Clint Eastwood
Honkytonk Man

During the release days of yet another chapter in Clint Eastwood's directorial life, I set out to discuss one of his lesser-known films. Honkytonk Man is a film dated 1982 and represents one of the most hilarious works by the American icon. A film that hasn't made much noise, but in my opinion, should be rediscovered, even though it doesn't represent anything transcendent in the career of the good old Texan with icy eyes.

Honkytonk Man tells the story of Red Stovall, played by Eastwood himself, who is headed to the Grand Ole Opry in Nashville where an audition awaits him. In fact, Red is a country musician who earns his living playing in the shady pubs of the States' prairies. Accompanying him on this journey to Nashville is his young nephew Whit (played by Kyle Eastwood, the director's son).

A simple, straightforward story, as per Eastwood's style. Here he takes on music six years before the masterpiece Bird, another film in which the filmmaker poured all his love for jazz. Honkytonk Man is a film about country, but the "classic" passion with which Eastwood explores reality is absolutely unmistakable. The beginning has the flavor of the western both for the setting and colors, with the main character dealing with money, alcohol, and his illness. Subsequently, the film takes a turn towards the "on the road" with hilarious scenes: the unreal scene with the bull and the skit between Red and a police officer. Comic-flavored sequences alternate with dramatic and atmospheric ones, such as the unforgettable sequence in which Eastwood steals money from poker players.

The illness (t.b.c) that, however, causes problems to the country singer's voice worsens, but despite this, he doesn't refuse one last chance to record a disc. Increasingly destroyed by coughing, Red reaches the epilogue supported by his faithful nephew and a woman he meets on the road.

An atypical film in the career of the American icon, with an excellent country soundtrack and cinematography that "enlightens" us on the prairies of the United States. A work to be rediscovered if only for its director, who for better or worse has defined a way of making films and who has always done his work impeccably. Eastwood has become a guarantee over time.