At 91, Clint Eastwood still knows how to direct a movie with a beautiful, clean leisure classical sparseness, something you want more directors to know (or wanted to do). As a filmmaker, Eastwood has earned the right to say ageless. As an actor, though, he’s not trying to hide his age. In “Cry Macho”, he plays a broken horse breeder and former rodeo rider who is tasked with rescuing and taking back Rafael (Eduardo Minette), a 13-year-old boy who landed in Mexico City. Texas. (He’s taking the boy away from his rich-diva Mexican mother and bringing him to his American farm owner’s father.) Eastwood is still handsome, and he still sniffs Clint, a little more open on one side of his mouth than on the other. But the clint we see in “Cry Macho” is downcast, the carefully combed shock of gray-and-white hair, the cracked parchment-like skin, and the eyes that glow with an old man’s initial weakness. His movements are alert, and when he speaks, the words float from his ventilation in such a way that they are so cracked and dry and intentional that, at the moment, you can hear the old Eastwood minimalism casting a shadow on the new Eastwood fragility.
What has gone from this slow-talking, slow-moving Clint is a sense of impending danger. He punches one or two punches in “Cry Macho” and does it firmly, but he also takes senior-citizen Siesta, and not that his character is pretending that he can use his perfect power to dominate many small scoundrels. , And the federals who have his tail. The way Eastwood is now dominating is with the simplicity of his words তার his I-say-what-I-mean-and-mean-what-I-say steely gentleman’s perception, which becomes the instrument of his armchair.
How is the movie? Adapted from N. Richard Nash’s 1975 novel (the script is written by Nash and Eastwood’s regular Nick Shank), it’s a friendly and aloof and formulaic, an insulting and good-natured thing, and it’s a completely trivial matter. It was set in 1979, after Clint’s Mike Milo was fired by his farm’s Howard Pollock, starring a blurry duet Yokom. But as we learn, Mike Howard owns a lot (he saved Mike his life). So when Mike is told to go to the border to rescue Howard’s estranged son, he has no choice but to go.
The destination is a building in Mexico City, where the boy’s reckless and vulnerable mother (Fernanda Urezola) warns Mike that the baby is a wild thing, out of the sewer, present in a cockfight and God knows what else. He asks Mike to please take him, and good readings. (Actually, though, he has to press on his son to pay leverage for an investment deal.) We think we’re going to see the poster child for the crime of the incoherent movie, but Mike appears in a cockfight to find the boy and his pet cock. It takes him three seconds, whose name is Macho. Our first reaction is: The baby looks pretty. And the rooster does the same.
They are. Eduardo Minette, who has been a regular on several Mexican TV series, has a baby mouth healing and a sweet, enthusiastic approach. Raphael has every right to say no to taking Mike, but we can see from the beginning that he is not a criminal; Her mother is just projecting. Mike still has to beat him, of course, but if Raphael needs more taming he can bite the movie even more.
He and Mike Mike drove two tons into the 1980s shabby suburb and set out on the streets, during which time they would get to know each other and go through a few adventurous trials, none of which would turn out to be too dark. The car is stolen, but okay, they’ll find an abandoned one soon. In a parking lot, locals get excited about this old white man traveling with the Mexican boy, but okay, they turn their aggression on the chickens trying to get the boy back. Sitting down for lunch, Raphael orders a tequila, but okay, Mike removes the order and straightens him out. “You get very angry,” Rafael tells Mike. “It’s not good for you at your age.” He’s right about that, but “Cry Macho” isn’t an angry Clint movie. When the two arrive at a makeshift farm, and Mike starts teaching the kid to ride a horse, we realize we’re seeing the closest thing we’ve ever seen near the Clint Eastwood Afterschool Special.
Towards the end of the film, Clint tells the kid (whom he calls “Kid” – yes, that’s the kind of movie), “the Macau thing is extra valuable.” Which just sounds like a reflective, ancient-and-intelligent, red-state-shadow-to-blue concept that we want to hear from the famous macho movie star of the last half century. Non-engineer Clint says as he explained. The truth is, though, that the rest of the film doesn’t carry it. Although he no longer rules physically, the Clint we see in “Cry Macho” is exactly as he was in the presence of his mystique. He is more calm about this. The movie turns into a romance: while they’re on the farm, the woman who runs the canteen next door cooks for them, and she and Clint run a flirtation to get it into the movie in such disguise. Actress Natalia Travan has a face that seems to have Lived, Just like Clint’s, and sweet to see their pair off. But it is nothing more than sweet. “Cry macho” is a pleasurable place-holder for Eastwood, but I hope and doubt that he’s got some more mako to cry over the line.