Filo da torcere

Clint Eastwood finally shows a funny, soft side to his macho persona in this humorous action/comedy about a good-hearted brawler who adopts a sneaky orangutan named Clyde and they embark in a funny journey for reasons God only knows why. With the gritty brawl scenes and the constant redneck humor, this would make the viewer wonder why did old Dirty Harry himself would be in a movie like this? It looks like something from the weird minds of Burt Reynolds and Hal Ne

Right turn Clyde. A man, a monkey, some hells angels wannabee's and some dude named Orville. What more could you want? Throw in some bare knuckle action of Clint breaking everyones face loose and its a classic. This is without a doubt one of the all time late night classics. The story, (its fluff), revolves around blue collar tough guy Filo Beddo and his buddies. One of which is Clyde, an orangatan and Orville, a greasey tow tuck driver. Which is worse is up to you. The gang gets into some bare knuckle boxing fights for cash and heads out on the road. Running into trouble with a hilarious wannabe biker gang and ending up with a showdown between Tank Murdock and Philo for some sort of tough guy championship. The movie is dated, has some cheasy music, (at least its not disco) lots of fight scenes, some great running gags at bikers, cops, rhinestone cowboys, and generally anyone clint doesnt like, but its very enjoyable and definitely worth a trip to blockbuster.

Every Which Way But Loose is directed by James Fargo and written by Jeremy Joe Kronsberg. It stars Clint Eastwood, Sondra Locke, Geoffrey Lewis, Beverly D'Angelo and Manis The Orangutan.

It surprised the studio executives, even had them sweating about the release, but the adventures of Philo Beddoe (Eastwood) and his pet Orangutan proved to be a smash hit at the box office.

Beddoe is a trucker who also happens to make money by bare knuckle fighting, and he's very good at it. Clyde the orangutan is a full on personality himself, and between them they wind up being trailed by vengeful coppers and a very incompetent motorcycle gang. Philo's brother Orville (Lewis) is along for the ride and polar opposite love interests come into play via Lynn Halsey-Taylor (Locke) and Echo (D'Angelo).

Plot is very thin on the ground, we are in fact viewing a series of events that are mined for comedy purpose - which totally work. Action comes by way of the punch ups Philo gets into, with Eastwood as always proving to be one of the better punch throwing actors of his generation, while Lewis shines bright as the best friend and voice of reason to Philo.

The love story sub-plot involving Lynn and Philo - and its subsequent revelations - feels a touch out of place, since this is such a chilled and relaxed comedy picture. Which is the key, the makers know what they are doing, they are having fun and ask the audience to do the same. The public lapped it up and ensured that a sequel of similar tropes would follow. That also proved to be popular since it was more of the same.

Open the beer and popcorn and just run with it, it was never meant to be high art etc. 7/10

Sure, 'Every Which Way But Loose (1978)' is silly, but there's just something inherently endearing about seeing an orangutan and his truck-driving best buddy drink beer, get laid (yes, the ape sees some action) and bare-knuckle brawl their way through bent coppers and members of a Nazi biker gang as they traipse across the country after a girl who's up and vanished with both Eastwood's heart and a fistful (seven thousand) of his Dollars. It is a delightfully light flick. It's brazenly bizarre core concepts are gleefully glossed over to the point of pure passive acceptance on the part of the audience; as such it's highly entertaining throughout. It settles into its loose plot with a relaxed pace that pushes it from fun set-piece to fun set-piece, constantly keeping a smile on your face and burrowing its own private place within your heart. It's an unexpected joy. 7/10

Without this film, the entire genre of Orangutan films, as well as the film career of Tony Danza, would have been inconceivable. We, as Americans, have often felt it necessary to identify a "True American Art Form." Some have suggested jazz, others rap. However, it is quite possible that even those fine examples could be traced to other, non-American, sources. The Orangutan film is, without question, ours and ours alone. For other fine entries in this genre, I recommend "Going Bananas," "Any Which Way You Can," and certain key portions of "Cannonball Run II." When the history of this civilization is written by the super-intelligent species of rats that will no doubt conquer us, the chapter heading will no doubt read "Right Turn, Clyde."