Lot of 3a, Clint Eastwood stills BRONCO BILLY (1980) Sandra Locke MINT vint&orig

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Lot of 3a, Clint Eastwood stills BRONCO BILLY (1980) Sandra Locke MINT vint&orig:
$4.70

(They ALL look MUCH better than these pictures above. The circle with the words, “scanned for , Larry41” does not appear on the actual photograph. I just placed them on this listing to protect this high quality image from being bootlegged.)

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Lot of 3a, Clint Eastwood stills BRONCO BILLY (1980) Sandra Locke MINT vintage original studio

– GET SIGNED!

This lot of approximately 8” x 10” photos will sell as a group. The first picture is just one of the group, please open and look at each still in this lot to measure the high value of all of them together. The circle with the words, “scanned for , Larry41” does not appear on the actual photographs. I just placed them on this listing to protect these high quality images from being bootlegged. They would look great framed on display in your home theater or to add to your portfolio or scrapbook! Some dealers by my lots to break up and sell separately at classic film conventions at much higher prices than my low minimum. A worthy investment for gift giving too!

PLEASE BE PATIENT WHILE ALL PICTURES LOAD After checking out this item please look at my other unique silent motion picture memorabilia and Hollywood film collectibles! SAVE BY SHIPPING SEVERAL WINS TOGETHER! See a gallery of pictures of my other sales HERE!

These photographs are original photo chemical created pictures (vintage, from original Hollywood studio release) and not a copies or reproductions.

DESCRIPTION:

Bronco Billy stars Clint Eastwood (who also directed) as the impresario of a seedy wild west show. Going along for the ride is spoiled socialite Sondra Locke, who is \"initiated\" by being pressed into service as the wrong end of a knife-throwing act. The rest of the troupe, like Eastwood himself, are losers in life who yearn for the freedom and opportunity of the long-gone Old West. Despite its raucous ad campaign, Bronco Billy is at base a wistful character study, avoiding the usual trappings of car chases and redneck villains and offering quiet chuckles instead of belly laughs. Unfortunately it failed to click with the public, compelling Eastwood to temporarily return to his old crash-bang-pow formula in his next few films.

CONDITION:

These quality vintage and original release stills are in MINT condition (old yes, but no sings of wear). PERFECT TO BE AUTOGRAPHED OR SIGNED AT A PERSONAL APPEARANCE! I doubt there are better condition stills on this title anywhere! Finally, they are not digital or repros. (They came from the studio to the theater during the year of release and went into storage for many years!) They are worth $10 each but since I have recently acquired two huge collections from life long movie buffs who collected for decades… I need to offer these choice items for sale on a first come, first service basis to the highest buyer.

SHIPPING:

Domestic shipping would be FIRST CLASS and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. International shipping depends on the location, and the package would weigh close to a pound with even more extra ridge packing.

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PAYMENTS:

Please pay PayPal! All of my items are unconditionally guaranteed. E-mail me with any questions you may have. This is Larry41, wishing you great movie memories and good luck…

BACKGROUND: Clint Eastwood\'s assured helmsmanship of this sweet and gentle comedy marks a change in direction and image for the former Dirty Harry. While Bronco Billy occasionally suffers from ingratiating lapses of tone, Eastwood\'s rock solid presence both before and behind the camera keeps the film from losing its focus. The aging and shabby Bronco Billy\'s fading success presages the impending death of the Western genre itself, which gave Eastwood his youthful employment and fame; hence, the film acts as a funhouse mirror, held up by a wry filmmaker delighting in making ironic commentary on his image and fame. Contrastingly, the film\'s sweetly nostalgic tone also conveys Eastwood\'s deep love of the Wild West and the simple values of the old-fashioned cowboy characters who fantasize about inhabiting it. Sondra Locke\'s shrieking debutant character provides comic and dramatic contrast to the genuinely folksy figures of the Bronco Billy show, allowing Eastwood to poke fun at the privileged, silver-spoon class who seem consistently immune to the charms of his blue collar (and occasionally red necked) efforts.

