Every Which Way But Loose is a 1978 American action comedy film directed by James Fargo and starring Clint Eastwood. The film follows the adventures of truck driver and amateur boxer Philo Beddoe, played by Eastwood, as he navigates his way through a series of misadventures with his pet orangutan Clyde by his side. Philo is a laid-back and easygoing individual who enjoys spending his days working as a truck driver and his nights boxing in local bars. His life takes an unexpected turn when he meets and falls in love with a country singer named Lynn Halsey-Taylor, played by Sondra Locke. As Philo tries to win over Lynn, he also finds himself entangled with a group of motorcycle gang members who are after him for defeating one of their own in a boxing match. Throughout the film, Philo's loyal companion Clyde adds a sense of humor and hijinks to the story.
This is like two good movies in one. One movie is about Clint Eastwood beating up Neo-Nazis, cops, and anyone who looks at him crosseyed. The other is a road trip movie where one of the buddies happens to be an orangutan.
Herauskommt ein Orang-Utan der weder Sidekick noch die Hauptfigur ist, eine gesuchte Liebe die nie als eine gegolten hat, ein Road Movie der irgendwo anfängt und in einem ausläuft, die böse Biker-Fraktion die so furchteinflößend wie die Piraten bei Asterix und Obelix sind, Polizisten die sich ebenso gut in Cop Land oder in einem der zahlreichen Bud Spencer. Three close friends who have never left the outskirts of Dublin much less Ireland get the journey of a lifetime a visit to Lourdes, the picturesque French town and place of miracles.
Throughout the film, Philo's loyal companion Clyde adds a sense of humor and hijinks to the story. Clyde is mischievous and unpredictable, often causing trouble for Philo but also coming to his aid in times of need. Together, Philo and Clyde embark on a cross-country journey to rescue Lynn from the clutches of the motorcycle gang.
Every Witch Way But Loose
As usual, I encountered this promotion for Vin Diesel's latest on my drive to work, and once again I found a treasure trove of cultural information. It all lies in the title of the movie— The Last Witch Hunter — and the catchy come-on that movies always seem to use to get you into the theaters: "Live Forever. Hunt Forever." That's just about all we need.
Let's begin with the title. My first impression was one of surprise that in the era of Wicked and Wicca a movie would still be targeting witches as the objects of a manhunt (I use the word " man hunt" quite deliberately here), for with her traditional feminine identification, the witch would have seemed to be a figure that Hollywood no longer slated for demonization and destruction (I leave out of this analysis the connotation of "witch hunts" in the wake of the McCarthy era). So, to give the movie the benefit of the doubt, I decided that maybe it was using the word "witch" in a genderless manner, including warlocks (the traditional male witch) within its range of reference, and went online to research its plot.
It turns out that my first impression was correct, however. This is a movie about an age-old war against a very female witch (who, not so incidentally, is portrayed by actress Julie Engelbrecht , who, again not so incidentally, just happens to represent central casting's paradigmatic image of blonde feminine pulchritude), who has been plotting to destroy humanity for about eight hundred years. Never mind the fact that she has a male demon (the not so very subtly named "Belial") in her employ: what matters is that what we have here is a beautiful blonde woman cast in the hero's gun sights. And here is where cultural signifier number one lies.
Can you spell "male panic"? I can't help but associate a storyline of this type with Basic Instinct , whose beautiful blonde villain just happens to have a witch as her mentor. Nor can I help associating it with the recent Yik Yak threat at Fresno State University to "take a headshot at a hot blonde" in revenge (apparently) for favors not received, not to mention Elliott Rodgers's killing spree outside a UC Santa Barbara sorority last year, motivated by a similar resentment. In other words, it appears that Hollywood hasn't gotten the message yet: that demonizing attractive women isn't, let's say, doing anything to tamp down the flames of a violent misogyny that is not only a worldwide scourge but an especial problem on America's university campuses today.
So, a big "F" for gender sensitivity for The Last Witch Hunter , and the fact that the movie is doing quite well at the box office is a sign that such insensitivity still pays. Do we see a vicious circle here?
Now to cultural signifier number two, which (witch?) appears in the catchy come-on: "live forever." A plot check reveals that, indeed, the movie is all tied up with various kinds of dark immortality, and this, too, is meaningful when situated in a system of associations and differences.
To begin with, making immortality central to a storyline is nothing new in the movies (consider It's A Wonderful Life , complete with guardian angel). The 1990s was a particularly fertile era for benign immortals—from Michael , to What Dreams May Come , to TV's Touched By an Angel —but at the same time, another immortal, the vampire, was also rising to prominence then (remember Buffy?), and by the early 2000s vampires had pretty much driven the angels onto the lesser stage of Victoria's Secret, only to be (partially) displaced themselves by an even nastier variety of immortal: the walking dead (aka zombies).
