Clint Eastwood Net Worth Income Profile and Salary. (San Francisco, 1930) Actor and American film director. After completing primary education, at the height of the Great Depression, he had to earn a living in various jobs: he was a lumberjack, a bricklayer, and a metalworker. After spending four years in the military, from 1954 tried to make a place in Hollywood as a minor actor. Debutó in Universal, in titles related to the series the mule Francis; His first performance was in Francis Joins de Wacs (1954), by Arthur Lubin, followed by some works for television.
Of the three, the good, the ugly and the bad is the spaghetti western par excellence, between the forceful expository effectiveness of the previous ones and the grandiloquence well understood of the later Until its time (1968). With the distant background of the Civil War, three unscrupulous criminals known for the nicknames of the title are dedicated to following separately the trail that leads to the location of a loot, planting the arid landscapes that cross. As for the image, it is a surprising film both in terms of planning and photography in technicolor and in the panoramic Techniscope, by Tonino delli Colli, or in the vigorous editing of Nino Baragli. Filmed in Almeria, the soundtrack of Ennio Morricone alone would merit all honors.
This sort of trilogy catapulted Eastwood to stardom, helping him cement his image. His charisma, his high profile and somewhat ungainly and a dry face, with a small range of gestures but of great expressiveness, would eventually turn him into one of Hollywood’s most beloved actors. Returning to the United States, Eastwood founded the production company Malpaso and increased its prestige from its collaboration with the director Don Siegel, especially through the personage of Harry Callahan, a policeman with very particular ways, hard, violent, self-sufficient and Not devoid of cynicism. The first title of this series was Harry the Dirty (1971), film that gave the final support and of which they would roll four sequels.
Harry Callahan is the archetype of the rude and violent defender of the law. A man of action, violent and bitter, he takes justice by his hand and has no choice but to rebel against the rules he considers unfair. Moved by its own law, it respects little or nothing the decisions of the authority. In Harry the Dirty, Eastwood begins chasing a murderer, but, after stopping him, justice sets him free again. Callahan does not comply with this decision and begins his own private war against the delinquent, which ends with his death; Then, Callahan throws his plate to the ground.
Critically qualified as a fascistoid film, his followers only see in Callahan a character created on the basis of the principles of pure romanticism, with their own morality, independence of rules and freedom of action. Little by little, in the following films, the character acquired a greater sense of humor and lost part of its violence. The following installments would be Harry, the Fort (1973), of Ted Post, on a script of John Milius and Michael Cimino; Harry the Executor (1976), by James Fargo; Sudden Impact (1983) directed by himself; And The Blacklist (1988) by Buddg Van Horn.
Throughout the seventies, Eastwood worked for other productions with which it obtained important successes, like the legend of the city without name (1969), with direction of Joshua Logan, an atypical western shot in musical key that nevertheless managed to connect Mostly with the public. Eastwood showed a special cinematographic sense not only to intervene in films that provided money and fame, but also to discover young values to which he offered the opportunity to take part in a cinema with important commercial projection; Is the case Michael Cimino, with whom he worked in a booty of 500,000 dollars (1974).
In the field of interpretation, Eastwood was becoming an actor that intersected with the old tradition of Hollywood, an artist whose presence was felt at the box office and managed to give personality to the films. Still in the 90’s, more than one title achieved a public triumph and even good reviews as a result of Eastwood’s performance; Such as In the line of fire (1993), by Wolfgang Petersen, in which he played a presidential bodyguard whose years begin to weigh him physically and morally.
As a director, Clint Eastwood gradually gained critical respect for his classic approach to achievement and for his ability to handle action with fluency, without thereby detracting from psychological depth to the characters or dramatic force and human conflict Raised. On occasion he added to his work as director of interpreting his own films, without one activity drowning the other.
It began with Chill in the night (1971) and, since the mid-eighties, a series of outstanding titles proved their worth as a director. Thus, directed and carried out the pale rider (1985), a western of Biblical reminiscences where it managed to update a genre that seemed exhausted by the change of the tastes of the public. His film Bird, based on the life of the saxophonist Charlie Parker (role brilliantly played by Forest Whitaker) gained a great international success in 1988 and increased the respect of the critic. In 1989 he directed and starred in a film that did not get all the success that was expected, but that showed its courage and originality when choosing the approaches: White hunter, black heart. Inspired by John Huston’s mythical film The Queen of Africa, Eastwood reserved the character of Huston himself, whose personality he made a careful analysis.
