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July 15, 2010

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Tom Russell

Thanks, Pinback. It was probably my fault for going into it expecting some of the complexity I saw in FLAGS; I'm capable of appreciating simple and strong didacticism-- as a huge booster of superhero comics, how could I not be?-- once I've put myself in the proper mindset. Perhaps I'll give it another shot.

As for BABY-- it worked for me like gangbusters. I know a lot of people take issue with its cartoon depiction of the tacky, trailer-trashtastic family, but that never bothered me, frankly, because many of my blood relatives (including the woman who gave me life) are precisely that over-the-top in their breath-taking ignorance, gauchery, and self-absorption, not to mention a profound knack for denigrating any accomplishment. I completely understood and empathized with her desire to escape such a toxic environment, which might be one reason why I clicked with it so well.

Terry McCarty

Perhaps they're not included in the FSLC retrospect simply because directing honors went to James Fargo and Buddy Van Horn, but the first entry Every Which Way But Loose, is still one of the oddest concoctions Eastwood ever wound up starring in. It's hard to say what he was thinking—or more to the point, how he could have known there was an audience for this kind of ridiculous material, as Loose turned out to be one of his biggest hits. Even though it's a pursuit comedy, there's no high speed chase scenes in sight.

Actually, I believe Eastwood made these films after looking at the grosses of the Reynolds/Needham SMOKEY AND THE BANDIT.

Footnote: Jeremy Joe Kronsberg (sp?), writer of EVERY WHICH WAY...went to the orangutan-comedy well again with the Danny DeVito/Tony Danza epic GOING APE from 1981.

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