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Jaws

Most of it was shot in Australia

Three Mechanical sharks were built for the movie

The shoot was supposed to take 65 days but ended up taking 159

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5 Key Differences Between Jaws (1975) And Its Novel

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Kareem Abdul-Jabbar

He led his high school team to a 71 game win streak

He was offered 1 million dollars to play for the globetrotters but said no

He was also an actor and was mentored by Bruce Lee

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Once known as "Captain" of the court during the Los Angeles Lakers' "showtime" era, Kareem Abdul-Jabbar has brought similar heat to his takedown of HBO's Winning Time: The Rise of the Lakers Dynasty. Produced by Adam McKay and inspired by Jeff Pearlman's book Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the 1980s, " Winning Time Isn't Just Deliberately Dishonest, It's Drearily Dull," Abdul-Jabbar headlined his Tuesday Substack newsletter. The record-setting NBA player and author writes that while he initially "had no real interest in watching the show," what he did see when he finally tuned in "never held my interest enough for me to care, let alone be outraged."

Abdul-Jabbar says that his objections to Winning Time have little to do with either its factual accuracy (he's a fan of Hulu's historical farce , after all) or the way it depicts him. (Abdul-Jabbar is played onscreen by Solomon Hughes.) "I've battled leukemia, heart surgery, cancer, fire, and racism-a negative portrayal of me on a TV show has no effect on me personally," the 75-year-old writes. But he does take issue with a scene in which the fictional Abdul-Jabbar tells Ross Harris, his child actor Airplane! co-star, to "fuck off." The real Abdul-Jabbar says this never happened.

But if people come away from the show believing it did, writes Abdul-Jabbar, it could have a lasting impact on his charity, Skyhook Foundation, which provides access to STEM education to underserved communities. "I realize this was a shorthand way of showing my perceived aloofness during that time, even though I have often spoken about my intense, almost debilitating shyness," he writes of the "fuck off" scene. "Sometimes the attention in public became so overwhelming I shut down to protect my sanity. The filmmakers had access to that information, but truth and insight were not on their agenda."

While he's been a fan of McKay's other work, Abdul-Jabbar says Winning Time also commits the sin of being boring "over and over" and "suffers from some of the same shallowness and lazy writing" as McKay's recent best-picture nominated film Don't Look Up. "How was the plot constructed?" he asks. "If you gathered the biggest gossip-mongers from the Real Housewives franchise and they collected all the rumors they heard about each other from Twitter and then played Telephone with each other you'd have the stitched together Frankenstein's monster that is this show."

Abdul-Jabbar's scathing take on the show should come as no surprise to its creators. Magic Johnson has also spoken out against the project, telling Variety, "First of all, you can't do a story about the Lakers without the Lakers." (Neither he nor Abdul-Jabbar participated in Winning Time). Showtime's author disputed Johnson's comment, tweeting, "This irks the fuck out of me. For Showtime, I took e-v-e-r-y possible avenue when it came to interviewing @MagicJohnson, and was repeatedly turned down. So, hey. Consider the source."

Solomon Hughes had previously told that Abdul-Jabbar also declined to speak with him about the role: "His team was not interested," Hughes said. "I've been a lifelong fan of who he is. Obviously, there could have been some convenience to getting an opportunity to chat with him. That said, Kareem has been generous with regards to how much he's shared about his life."

Later in his Newsletter post, Abdul-Jabbar recommends that viewers skip Winning Time in favor of the AppleTV+ documentary They Call Me Magic and an upcoming Antoine Fuqua-directed Hulu docuseries that was made with the involvement of actual Lakers players. Abdul-Jabbar concludes that he thought Winning Time oversimplified his teammates and coaches. "The issue with Winning Time isn't so much that the filmmakers deliberately avoided facts as if they were an STD," he says, "but that they replaced solid facts with flimsy cardboard fictions that don't go deeper and offer no revealing insights."

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Kareem Abdul-Jabbar Calls 'Winning Time' "Deliberately Dishonest, Drearily Dull"

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Once known as "Captain" of the court during the Los Angeles Lakers' "showtime" era, Kareem Abdul-Jabbar has brought similar heat to his takedown of HBO's Winning Time: The Rise of the Lakers Dynasty .

