
Harris, Ed 179, 230 Horse Feathers 72
Harris, Jo Ann 68, 95–96, 99, 106, 218 Hotchkis, Joan 106, 219
Harris, Richard 38–39, 228 Hotel Satan 75, 76
Harrison, Richard 3 Hour of the Gun 25
Hart, William S. 27–28 How the West Was Won 12
Hartman, Dane 62 Hudson, Rock xx
Hartman, Elizabeth 95–96, 100, 218 Huston, Anjelica 109, 132, 185
Hartman, Johnny 112 Huston, John xvi, 143–147
Haston, Dougal 172 Hutton, Brian G. 191, 194, 217, 218
Have Gun Will Travel (TV) xxxi
Hawks, Howard xxvi, 111 I Know What You Did Last Summer 205
Hawkshaw, Alan 37 I Spit on Your Grave 68
Hawthorne, Nigel 198, 224 Ibbetson, Arthur 193
Haynie, Jim 109, 222, 230 In the Line of Fire 79–83, 82, 84, 85, 139,
Haysbert, Dennis 178, 230 160, 179, 180, 185, 186, 210, 212, 229
Hayward, Susan 65 Indiana Jones and the Last Crusade 130
Hearst, Patty 59 Ipcress File, The 171
Heart is a Lonely Hunter, The 32 Ireland, John xxvii, xxix
Heartbreak Ridge 75, 200–202, 205, 211, Isaak, Chris 84
226 It’s Alive III 77
Heaven’s Gate 170 Ito, Bernard 52
Hedaya, Dan 70, 225
Heims, Jo 102, 105, 108 James Rivers Band, The 110, 230
Helgeland, Brian 152, 183 James, Anthony 27, 39, 219, 229

HoHugh_241-252.indd 245 6/24/2009 3:38:30 AM

 246 Aim for the Heart

Jarreau, Al 74 Kronsberg, Jeremy Joe 117–118, 120, 125,

Jenson, Roy 64, 119, 127, 128, 217, 220, 222, 222
223, 224 Krup, Mara 90, 215
Jerk, The 129 Kue, Choua 211, 235
JFK 153 Kuribayashi, Tadamichi 203–204, 206, 234
Joe Kidd 25–27, 48, 53, 174, 219 Kurosawa, Akira 3–4, 206
Johannson, David 211
Johnny Otis Show, The 104, 218 L.A. Confidential 148, 183, 209
Johnson, Arch xxix Lacey, Ronald 198, 223
Johnson, Ben 16, 18, 216 Ladd, Alan 3, 49
Johnson, Melodie 48, 217 Lady Godiva of Coventry (see Lady Godiva)
Johnson, Tommy 40 Lady Godiva xix–xx, 215
Johnstone, Iain 131, 138 Lafayette Escadrille xxii, 215
