There are a lot of weird things that have happened in the history of the movies, but Clint Eastwood riding with an Orangutan named Clyde, resulting in one of his biggest hits as an actor is certainly in the pantheon of cinematic outlandishness. How can a man who has epitomized the Spaghetti Western, and has stood as the shining example of machismo, achieve great commercial success from a silly comedy? Well, that’s immeasurable star power for you, and James Fargo’s Every Which Way but Loose is a testament to Eastwood’s versatility and innate magnetism with audiences.
‘Every Which Way but Loose’ Showcases Clint Eastwood’s Comedic Side
In Every Which Way but Loose, Clint Eastwood plays Philo Beddoe, a truck driver who earns money on the side as a prizefighter. He is introduced as a badass who will beat the living daylights out of you if you get on his bad side, which is what happens to a man from the local pub who threatens him over peanuts. That description alone isn’t veering far off from the usual character Eastwood plays. It even sustains the image of a Clint Eastwood character, but when he is revealed to be paired with Clyde the Orangutan and a bumbling sidekick in Orville (Geoffrey Lewis), the film begins to unravel a rather humorous sub-layer hiding beneath its main character’s gruff exterior. He treats the ape as his partner and shows immense patience for the buffoonery of his co-pilot, as well as his nagging mother.
Beddoe grows increasingly infatuated with Lynn Halsey-Taylor (Sondra Locke), a touring country singer with the seductive appeal of a femme fatale. Despite her glaring red flags, such as having a boyfriend while still entertaining other males, Beddoe becomes smitten and starts a budding relationship. When their romance starts to reach its fever pitch, she suddenly disappears to Colorado, leaving him dumbfounded. He brings Orville and Clyde as tag-alongs, and sweeps the state to find Lynn. Along the way, he enters into several disputes with a motorcycle gang named The Black Widows, as well as a group of law enforcement officers, both of which were on the receiving end of beatdowns courtesy of Beddoe.
The hilarious events, which all include some form of monkey business from Clyde, show a lighter side to the stoic and masculine Eastwood. Yes, the slapstick sequences were rudimentary, but there is something to be said about a star as big as himself having no qualms about looking silly. One particular scene, where Eastwood is imitating the primal call of an ape after soundly embarrassing the two cops, is as telling as it is peculiar. One could imagine how fans of his machismo-filled works could have felt about this abrupt shift. Were they pleasantly surprised, astonished, or even disgusted? Whatever the answer may be, the masses that flocked to the cinema were certainly satisfied, as Every Which Way but Loose raked in over $100 million at the box office, en route to becoming the second-highest-grossing picture of 1978.
Why Did Critics Hate ‘Every Which Way but Loose’?
Despite the financial success, it was a critical failure, with critics lambasting the film’s lack of depth and the sheer stupidity of its premise. It brought Clint Eastwood appreciation for his attempt to do something new, but the praise does not extend to his abilities and the picture as a whole. It’s also not as if people didn’t see this coming. This surprising comedic turn was rooted in a script that was virtually rejected by other big production companies.
As a matter of fact, Eastwood wasn’t even the first choice to play the role and was handed a copy of it because the writers thought he could give it to Burt Reynolds. Taking a personal liking to the script, and looking to further change his image as per the Eastwood course, Clint made sure to star in the project. Anyone and everyone in his circle told him that it was a disastrous move, but the ever-rebellious star decided to pursue it anyway. Risks always have rewards if you do it right, and Clint got a two-pronged prize that did not dull the shine of his stardom. Rather, the unlikely combination of Eastwood and comedy was a certified hit.
‘Every Which Way but Loose’ Attempts To Have an Emotional Center
While Every Which Way but Loose certainly deserves the disdain critics have for it, it does try its best to have a heart. Clyde the Orangutan and his antics are foolish, but they are endearing. He performs tricks and is almost human-like in his deeds. Who wouldn’t be fond of an ape that drinks beer, rides around in trucks, and is immensely loyal to his owner? Whether anyone disagrees, there will always be room in the audience’s feelings and thoughts for a cute animal that operates similarly to how they wish to approach life. However, there are two scenes that take the emotional cake in this doltish comedy.
In the climactic fight between Beddoe and the famed Tank Murdoch (Walter Barnes), the film unveils its ethical spirit. Beddoe is dominating his aging opponent, and the crowd turns on Murdoch, with chants of him being a complete has-been enveloping the venue. Beddoe realizes this, and lets his guard down, allowing his opponent to deliver a punch that knocks him out. Or so we thought. He winks at Orville and delivers an unsaid message. He can beat anyone in town, but he cannot afford to kick a man when he is down. It is symbolic of this new character that he tries to embody in the film. Philo may be tough, but deep inside, he is a good man.
More painful is when the love-stricken Philo discovers that Lynn is actually hustling guys for pleasure and money, and it turns a few minutes of film into an emotional ride. Beddoe mentions how he was the only one out of all the guys who thought of her more than just a one-night stand, and it just breaks Lynn. She shouts her hatred for her former lover, only to be ignored as he walks away. It is gut-wrenching to see Locke embroiled in an emotional scene, which may be reflective of her relationship with Eastwood at this time. One can’t help but feel for the country singer, despite her mischievous intentions.
The Lasting Legacy of ‘Every Which Way but Loose’
When discussing classics under the belt of the American icon Clint Eastwood, Every Which Way but Loose is not going to be on top of the list. Nor is it going to be one that is fondly remembered by many. It isn’t a good film per se, but it is an enjoyable watch nonetheless, leading to an equally successful (and also critically panned) 1980 sequel in Any Which Way You Can. While it may be flawed, it is a lasting image of a giant in the industry taking the risk of doing something out of their comfort zone. No one foresaw a giant in the industry in Eastwood heading in a comedic direction, but he made it work despite what others thought. It just goes to show that audiences will come in droves to see a Clint Eastwood project, regardless of how different it may be from the works they have grown accustomed to.