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Clint Eastwood talks to Jeff Dawson about race, euthanasia, politicians, capital punishment - and how he really feels about the 'fascist' role that made him famous.

Clint Eastwood folds his gangly frame behind a clifftop table at the Hotel Du Cap, a few miles up the coast from Cannes, sighs deeply, and squints out over the Mediterranean. "Has he ever studied the history?" he asks, in that familiar near-whisper.

The "he" is Spike Lee, and the reason Eastwood is asking is because of something Lee had said about Eastwood's Iwo Jima movie Flags of Our Fathers, while promoting his own war movie, Miracle at St Anna, about a black US unit in the second world war. Lee had noted the lack of African-Americans in Eastwood's movie and told reporters: "That was his version. The negro version did not exist."

Eastwood has no time for Lee's gripes. "He was complaining when I did Bird [the 1988 biopic of Charlie Parker]. Why would a white guy be doing that? I was the only guy who made it, that's why. He could have gone ahead and made it. Instead he was making something else." As for Flags of Our Fathers, he says, yes, there was a small detachment of black troops on Iwo Jima as a part of a munitions company, "but they didn't raise the flag. The story is Flags of Our Fathers, the famous flag-raising picture, and they didn't do that. If I go ahead and put an African-American actor in there, people'd go, 'This guy's lost his mind.' I mean, it's not accurate."

Lee shouldn't be demanding African-Americans in Eastwood's next picture, either. Changeling is set in Los Angeles during the Depression, before the city's make-up was changed by the large black influx. "What are you going to do, you gonna tell a fuckin' story about that?" he growls. "Make it look like a commercial for an equal opportunity player? I'm not in that game. I'm playing it the way I read it historically, and that's the way it is. When I do a picture and it's 90% black, like Bird, I use 90% black people."

Eastwood pauses, deliberately - once it would have provided him with the beat in which to spit out his cheroot before flinging back his poncho - and offers a last word of advice to the most influential black director in American movies. "A guy like him should shut his face."

Eastwood knows how to handle controversy. Four years ago, his boxing flick Million Dollar Baby, which garnered him best picture and best director Oscars (giving him five in total, including two for Unforgiven and a premature lifetime achievement gong back in 1995), was attacked by Christian groups. They had objected to the plot's "assisted suicide" of a paralysed athlete. "People who hadn't even seen the movie were saying that it's pro-euthanasia, but it wasn't," Eastwood says. "If you had asked Frankie [his character in the film], 'Do you believe in euthanasia?', he'd have probably said no. But that was the circumstances of the moment. Highly dramatic circumstances."

And 37 years ago, he starred in a film that has been a bone of contention ever since, and which is the reason for our conversation today. Dirty Harry, the film that liberals have long argued was little more than an argument for summary justice, is being rereleased in DVD form, packaged with its quartet of siblings (Magnum Force, The Enforcer, Sudden Impact and The Dead Pool), as part of Warner Brothers' 85th birthday celebrations.

Dirty Harry - the story of a cop railing against bureaucracy and pursuing criminals according to his own whim - has been so imitated that it is hard to imagine the revulsion that spilled over it upon its release. The New Yorker's critic, Pauline Kael, called it "fascist", and other reviewers heaped similar scorn on it. They wondered whether holding a .44 Magnum in a suspect's face was the best way to pursue justice; they wondered whether the San Francisco setting was a slap at one of America's most liberal cities; even the CND belt buckle sported by Scorpio, the serial killer in the film, was interpreted as a swipe at the left. With the cop thriller supplanting the western as Hollywood's action genre of choice, Eastwood was surely the political as well as cinematic successor to John Wayne.

But moviegoers took little notice of those who attacked the film. They flocked to the cinemas, Dirty Harry's dialogue passed into common parlance, and it now occupies an important if uneasy place in film history.

"Of course people built a lot of connotations into the film that weren't necessarily there." Eastwood grins. "Being a contrary sort of person, I figured there had been enough politically correct crap going around. The police were not held in great favour particularly, the Miranda decisions had come down [forcing police to read arrested suspects their rights], people were thinking about the plight of the accused. I thought, 'Let's do a picture about the plight of the victim.'"

Wayne had turned the film down, as had Steve McQueen, Robert Mitchum and various others. Frank Sinatra was set to star until, according to showbiz lore, tendonitis in his wrist prevented him from handling the Magnum's heavy recoil. "Probably just bullshit," says Eastwood. But Ol' Blue Eyes' loss was Young Blue Eyes' gain. Eastwood brought director/collaborator Don Siegel to the project. And, courtesy of a much misquoted line - "You've got to ask yourself one question: do I feel lucky? Well do ya, punk?" - the picture turned Eastwood from cowboy star into everyman icon.

That same year, Eastwood directed his first film, Play Misty for Me. With Dirty Harry having established him as Warner Brothers' surest banker, he negotiated a quid pro quo: the studio would indulge his personal projects, such as Bronco Billy or Honkytonk Man, the kind of fare that would shape him as the director we know today, as long as he kept on cranking out the blockbusters, even if that meant working with an orangutan.

Sergio Leone, who directed Eastwood in his breakthrough role in the Man With No Name trilogy of spaghetti westerns, said he liked the actor because he had only two expressions: "one with the hat, one without it". These days it would be stretching it to suggest that Eastwood's range is quite that broad, his face seemingly fixed in a beatific beam, the sort of blissful countenance that once had him pegged in a scurrilous - and erroneous - piece of showbiz gossip as Stan Laurel's love child. The skin on his cheeks certainly seems tauter than one might expect of a man of his vintage. The contentment of his autumn years or the proverbial "bit of work"? Frankly, you can only wonder.

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i finally watched "unforgiven" last night. [/random]

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The moral of DO the Right THing was if you fuck around then no more Pizza in the neighborhood

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Spike Lee is one of the best black directors. That statement is true because measuring him against the rest would barely put him in the top 50.

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ooh! i bought the husband season one of "rome" as a little anniversary present. i figure, you know, hot guys in skirts, right? any of you bitches watch it?

oh and i want to do bad things with don cheadle.

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ooh! i bought the husband season one of "rome" as a little anniversary present. i figure, you know, hot guys in skirts, right? any of you bitches watch it?

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Rome and Deadwood are in the running neck in neck for the best hbo shows ever in my eyes and yes i did watch sopranos and the wire.

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I think Rome was canceled, in part, for being so damn expensive to film.

I think generally, HBO has kind of fucked up in canceling dramatic shows because they weren't as popular as The Sopranos or even Six Feet Under (both great shows).

Another one that fell through the cracks was "Carnivale" which had a good "Twin Peaks" vibe...and one shared actor:



Oh, and a shared actor with "Lost", Gigi:

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Rome and Deadwood are in the running neck in neck for the best hbo shows ever in my eyes and yes i did watch sopranos and the wire.

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The Wire was the best. They didn't have to bend to public wishes like David Chase did on The Sopranos. I just couldn't get into Six Feet Under or Deadwood.

My Dad is a The Wire junkie. Strange that he can watch the lesbo scenes in Misty Beethoven, but he can't stand the lesbo detective. He almost had a stroke when Bubbles showed up on Law and Order.

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we're going to start watching it tomorrow; i'm excited. i've been kind of needing a series to get involved in ever since we finished season three of "lost."

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