Jolie, Angelina 209–210, 234 LaGravenese, Richard 109
Jolly, Pete 75 Laine, Frankie xxvi
Jones, Freddie 196, 223 Laird, Jack 45
Jones, Jo 141 Lake, Veronica 68
Jones, L.Q. xxx, 18, 216 Lang, Jennings 110
Jones, Tommy Lee 150, 231 lang, k. d. 149
Julia, Raul 78, 228 Lang, Mike 75
Larch, John 50, 101, 218
Kael, Pauline 38, 53, 57, 59, 77, 142 Last of the Blue Devils, The (doc.) 142
Kahn, Madeline 72, 74, 225, 227 Last Picture Show, The 138, 167
Kamp, Irene 96 Last Samurai, The 203
Kaufman, Ken 149 Laura 105
Kaufman, Phil 31–32 Law, Jude 147–148, 230
Kaufman, Stanley 180 Lawman (TV) xxxi
Keams, Geraldine 31–32, 221 Lawrence of Arabia 9
Keaton, Buster 209 Laws, Eloise 74
Kelly, Jack xxv Lawson, Linda xxv
Kelly, Michael 210, 234 Leary, Denis 181, 231
Kelly’s Heroes 32, 64, 89, 95, 131, 150, Lee, Ruta xxix
194–196, 195, 197, 211, 218 Lee, Spike 207
Kenin, Alexa 135–136, 224 Legrand, Michel 107
Kennedy Martin, Troy 194 Lehane, Dennis 152, 154
Kennedy, Burt 144 Leno, Jay 151, 231
Kennedy, George 165, 167, 171, 220 Lenz, Kay 105–108, 219
Kenton, Stan 104, 142 Leonard, Elmore 26
Kentucky Fried Movie, The 76 Leone, Sergio 3–16, 18, 21, 22, 24–25, 27,
Kibbee, Roland 45 30–32, 34, 41, 74, 98, 154, 194, 215, 216
Kiel, Richard 37, 226 Lerner, Alan Jay 91–92, 217
Kim, Evan C. 75–76, 226 Lesser, Len 32, 221, 218
Kirshner, Irvin 49 Lethal Weapon 78, 130
Klar, Gary 129, 227 Lethal Weapon 3 81
Klausner, Howard 149 Letters from Iwo Jima xvi, 202–207, 214,
Klavan, Andrew 180 234
Knots Landing (TV) 150 Lewis, Geoffrey 27, 117–118, 121, 125, 130,
Knowles, David 172 148, 165, 167, 219–220, 222–223, 227, 230
Knox, Mickey 12 Life and Legend of Wyatt Earp, The
Koch, Marianne 5, 215 (TV) xxvi, xxxi
Koehler, Ted 74 Lifford, Tina 184–185, 232
Koslo, Paul 25, 219 Lindfors, Viveca xxix
Krall, Diana 183 Linney, Laura 152–153, 179–180, 230, 232
Kramer vs. Kramer 109 Lipstick 68