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Clint Eastwood

He was expelled from high school

He was drafted into the army for the Korean war

He survived an emergency plane water landing

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San Francisco, California, USA

In a career that spanned over half a century, actor-director Clint Eastwood managed to become both a top box office draw and an Oscar-winning director, while managing to shrug off the trappings of Hollywood. Never one to worry about critical or audience reception, Eastwood amassed a staggeringly impressive body of work both in front of and behind the camera, while at the same time starri...

Married in December 1953; separated in 1979; divorced in 1982; reportedly given $25 million by Eastwood as divorce settlement.

Actor. Had relationship when both appeared on "Rawhide" in the early 1960s; mother of Eastwood's daughter Kimber.

Actor, director. Born in 1947; together from 1977-89; after breakup she sued him in 1990, claiming that he made her have two abortions and undergo sterilization, charges Eastwood denies.

Former flight attendant. Mother of Scott and Kathryn.

Richard Schickel, Alfred A. Knopf (1996)

Eastwood has a number of business interests including the Hog's Breath Inn in Carmel, California, a line of sportswear Tehama Clint and an alcoholic beverage, Pale Rider Ale.

"Maybe being an introvert gives me, by sheer accident, a certin screen presence, a mystique."---Eastwood on his screen persona quoted in The New York Times, November 21, 1993.

Biography

In a career that spanned over half a century, actor-director Clint Eastwood managed to become both a top box office draw and an Oscar-winning director, while managing to shrug off the trappings of Hollywood. Never one to worry about critical or audience reception, Eastwood amassed a staggeringly impressive body of work both in front of and behind the camera, while at the same time starring in two film series that were both legendary and notorious. After breaking through on television on "Rawhide" (CBS, 1959-1966), he personified the laconic Man With No Name in a trilogy of Spaghetti Westerns made by Italian director, Sergio Leone: "A Fistful of Dollars" (1964), "For a Few Dollars More" (1965) and "The Good, the Bad and the Ugly" (1966). While continuing to churn out revisionist Westerns throughout the 1970s, Eastwood essayed another taciturn loner bucking the system in "Dirty Harry" (1971). Spawning four sequels throughout the years, Eastwood's loose cannon police detective became both scourge and hero to audiences. Though he made his directing debut with "Play Misty for Me" (1971), Eastwood reached full fruition as a filmmaker with his Oscar-winning Western, "Unforgiven" (1992). As unpredictable as he was indefinable, Eastwood branched out into unchartered territory in the new millennium, helming such moving and deeply rich films as "Mystic River" (2003), "Million Dollar Baby" (2004) and "Letters From Iwo Jima" (2006), all of which earned considerable acclaim, while cementing Eastwood as one of the truly great creative talents in cinematic history.

Born on May 31, 1930 in San Francisco, Eastwood grew up in Depression-era California, where his parents, Clinton and Ruth, were itinerant workers. Because of his father's difficulty in finding steady work, Eastwood moved with his family from one Northern California town to another, attending some eight elementary schools in the process. The experience profoundly affected him to the point of turning Eastwood into an isolated and lonely child. By the time he was attending Oakland Technical High School, he was excelling at swimming and basketball, while playing jazz piano for meals at a local club. After graduation, he worked as a firefighter and lumberjack in Oregon, as well as a steelworker in Seattle. In 1951, Eastwood was drafted into the U.S. Army, where he was a swimming instructor during the Korean War. It was at Fort Ord near Carmel, CA that Eastwood first became interested in acting, thanks to his friendship with actors David Janssen and Martin Milner, who encouraged him to pursue a career in Hollywood after serving in the military. Taking their advice, Eastwood made his way to Southern California, where he studied at Los Angeles City College on the G.I. Bill.

