Cry Male – 8 POINTS
Address: Clint Eastwood
Script: Nick Schenk, on novel by N. Richard Nash
Photography: Ben Davis
Duration: 104 minutes
Interpreters: Clint Eastwood, Dwight Yoakam, Eduardo Minett, Natalia Traven, Fernanda Urréjola
Premiere in rooms.
Cry Macho represents for Clint Eastwood a coda and a beginning. It serves as a coda to the cycle of refutation of the law of the revolver that had as a starting shot at The unforgivables, and start a fired which is not only not bitter but seems to not even allow itself melancholy, facing what is left with zen wisdom. That of someone who knows that everything solid melts into thin air.
As on other occasions, in his film No. 40 the once Man with no name He talks about himself again. He had done it in his first film, Play Misty for Me (1971), when at 40 he represented a guy who profits from his fame and his looks to take a woman to bed with false promises. He did it when he praised his wife Sondra Locke on Suicide route (1977). He did so when he showed the filmmaker as a predator in White hunter, black heart (1990). Did it when he showed himself old for the first time on The unforgivables – almost 30 years ago! -, and from then on he did not stop showing the way in which time passed in him, from film to film.
On Cry Macho the ex dirty Harry He is listed as a nonagenarian Texan. The well-shod Stetson hat is defined as a cowboy. He walks with difficulty, his eyes are half sunken, he is several inches shorter than the 93-foot Eastwood was at 30, and he needs to take a nap. But he still can, and that may be the theme of the 55th movie he stars in. The plot is the least of it. Former rodeo star (as Robert Mitchum in The coveted woman, by Nicholas Ray), years ago Mike Milo suffered a fall that left him a long time off the slopes and led him to abuse pills and alcohol. He returned to the ring, but obviously he is no longer for those (literal) trots. The day he is late for the umpteenth time for work, his boss (country singer Dwight Yoakam, not a casual reference) fires him, but it is a paradoxical dismissal: a minute later he orders him one of those favors that can’t be turned down.
Milo must go to Mexico City in his truck as old as he is, locate there the son that the boss had with a Mexican woman, Rafael (Eduardo Minett), and bring him back with him. A commission similar to the one they did in The mule, this time not on the left. Or not so much, because when he reaches his destination he will find that the boy’s mother (Fernanda Urréjola) is a kind of capamafia, surrounded by thugs who will not allow Rafo to return to the father. A nonsense, which also makes water in several corners: the boss’s order sounds forced, the mother and her henchmen look like characters from the series Narcos that they got the wrong movie, that the lady (red tight red dress, finished in a cut) wants to put the nonagenarian to bed is astonishing, and the widowed surrogate father / grandfather relationship that Mike establishes with Rafo is obvious (the boy , in addition, it overacts innocence). That also a Mexican widow (Natalia Traven) falls in love with him at first sight is more typical of the times of The bridges of Madison than this one.
But at this point Eastwood is beyond plot trickery, and then all that is worth as much as a damn. What matters, what has weight (lightness, rather) are the loose, relaxed, relaxed narrative times, the dark brown photography -as corresponds to a being that is sinking into the night-, the serene way in which the staging flows, the sense of humor, the autoparody about his lifelong character, the radical questioning of machismo, the record of a placid becoming that does not allow hindsight. Cry
Macho It’s a drag ballad The amateur pianist continues to have his usual sensibility for music, which this time metaphorizes Mike’s dual homeland (his native and adopted), opening and closing with a country theme and plunging Mike’s romantic reverie into the brazen anachronism of the Trio Los Panchos and Eydie Gormé, doing “Taste me”! Paraphrasing the “I’m back” from Paul Newman on The color of money, Cry Macho maybe it’s Eastwood’s way of saying “I’m still here.”
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“Cry macho”, a dragged ballad | Clint Eastwood’s 40th Movie