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 Index 247

List of Adrian Messenger, The 144 Maverick (TV) xxv–xxvi, xxxi, 150
Lo Bianco, Tony 72, 74, 225 Maverick episode: ‘Duel at Sundown’
Locke, Sondra 31, 32, 62–66, 64, 68, 74, 76, xxv–xxvi
100, 106, 117–122, 125, 129–130, 136, 144, Mayer, Ken xxii
221, 222, 223, 224 McCarthy, Todd 149
Loewe, Frederick 91 McCormack, Mary 181, 231
Logan, Joshua 92, 217 McCrea, Joel xxvi
London, Dirk xxii, xxiv McCubbin, Russ 28, 219, 224
Losey, Joseph 100 McDermott, Dylan 80–81, 229
Lowther, TJ 84, 229 McEachin, James 118, 218, 222, 224
Lubin, Arthur xix, xxi, xxii, xxv, 215 McGee, Howard 140
Lucas, George 151, 198 McGee, Vonetta 172, 220
Lucero, Mason 184, 232 McGill, Everett 200, 226
Lynch, John Carroll 211, 235 McGoohan, Patrick 174–175, 222
McGrath, Doug 32, 122, 221, 223, 226
M*A*S*H 196 McGraw, Charles 18, 216
Mabukane, David 144 McIntire, John 135, 136, 224
Mack, Tom 95 McKagan, Duff Rose 76
Mackenna’s Gold 16 McKean, Mike 181
Mackie, Anthony 157, 223 McKinney, Bill 31, 64, 119, 121–122, 127,
MacLaine, Shirley xxi, 21–24, 23, 128, 217 130, 167, 220, 221, 222, 223, 227
MacLean, Alistair 191, 193 McPherson, Charles 142
Madigan 48 McQueen, Steve xxxi, 49, 171
Magnificent Seven, The 3, 12, 25 Mercer, Johnny 149
Magnifico Straniero, Il 15 Mercer, Mae 50, 96, 218, 219
Magnum Force xiv, xvi, 42, 46, 53–58, 55, Merrick, John xxii
59, 66, 77, 96, 108, 165, 166, 170, 176, 220 Midnight in the Garden of Good and
Maguire, Jeff 79 Evil 135, 147–149, 180, 186, 230
Mahoney, John 81, 229 Mifune, Toshiro 5
Maier, John xxii Mike Curb Congregation, The 196
Mailer, Norman 138 Milius, John 50, 53, 165
Major Dundee 21 Millard, Joe 15
Maledon, George 18 Miller, Herman 45
Malkovich, John 81, 210, 229, 234 Million Dollar Baby xiii, xvi, 109, 135,
Maltz, Albert 21, 24, 96 155–161, 157, 159, 185, 202, 210, 211, 212,
Mamas and the Papas, The 196 214, 233
Man Called Horse, A 39 Mills, Donna 96, 101, 218
Man from Shiloh, The (TV – see The Virgin- Milsap, Ronnie 124
ian) Mission: Impossible (TV) 51
Mancini, Henry 149 Mitchum, John 32, 50, 56, 59, 95, 217, 219,
Mandela, Nelson 212 220, 221
Manes, Fritz 36, 63, 70, 117, 201, 221, 222, Mitchum, Robert 21, 29, 59
224, 225, 226 Monk, Thelonius 142
Mangano, Silvana 89, 216 Montenegro, Hugo 15, 19
Manis 118, 118–119, 127, 222 Monterey Jazz Festival: 40 Legendary Years
Mantle, Clive 144, 228 (doc.) 142
Marshall, E.G. 178, 230 Moonraker 37
Martin, Dean 128 Moore, Roger 128
Martin, Steve 129 Moore, Terry xxvii
Martinez, Joaquin 26, 219 Moreau, Jeanne 96
Marvin, Lee 8, 91–94, 93, 175, 217 Morgan, Susan 172, 220
Maslin, Janet 147 Moriarty, Michael 35–36, 226
Mason, Marsha 74, 200, 201, 226 Morricone, Ennio 7, 10, 14–15, 19, 21–22,
Matheson, Tim 56, 220 24, 28, 83, 91, 195, 206