The difference between the angelic immortal and the demonic one is the kind of difference that points to cultural significance. Angels tend to be in the ascendant when a society is feeling good about things; demons serve as metaphors for all kinds of social anxieties (it was no accident, for example, that the Cold War-tormented 1950s saw so many monster movies). So the fact that the immortal demon is getting most of the popular cultural play right now is meaningful. This turn to the dark side is especially evident in the way that George R.R. Martin has effectively turned J.R.R. Tolkien upside down, transforming the ultimately green and good Middle Earth into the grey and grim Westeros. A generation that once wrote "Frodo Lives!" on subway station walls has been succeeded by one whose imagination is casting dark shadows upon a bloody ground—a not very surprising reaction to a world overshadowed by the aftermath of the Great Recession and the 9/11 terror attacks.
But there is still more to the analysis, for there is also the full bore fascination with immortality as such to consider, the endless parade of movie characters who do not die, or, when they do, manage to come back to life—yeah, I know that Tolkien did this too with Gandalf, probably getting the idea from Conan Doyle, who once brought Sherlock Holmes, after a fall into an abyss, back to life, too—but it is getting excessive. This is a different kind of immortality from that of, say, What Dreams May Come , where the afterlife takes place in an afterworld which is wholly different from the one you lived in before you died. Somebody else is in charge in that afterworld, and the rules are different. In the current image of immortality, by contrast, you come back to life within this world, the ordinary one, and that may be a dangerous fantasy. Because I can't help but think again here of those campus killers who post up a grotesque kind of posthumous "survival" on the Internet before going out on what are often conceived as suicide missions. One has to wonder whether these killers really believe that they are going to die, or whether, deep down, they believe that they will somehow survive (or return) to enjoy their sudden "fame."
I don't know. But I do rather wish that popular culture wouldn't keep encouraging such fantasies. I don't see it doing any good.
Tags: cultural semiotics, The Last Witch Hunter , fantasy, campus shootings, misogyny, popular culture, current events
The difference between the angelic immortal and the demonic one is the kind of difference that points to cultural significance. Angels tend to be in the ascendant when a society is feeling good about things; demons serve as metaphors for all kinds of social anxieties (it was no accident, for example, that the Cold War-tormented 1950s saw so many monster movies). So the fact that the immortal demon is getting most of the popular cultural play right now is meaningful. This turn to the dark side is especially evident in the way that George R.R. Martin has effectively turned J.R.R. Tolkien upside down, transforming the ultimately green and good Middle Earth into the grey and grim Westeros. A generation that once wrote "Frodo Lives!" on subway station walls has been succeeded by one whose imagination is casting dark shadows upon a bloody ground—a not very surprising reaction to a world overshadowed by the aftermath of the Great Recession and the 9/11 terror attacks.
Every Which Way But Loose is known for its blend of action, comedy, and romance. The film features several memorable scenes, including a comedic bar brawl and a showdown with the motorcycle gang. Clint Eastwood's charismatic performance as Philo earned him praise from critics and solidified his status as a versatile actor. Despite mixed reviews from critics, Every Which Way But Loose was a commercial success, grossing over $100 million at the box office. It was followed by a sequel titled Any Which Way You Can in 1980, which continued the adventures of Philo and Clyde. In conclusion, Every Which Way But Loose is a fun and entertaining film that showcases Clint Eastwood's talent as an actor. The movie's unique blend of action, comedy, and romance, along with the inclusion of a lovable orangutan, makes it a memorable and enjoyable watch..
Reviews for "Thriving in Uncertainty: Embracing the Every Which Way But Loose Mindset"
1. John - 2/5 stars
I don't understand the hype around "Every Which Way But Loose". The movie lacked any real plot and seemed to rely solely on slapstick humor and cheap gags. The jokes were predictable and juvenile, leaving me feeling bored and unimpressed. The characters were one-dimensional and uninteresting, making it difficult for me to care about their journey. Overall, this film was a major disappointment, and I wouldn't recommend it to anyone looking for a well-written and engaging comedy.
2. Sarah - 2/5 stars
"Every Which Way But Loose" was a complete miss for me. The storyline felt disjointed and confusing, as if the filmmakers couldn't decide whether they wanted it to be a comedy, action film, or a drama. The attempts at humor were forced and fell flat, leaving me cringing rather than laughing. The acting performances were lackluster, and it felt like the actors themselves were not fully invested in their roles. I found myself constantly checking the time, waiting for this movie to be over. Save yourself the disappointment and skip this one.
3. Emily - 1/5 stars
I cannot express my disappointment enough with "Every Which Way But Loose". The humor was tasteless and offensive, relying on stereotypes and derogatory language to attempt a laugh. The characters were poorly developed, and the plot was virtually non-existent. I found myself rolling my eyes at the absurdity of some scenes and cringing at the inappropriate jokes. It's disheartening to see a film that relies on such lowbrow humor and fails to deliver any substance. I strongly discourage anyone from wasting their time on this film.