The fertile and at the same time suggestive career of Clint Eastwood as director found in 1992 one of its most definitive expressions in the unrepeatable Unforgiven. Dedicated to Sergio Leone and Don Siegel, teachers of the beginnings of Eastwood in the cinema as an actor, Sin perdón is a western that, decades after the apparent death of the genre, manages to recover and to compile all the tradition of the same and of the own race Of Eastwood. From the flat Fordists in which the women distribute themselves in a painful choreography on the porches of the village to see the protagonists arrive, this masterwork of Eastwood is a gloomy and twilight route by the fatigue of the hero and its impossible redemption.
Eastwood is the former gunman with a blood-stained past, buried under the weight of the lived horror, that tries to survive separated of all, taking ahead the two children that he had with the only woman who could clean his conscience and the pain and the death Which he inflicted in his youth. Requested to avenge an unjust aggression on a prostitute, Eastwood will once again communicate with the world in an overwhelming way via the crucis, in which he must put himself in painful contact with his darkest part, an impossible adventure in which he has as companions An old friend also out of arms (the impressive Morgan Freeman) and a young gunman short of sight and candidly fascinated by the legend of his mentor.
Without forgiveness is a western of impeccable classicism, direct and transparent, irresistibly lyrical; But it is also, at the same time, a sordid tragedy full of noise and fury, inevitably violent, in which the purity of the objectives does not serve to redeem the chaos and hatred that feeds the soul of its protagonist: the destructive ordeal of its Final explosion, true hellish evocation submerged in the omnipresent visual tenebrism that presides over the film, is not only disheartening in the context of fiction, but also as a grim warning of the climate of violence in the United States during the Bush era. The film received, among others, the Oscar for best film and best direction, and dedicated to Clint Eastwood as one of the wisest filmmakers of the moment.
If Sin perdón is the definitive western of Eastwood, in a way The Bridges of Madison (1995) was its definitive melodrama, in a decade in which the creative talent of its director is in unrepeatable state of grace. The Bridges of Madison is a brave melodramatic proposal sustained only in the love of the cinema, a prolonged hover between two personages (the own Eastwood and an excellent Meryl Streep) that evolve before a camera fascinated by each one of the gestures, the looks , Of the words that address each other.
The tremendous emotional catharsis that Eastwood is able to bring about through the image is transparently revealed in the sweeping final third, in which the sentimental suspense reaches levels of unusual nakedness, something that is also found in the splendid A Perfect World (1993) , A melodramatic thriller of sentimental initiation between a fugitive (Kevin Costner) and a kid kidnapped by him in his flight. Eastwood’s crushing classicism leads him throughout his filmography to a clear recovery of the best traditions of American cinema, with admirable aesthetic and ethical honesty, something that, as has already been said, derives from the passionate lessons learned Of John Ford, as well as of his blood brothers Siegel and Leone.
After several decades of professionalism, Clint Eastwood is considered a master of management, and he even appreciates that his interpretive work has improved over the years. Artistically ambitious, his style always strives for perfection, both interpretive and directional, a search that has not been at odds with box office success. Among his most recent films are A Perfect World (1993), Midnight in the Garden of Good and Evil (1997), Imminent Execution (1999) and Space Cowboys (2000).
Mystic River (2003) received several awards both in the Golden Globes and in the Oscars, especially for its male actors, Sean Penn and Tim Robbins. The same happened with Million Dollar Baby (2004), a tragic drama about a woman who is determined to be a boxer in order to succeed in life, for which she engages in an intense relationship with an ex-pugilist who is dedicated to training. Starring Morgan Freeman and Hilary Swank, the film won four Oscars in the 2005 Academy Awards: Best Director, Best Picture, Best Actress and Best Supporting Actor.
Net Worth of Clint Eastwood
The Net Worth of Clint Eastwood in 2017 is $400 Million.
|Full Name||Clint Eastwood|
|Net Worth||$400 Million|
|Annual Income||$45 Million|
In 2006, the actor and film director directed Flags of our Fathers and Letters from Iwo Jima, two films that refer to a single moment in history (the battle of Iwo Jima, at the end of World War II), but seen in the first Case from the American perspective and the second from the Japanese perspective. At age 76, Eastwood gave a new twist to his long career with a deep meditation on the essence of heroism, analyzed from a posture of absolute independence.