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 248 Aim for the Heart

Morris, Frank Lee 174–177, 187, 222 Pacino, Al 42, 153

Morris, Jeff 64, 218, 221 Page, Geraldine 95–96, 218
Morsella, Fulvio 8 Paget, Debra xxix
Moua, Doua 211, 235 Paint Your Wagon 32, 59, 64, 91–95, 93,
Mulock, Al 12, 216 197, 217
Murdock, James xxvi Palance, Jack 37, 127
Murphy, Audie 50 Pale Rider 32, 35–38, 39, 75, 138, 186, 200,
Murphy, Eddie 69 202, 226
Murphy, Warren B. 173 Parallax View, The 167
Murray, Alan Robert 207 Parfrey, Woodrow 32, 50, 122, 219, 221, 223
My Bloody Valentine 76 Parker, Charlie ‘Yardbird’ 138–143, 227
Mystic River xvi, 135, 152–155, 209, 212, Parker, Eleanor 96
214, 232 Parker, Isaac Charles 18
Parks, Michael 35
Naked Runner, The 49 Parton, Dolly 129–130
Narr, Boone 127 Pasolini, Pier Paolo 89
Navy Log (TV) xxv Pearson, Durk 75
Neeson, Liam 75–76, 226 Pecheur, Sierra 121, 223
Neithardt, Guy 172 Peck, Gregory 16
Nelson, Ed xxix Peck, Lieutenant Colonel Fred 201
Nelson, Willy 84 Peckinpah, Sam 18, 26, 117
Never Say Goodbye xx, 215 Peeping Tom 77
Newman, Paul 49 Penn, Christopher 35–36, 226
Nicholson, Jack 42 Penn, Sean 152–155, 232
Niehaus, Lennie 37, 40, 71, 74, 78, 84, 112, Penny, Sydney 36, 226
141–142, 146, 149, 154, 160, 179, 183, 185, Pepper, Art 64, 142
201, 206, 211 Pepper, Barry 205, 233
Ninomiya, Kazunari 203, 234 Perfect World, A 83–85, 147, 229
Niven, Kip 56, 220 Perkins, Bill 146
Nixon, President Richard 178–179 Perry, Felton 53, 56
Norris, Chuck 69 Peters, Bernadette 129, 227
North by Northwest 63 Petersen, Wolfgang 79, 82, 83, 179, 229
Norton, Alex 143, 228 Pevney, Joseph xx, 215
*NSYNC 151 Phantom of the Opera 46
Philbin, Tom 79, 239
O’Connell, William 32, 95, 119, 127, 217, Phillippe, Ryan 203, 205, 233
219, 221, 222, 223 Pierce, Charles B. 66
O’Connor, Carroll 194, 218 Pink Cadillac 129–130, 143, 227
O’Connor, Donald xix Pissarro, Camille 171
O’Hara, Maureen 96 Pistilli, Luigi 12, 215, 216
Oates, Warren xxx Pit and the Pendulum 102
Oliansky, Joel 139 Pitt, Ingrid 191, 217
Olin, Lena 109 Play Misty for Me xiii, xvi, 8, 27, 49, 57, 96,
Olivier, Sir Laurence xiv 101–105, 103, 107, 108, 127, 157, 212, 213,
Once Upon a Time in America 16, 214, 218
54, 83 Player, The 153
Once Upon a Time in the West 16, 37 Plaza, Fuensanta 130
Operation Moon 89 Poe, Edgar Allen 85, 99, 101, 102, 103
Orrison, George 144, 222, 223, 224, 225, Point Blank 45, 175
226, 227, 228, 229, 230 Poore, Vern 142
Outlaw Josey Wales, The xiv, xvi, 14, 31–35, Popwell, Albert 48, 56, 58, 61, 66, 217, 219,
33, 39, 41, 58, 59, 66, 89, 98, 112, 119, 122, 220, 221, 224
136, 165, 186, 211, 212, 214, 221 Porter, Cole 74
Ox-Bow Incident, The 19, 138, 154 Post, Ted 16, 17, 53, 55, 216, 220