Upon his arrival in Hollywood, Eastwood signed with Universal Studios as a contract player. Soon he began landing bit parts in rather inane movies, most notoriously in "Francis in the Navy" (1955), one of several comedies featuring Francis the Talking Mule. Also that year, Eastwood made a brief appearance as a lab technician in "Revenge of the Creature," the sequel to "Creature from the Black Lagoon" (1954), which was years later lampooned on the popular cult television show, "Mystery Science Theater 3000" (Comedy Central/Sci Fi Channel, 1989-2000). After more small roles in B-movie fare like "Lady Godiva" (1955), "Star in the Dust" (1956) and "Never Say Goodbye" (1956), Eastwood was dropped by Universal, forcing the young actor to make ends meet digging swimming pools and pumping gas while he contemplated a return to college. But while eating lunch with a friend at the CBS cafeteria, Eastwood was approached by a producer who asked him to audition for a new Western television series, "Rawhide." Despite blowing his lines at the audition, Eastwood was cast as Rowdy Yates, a ramrod under the command of trail boss Gil Favor (Eric Fleming) who helps lead a group of cowboys solving various problems while driving cattle along the Sedalia Trail.

Over the years, "Rawhide" steadily became a top-rated show, turning the unknown Eastwood into a television star. But film stardom, however, still remained out of his reach until he was handed a script written by up-and-coming Italian director, Sergio Leone. Though reluctant at first to read a script for a film to be shot by an Italian company in Spain, Eastwood was convinced by his agent to give the screenplay a once over. He was immediately drawn into a revisionist take on the classic Western, which featured a nameless antihero out to get what he wants rather than helping those in need. On condition that he be allowed to cut some of his dialogue - the rare instance of an actor requesting fewer lines - Eastwood traveled to Spain to film what became the first in a trilogy of Spaghetti Westerns, "A Fistful of Dollars" (1964), a remake of Akira Kurosawa's "Yojimbo" (1961). Eastwood played the laconic and lethal Man With No Name, who finds himself in a nameless town torn apart by two feuding families. Hiring himself out as a mercenary, the lone drifter plays one side against the other until nothing remains of either side. Onscreen, Eastwood started to develop a minimalist acting style for which he soon became famous.

Eastwood went on to revive the nameless drifter in "For a Few Dollars More" (1965), a richer, more mythologized film that focused on two ruthless bounty hunters (Eastwood and Lee Van Cleef) who form a tenuous partnership to hunt down a wanted bandit (Gian Maria Volontè). Perhaps because it was the middle film, "For a Few Dollars More" was less appreciated than its predecessor, despite enhanced character motivation, visual style and production values. But it was the last film, "The Good, the Bad and the Ugly (1966), that placed the Man With No Name into the cinematic pantheon. Set during the waning days of the Civil War, Eastwood's enigmatic loner, nicknamed Blondie, teams up with Tuco (Eli Wallach), a.k.a. The Ugly, an oafish bandito with a price on his head in search of $200,000 in Confederate coin. Since both possess one-half of the location, they are forced into an uneasy partnership. Visually stunning and stylistic - particularly the legendary three-way standoff in a circular graveyard - "The Good, the Bad and the Ugly" was an immediate hit upon its American release in 1967 and caped a trilogy of films that were inspirational for generations of future filmmakers.

Returning Stateside an international star, Eastwood was in demand for lead roles in Hollywood films, several of which cemented his status as a top box office draw. After forming his production company, Malpaso, he starred in a pseudo-Western, "Hang 'Em High" (1968), playing a former lawman-turned-rancher who seeks revenge on nine men after they wrongfully accused him of stealing a herd of cattle and hang him by the neck, leaving him for dead. In "Coogan's Bluff" (1968), a smart urban Western that marked the beginning of a long and successful collaboration with director Don Siegel, Eastwood played an Arizona sheriff sent to New York City to extradite an escaped killer (Don Stroud). He next starred in his first bona fide blockbuster, "Where Eagles Dare" (1968), a World War II espionage actioner that followed a group of British special forces lead by a secretive major (Richard Burton) on a dangerous operation behind German lines to rescue a captured American general (Robert Beatty). But the major knows more about their mission than he lets on, until it is finally revealed after members of his squad get killed one by one, that the operation was designed to ferret out a high-level traitor inside British intelligence. Despite the costly budget, "Where Eagles Dare" was a financial hit and became one of Eastwood's most revered films of his early career.