With his rugged good looks and icon status, Clint Eastwood was long one of the few actors whose name on a movie marquee could guarantee a hit. Less well-known for a long time (at least until he won the Academy Award as Best Director for Unforgiven), was the fact that Eastwood was also a producer/director, with an enviable record of successes. Born May 31, 1930, in San Francisco, Eastwood worked as a logger and gas-station attendant, among other things, before coming to Hollywood in the mid-\'50s. After his arrival, he played small roles in several Universal features (he\'s the pilot of the plane that napalms the giant spider at the end of Tarantula [1955]) before achieving some limited star status on the television series Rawhide. Thanks to the success of three Italian-made Sergio Leone Westerns -- A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966) -- Eastwood soon exchanged this limited status for bona fide international stardom. Upon his return to the U.S., Eastwood set up his own production company, Malpaso, which had a hit right out of the box with the revenge Western Hang \'Em High (1968). He expanded his relatively limited acting range in a succession of roles -- most notably with the hit Dirty Harry (1971) -- during the late \'60s and early \'70s, and directed several of his most popular movies, including 1971\'s Play Misty for Me (a forerunner to Fatal Attraction), High Plains Drifter (1973, which took as its inspiration the tragic NYC murder of Kitty Genovese), and The Outlaw Josey Wales (1976). Though Eastwood became known for his violent roles, the gentler side of his persona came through in pictures such as Bronco Billy (1980), a romantic comedy that he directed and starred in. As a filmmaker, Eastwood learned his lessons from the best of his previous directors, Don Siegel and Sergio Leone, who knew just when to add some stylistic or visual flourish to an otherwise straightforward scene, and also understood the effect of small nuances on the big screen. Their approaches perfectly suited Eastwood\'s restrained acting style, and he integrated them into his filmmaking technique with startling results, culminating in 1993 with his Best Director Oscar for Unforgiven (1992). Also in 1993, Eastwood had another hit on his hands with In the Line of Fire. In 1995, he scored yet again with his film adaptation of the best-selling novel The Bridges of Madison County, in which he starred opposite Meryl Streep; in addition to serving as one of the film\'s stars, he also acted as its director and producer. Aside from producing the critical and financial misstep The Stars Fell on Henrietta in 1995, Eastwood has proven to be largely successful in his subsequent efforts. In 1997, he produced and directed the film adaptation of John Berendt\'s tale of Southern murder and mayhem, Midnight in the Garden of Good and Evil, and he followed that as the director, producer, and star of the same year\'s Absolute Power, 1999\'s True Crime, and 2000\'s Space Cowboys. With Eastwood\'s next movie, blood Work (2002), many fans pondered whether the longtime actor/director still had what it took to craft a compelling film. Though some saw the mystery thriller as a fair notch in Eastwood\'s belt, many complained that the film was simply too routine, and the elegiac movie quickly faded at the box office. If any had voiced doubt as to Eastwood\'s abilities as a filmmaker in the wake of blood Work, they were in for quite a surprise when his adaptation of the popular novel Mystic River hit screens in late 2003. Featuring a stellar cast that included Sean Penn, Tim Robbins, and Kevin Bacon, Mystic River was a film that many critics and audiences cited as one of the director\'s finest. A downbeat meditation on violence and the nature of revenge, the film benefited not only from Eastwood\'s assured eye as a director, but also from a screenplay (by Brian Helgeland) that remained fairly faithful to Dennis Lehane\'s novel and from severely affecting performances by its three stars -- two of whom (Penn and Robbins) took home Oscars for their efforts. With Eastwood\'s reputation as a quality director now cemented well in place thanks to Mystic River\'s success, his remarkable ability to craft a compelling film was nearly beginning to eclipse his legendary status as an actor in the eyes of many. Indeed, few modern directors could exercise the efficiency and restraint that have highlighted Eastwood\'s career behind the camera, as so beautifully demonstrated in his 2004 follow-up, Million Dollar Baby. It would have been easy to layer the affecting tale of a young female boxer\'s rise from obscurity with the kind of pseudo-sentimental slop that seems to define such underdog-themed films, but it was precisely his refusal to do so that ultimately found the film taking home four of the six Oscars for which it was nominated at the 77th Annual Academy Awards -- including Best Director and Best Picture. Eastwood subsequently helmed two interrelated 2006 features that told the story of the Battle of Iwo Jima from different angles. The English-language Flags of Our Fathers relayed the incident from the American end, while the Japanese-language Letters from Iwo Jima conveyed the event from a Japanese angle. Both films opened to strong reviews and were lauded with numerous critics and industry awards, with Letters capturing the Golden Globe for Best Foreign Language film before being nominated for a Best Picture Academy Award. Nowhere near slowing down, Eastwood would direct and star in the critically acclaimed Gran Torino, as well as helming critical favorites like Invictus, the Changeling, Hereafter, and J. Edgar, racking up numerous awards and nominations. In 2014, he helmed the film adaptation of the Broadway musical Jersey Boys, to mixed reviews, and the biographical adaptation American Sniper. A prolific jazz pianist who occasionally shows up to play piano at his Carmel, CA restaurant, The Hog\'s Breath Inn, Eastwood has also contributed songs and scores to several of his films, including The Bridges of Madison County and Mystic River. Many saw his critically championed 1988 film Bird, starring Forest Whitaker (on the life of Charlie \"Bird\" Parker), as the direct product of this interest. Eastwood also served as the mayor of Carmel, CA, from 1986 until 1988.