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 Index 249

Potaux-Razel, David 160 Revenge of the Creature xix, 215

Powers, Ron 203 Reynolds, Burt xxi, xxxi, 42, 69, 72, 73, 74,
Practice, The (TV) 81 117, 128, 225
Prescott, Simon 15 Rich, Charlie 120, 222
Presnell, Harve 94, 217, 233 Richards, Emil 146
Previn, Andre 92 Richards, Keith xxii
Price, Ray 136, 224 Richardson, Chan 139, 141–142, 227
Prince 139 Richman, Mark xxvii
Prince, Billy 141, 227 Rickles, Don 194, 218
Prince, William 62, 122, 221, 223 Ride Lonesome 21
Prior, Richard 139 Ride the High Country 26
Prisoner, The (TV) 175 Rifleman, The (TV) xxxi
Profumo di Donna 42 Rigg, Diana 92
Psycho 105 Rijker, Lucia 156, 158, 233
Public Enemy, The 45, 73 Rio Bravo 3, 26, 36
Riot in Cell Block 11 174
Quade, John 32, 119, 127, 219, 221, 222, 223 Rivers, James 110, 142, 230
Road House 79
Rabbitt, Eddie 120 Robbins, Marty 84, 136, 224
Rackin, Martin 22 Robbins, Tim 152–153, 155, 232
Rains, Steve xxvi Roberts, Bruce 74
Rape Squad 68 Robinson, Andy 49–50, 218
Raven, The 102 Rock, Phillip 52
Rawhide (TV) xiv, xvii, xxvi–xxxi, Rocky 120, 158
xxviii, 4, 5, 6, 8, 15, 16, 18, 19, 26, 31, 32, Rodman, Howard 45
35, 91, 117, 122, 138, 148 Rodney, Red 139, 141–142, 227
Rawhide episodes: Rodriguez, Paul 185, 232
‘Incident at Alabaster Plain’ xxvii Rogers, Ginger xxi, xxii
‘Incident of the Black Sheep’ xxix, 4, 26 Rojo, Antonio Molino 12, 215, 216
‘Incident of the Day of the Dead’ Ronzio, Frank 175, 222
xxviii–xxix Rookie, The 78–79, 222, 228
‘Incident of the Garden of Eden’ xxviii, Rose, W. Axl 76
xxix Rosenthal, Joe 203, 233
‘Incident of the Prophesy’ xxx Rossi, Franco 89
‘Incident of the Reluctant Bridegroom’ xxix Rossum, Emmy 152, 232
‘Incident of the Running Man’ xxix, 15 Rough Cut 144
‘Incident of the Tumbleweed Wagon’ xxvii Round Midnight 142
‘Piney’ xxx–xxxi Roundtree, Richard 72, 74, 225
‘The Backshooter’ 15 Rubinek, Saul 39, 229
‘The Enormous Fist’ xxx Ruddy, Albert S. 155, 157, 233
‘The Race’ xxx Russell, John 32, 35–36, 221, 224, 226
Reader’s Digest (TV) xxv Russo, Rene 80–81, 229
Reagan, Ronald 69, 83 Ryan, Mitchell 53, 56, 219, 220
Red River xxvi
Redford, Robert 178 S.O.B 72
Reed, Rex 30, 35, 38, 62, 94, 105, 121, 147, Sager, Carole Bayer 183
170, 178, 193 Samouraï, Le 171
Reeves, Jacelyn 205 Sampson, Will 31–32, 221
Reeves, Scott (aka Scott Eastwood) 205, 211, Sands of Iwo Jima 191
233, 235 Santoni, Rene 49, 218
Reflection of Fear 32 Savalas, Telly 194, 218
Reisner, Dean 28, 35, 45, 50, 58, 102 Saxon, John 25–27, 219
Repulsion 105 Scent of a Woman 42
Return of Josey Wales, The 35 Schenk, Nick 211

