In the Line of Fire

In Salon, Christopher Orr describes Clint Eastwood as "the rare artist who has gone from being condemned as a fascist propagandist by the left to being condemned as a fascist propagandist by the right." Lurking behind both attacks is the idea that Eastwood's later films are a liberal "apology" for his earlier movies. As Orr's sharp essay points out, the man's work is much more complicated than that.