Filmgoers who have attributed the stardom of actress Sondra Locke to the \"sponsorship\" of her onetime soulmate Clint Eastwood are suffering from the dreaded SMS, or Short Memory Syndrome. These worthies have forgotten that Locke was Oscar-nominated for her portrayal of a suicidal small-town girl in Heart is a Lonely Hunter (1968) while Eastwood was still grinding out spaghetti westerns. It is true that Locke\'s Flagging screen career was regenerated by her appearance in Eastwood\'s The Outlaw Josey Wales. It is also probable that she would not have been afforded the opportunity to play everything from supercilious heiresses (Broncho Billy) to foul-mouthed Federal witnesses (The Gauntlet) to vengeful murderers (Sudden Impact) without Eastwood\'s support and encouragement. The acrimonious \"palimony\" suit that followed the breakup of Locke and Eastwood served only to perpetuate the myth that Locke was a blonde nonentity coasting on the reputation of her live-in lover. That such a notion is idiotic has been proven by Sondra Locke\'s artistic achievements as director of such low-profile theatrical features as Ratboy (1990) and Impulse (1990) and such TVers as Death in Small Doses (1995).

Bucolic American actor Geoffrey Lewis is a stalwart member of the Clint Eastwood stock company. First appearing opposite Eastwood in Thunderbolt and Lightfoot (1974) Lewis has gone on to substantial roles in such Eastwood vehicles as Broncho Billy (1980) Any Which Way You Can (1981) and Pink Cadillac (1988). Outside the Eastwood orbit, Lewis has kept busy in films ranging from The Great Waldo Pepper (1973) to Lust in the Dust (1985). If you remember the 1980 sitcom Flo, you\'ll remember Geoffrey Lewis as bartender Earl Tucker.

Clint EastwoodBronco BillySondra LockeSondra LockeAntoinette LilyGeoffrey LewisGeoffrey LewisJohn ArlingtonScatman CrothersScatman CrothersDoc LynchBill McKinneyBill McKinneyLefty LeBowSamuel BottomsLeonard JamesDan VadisDan VadisChief Big EagleSierra PecheurLorraine Running WaterWalter BarnesWalter BarnesSheriff DixWoodrow ParfreyDr. CanterburyBeverlee McKinseyIrene LilyWilliam PrinceEdgar LiptonTessa RichardeTessa RichardeMitzi FritzTanya RussellDoris DukeChuck HicksCowboyBobby HoyCowboyLloyd NelsonSanatorium PolicemanGeorge OrrisonValerie ShanksSister MariaSharon SherlockLicense ClerkJames SimmerhanBank ManagerChuck WatersBank RobberChuck WatersJerry WillsBank RobberHank WordenGas Station Operator