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 250 Aim for the Heart

Schickel, Richard 138, 148 Spencer: For Hire (TV) 56

Schiff, Stephen 181 Spiegel, Sam 144
Schifrin, Donna 52 Spiegel, Scott 79
Schifrin, Lalo 26, 45, 51–52, 57, 59, 69, 100, Spielberg, Steven 66, 109
195 Spy Who Loved Me, The 37
Schurr, S.W. 58 St Jacques, Raymond xxvii
Schwarzenegger, Arnold xiv, 63 St John, Marco 70, 225
Scott, Brenda xxx Stafford, Jim 128, 223
Scott, Charles 172 Stagecoach xiv
Searchers, The 3, 34, 122 Stallone, Sylvester xiv, 63
Seberg, Jean 91–94, 93, 217 Stanley, Frank 56, 106, 166
Serna, Pepe 79, 228 Stanton, Harry Dean xxx
Shadow of Chikara, The 66 Stanwyck, Barbara 65
Shaft 28, 74 Star in the Dust xx–xxi, 215
Shanan, Rocky xxvi Star Wars 117, 198
Shane 35, 36, 37, 38, 127 Starsky and Hutch (TV) 56
Shank, Bud 142 Sterling, Tisha 45, 48, 216
Shaw Judson, Sylvia 148 Stern, Tom 153, 158, 185, 205, 209, 211
Shaw, Sandy 75 Stevens, Cat 167
Shawshank Redemption, The 153, 158 Stevens, Inger 17–18, 216
Sheen, Charlie 78–79, 228 Stevens, Michael 160, 206, 211, 212
Shenandoah 32, 66, 98 Stevens, Sally 52
Sherman, Dan xxv Stewart, James 3, 136
Sherman, Sanford 125, 128 Sting, The 72
Shootist, The 211 Stinson, Joseph 66, 200, 202
Shore, Dinah 206 Stoker, J.W. 122
Shryack, Dennis 35, 63 Straczynski, J. Michael 209
Siegel, Don 21–22, 25, 45–50, 52, 54, 57, 62, Stradlin, Izzy 76
95–96, 99–102, 105, 121, 144, 174–177, 211, Straight No Chaser (doc.) 142
216, 217, 218, 222 Streep, Meryl 109–12, 110, 157, 230
Silliphant, Sterling 58 Streets of San Francisco (TV) 52
Silva, Henry 3 Streisand, Barbra 65
Silvani, Al 120, 222 Stroud, Don 25–26, 45–46, 48, 216, 219
Silvestre, Armando 24, 217 Sturges, John 25, 219
Simi, Carlo 5, 9, 14, 215 Sudden Impact xvi, 36, 65–69, 67, 75, 76,
Sinatra, Frank 49, 152 77, 185, 212, 224
Skaggs, Jimmie F. 130, 227 Sugarfoot (TV) xxxi
Slade, Mark xxx Superman: The Movie 121
Slash 76 Surtees, Bruce 26, 34, 36, 51, 71, 100, 137,
Slattery, Desmond xxii 178
Slattery, John 203, 233 Sutherland, Donald 150, 194, 196, 218, 231
Slezak, Victor 108, 110, 230 Svenson, Bo 200, 226
Smith, Earl E. 66 Swank, Hilary 156–158, 157, 160, 210, 233
Smith, William 125, 127, 233 SWAT (TV) 56
Smokey and the Bandit 117 Swimfan 205
Smokey and the Bandit II 120 Szarabajka, Keith 84, 229
Snodgress, Carrie 36, 226
Soble, Ron 28, 219 Tales of Wells Fargo (TV) xxxi
Sophie’s Choice 109 Tall T, The 21, 26
Soul, David 56, 220 Tarantula xx, 48, 67, 78, 130, 215
Southern Pacific 130 Tavernier, Bertrand 142
Space Cowboys 130, 135, 149–152, 153, 183, Taylor, Dub 168, 220
212, 231 Taylor, Elizabeth 21
Spacey, Kevin 147–149, 230 Tenth Victim, The 89
Spall, Timothy 144, 228 Terror of Tiny Town, The 27

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 Index 251

Terror, The 102 Van Peebles, Mario 202, 226

Tessari, Duccio 4 Vang, Bee 210, 211, 235
Texan, The (TV) xxxi Vanishing Point 168
Texas Opera Company 128 Vanzi, Luigi 7
Them! xx Vaughn, William xxii
Thibeau, Jack 174, 222, 223, 224 Vega$ (TV) 56
This is Spinal Tap 181 Venora, Diane 139, 142, 182, 227, 231
Thomas, Craig 196, 198 Venus, Brenda 172, 220
Thompkins, William ‘Bill’ xxx, 6, 215 Vera Cruz 21
Thomson, Anna 38–39, 139, 229 Vernon, John 31–32, 218, 221
Thomson, Linda 183 Vertigo 105
Three Burials of Melquiades Estrada, Viertel, Peter 143–144
The 205 Vincenzoni, Luciano 8, 12
Thunderbolt and Lightfoot 96, 139, Virginian, The (TV) xxxi
165–170, 166, 169, 186, 187, 212, 220 Visconti, Luchino 89, 100
Tidyman, Ernest 28 Volonte, Gian Maria 5, 8, 10, 215
Tiegs, Cheryl 117
Tightrope 36, 69–72, 141, 185, 212, 225 Wagon Train (TV) xxv, xxxi, 136
Tillis, Mel 120, 128, 222 Wagoner, Porter 136, 224
Time After Time 77 Wainwright, James 25, 219
Tiomkin, Dimitri xxvi Wake Up and Kill 89
Tonight with Jay Leno (TV) 151 Walcott, Gregory xxix, 25–26, 118, 167, 171,
Toole, F.X. 155–156, 159–160 219, 220, 222
Torn, Rip 72, 74, 225 Walker, Dreama 211, 235
Toro, Efrain 146 Walker, Scott 28, 219
Traverse, Claude 96 Wallach, Eli 10, 12, 15–16, 32, 153, 216, 233
Trevanian 170, 173 Waller, Robert James 108–109
True Crime 151, 165, 180–183, 187, 231 Walsh, Dylan 185, 232
True Grit 18, 34 Walston, Ray 92, 94, 217
Trueman, Paula 31–32, 95, 217, 221 Walter, Jessica 101, 103, 103–104, 125, 157,
Tuggle, Richard 70, 175, 225 218
Tully, Tom 45, 217 Wanted: Dead or Alive (TV) xxxi
Tunis, Roxanne 18, 180, 216 Ward, Fred 174, 222
Two Mules for Sister Sara xxi, 21–25, 23, Warren, Charles Marquis xxvi
24, 26, 85, 194, 196, 217 Warwick, Richard 144, 228
Two-Lane Blacktop 168 Washington, Dinah 112
Washington, Isaiah 181, 231
Undefeated, The 21 Washington, Ned xxvi
Unforgiven xiii, xiv, xvi, 14, 38–42, 40, 79, Watanabe, Ken 203, 234
83, 153, 158, 160, 179, 180, 186, 211, 212, Watson, David xxvii
214, 228 Wayne, John xiv, xxvi, 18, 26, 30, 42, 49, 69,
Untouchables, The 76 191, 201, 211
Ure, Mary 191, 217 Weaver, Dennis 49
Urich, Robert 56, 220 Webb Peoples, David 38
Usual Suspects, The 148 Welch, Raquel 117
Wellman, William xxii, 215
Vadis, Dan 27, 64, 119, 121–122, 127, 219, West Point (TV) xxv
222, 223 Westerfield, James 18, 216
Valdes, David 70, 225 Weston, Bill 144
Valee, Rudy 74 When a Man Sees Red 137
Van Cleef, Lee xxx–xxxi, 4, 8–10, 12, 15, 36, Where Eagles Dare xv, 21, 46, 91, 191–194,
215, 216 192, 196, 217
Van Doren, Mamie xxi Where’s Poppa? 118
Van Horn, Wayne ‘Buddy’ 22, 30, 36, 48, 78, Whitaker, Damon 139, 227
128–129, 218, 219, 223, 226, 227 Whitaker, Forest 139–140, 140, 142, 227

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 252 Aim for the Heart

White Hunter Black Heart xvi, 130, 135, Woolvett, Jaimz 38–39, 229
143–147, 145, 228 Worden, Hank 122, 222,
White, Pete 172 223
Whitford, Bradley 84, 229 Wright, Samuel E. 139, 227
Wild Bunch, The 92 Wright, Will xxix
Wilke, Robert xxix Wyman, Karen 96
Williams, Hank 130, 137, 196
Williams, Joe 74 Yakin, Boaz 79
Williams, Paul 167 Yamashita, Iris 203
Willis, Bruce 63 Yeats, W.B. 109, 159
Wills, Bob 84, 224 Yojimbo 4, 5, 206
Wills, Chill xix Yoshida, Tsuyuko 203
Wilmington, Michael 147 Yoshioka, Adele 56, 96, 220
Wilson, John 141, 227 Young Frankenstein 74
Winnetou the Warrior 26 Young, Bill 78
Winston, Archer 105
Witches, The 89–91, 216 Zane Gray Theatre (TV) xxxi
Witherspoon, Reese 210 Zelniker, Michael 139, 227
Wolff, Frank 7 Zodiac 52
Woods, James 182, 231 Zodiac Killer, The 52
Wooley, Sheb xxvi, 32, 221 Zwerin, Charlotte 142

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