By the time that the 1960s were coming to a close, Eastwood had become one of the biggest stars in the world. He did, however, get a chink in his armor from his next film, "Paint Your Wagon" (1969) a much-maligned, but ultimately enjoyable Western musical set during the California gold rush about two prospectors (Eastwood and Lee Marvin) who somehow wind up married to the same woman (Jean Seberg). Despite the strong leading cast, "Paint Your Wagon" suffered from all three stars being unable to carry a tune. Eastwood proved especially embarrassing with his strained wailing on "I Talk to the Trees" and "Gold Fever." Somewhat redeeming himself, he took one of his first romantic leads in "Two Mules for Sister Sara" (1970), playing a tough cowboy who rescues a woman (Shirley Maclaine) from being raped. But while escorting her to a band of anti-French revolutionaries, he's surprised to learn that she's a nun who may or may not be what she claims.

Eastwood then joined forces with an all-star cast, including Telly Savalas, Don Rickles, Carroll O'Connor and Donald Sutherland, for "Kelly's Heroes" (1970), a World War II action comedy that depicted a motley crew of Army soldiers who go 30 miles behind enemy lines to steal a cache of gold bars from the Nazis. Despite a discordant convergence of black comedy, anti-war commentary and action sequences, coupled with a middling critical reception, "Kelly's Heroes" went on to become another hit for Eastwood. Then with the encouragement and guidance of mentor Don Siegel, Eastwood made his directorial debut with "Play Misty for Me" (1971), a sexual thriller about an obsessive woman (Jessica Walters) who pursues a jazz deejay (Eastwood) after they had what was supposed to be a one-night stand. Though Universal was doubtful about Eastwood in this sort of lead role, he offered his directing services gratis. The result was a successful take at the box office and confirmation that the actor's talents extended into other avenues.

While he was laying the foundation for what turned out to be an acclaimed and award-winning career as a director, Eastwood joined forces again with Siegel to create one of the most memorable and controversial characters of the late 20th century. In "Dirty Harry" (1971), he played Inspector Harry Callahan, a loose cannon San Francisco detective who liked to shoot first and ask questions later. Eastwood injected both a seething callousness and deep sense of morality into his rogue cop, who runs afoul of the system while ridding the streets of punks and degenerates, often in an unflinchingly violent way. Both actor and director were wholly unprepared for the reception they received; they simply thought they were making an exciting action movie. Despite the controversy over the hardcore violence - film critic Pauline Kael called it a "right-wing fantasy" and "fascist medievalism" - "Dirty Harry" was an enormous success at the box office, while the character himself entered the halls of cinematic infamy with the line, "[B]eing as this is a .44 Magnum, the most powerful handgun in the world and would blow your head clean off, you've got to ask yourself one question: Do I feel lucky? Well, do you, punk?

After starring in an Americanized version of Leone's Spaghetti Western, "Joe Kidd" (1972), Eastwood revived Dirty Harry Callahan in "Magnum Force" (1973), which followed the wayward detective as he tracks down a vigilante group that kills scofflaws set free by the courts. Not as stylistic or as memorable as the first installment, "Magnum Force" proved successful enough to warrant another sequel. In the meantime, Eastwood returned to the director's chair for "High Plains Drifter" (1973), a bleak, apocalyptic Western in which he offered a variation on his Man With No Name, playing a mythical stranger who sweeps into a desolate town ravaged by a group of outlaws. Eastwood borrowed heavily from his experiences with Sergio Leone to create an unsettling tale about an antihero hell-bent on exacting revenge, which was publicly criticized by old school Western hero, John Wayne, for offending his sensibilities. Nonetheless, "High Plains Drifter" was the biggest box office draw of that year. Exploring new territory, Eastwood directed "Breezy" (1973), a long-forgotten romantic drama about a recently divorced middle-aged man (William Holden) who develops a love affair with a younger counterculture girl (Kay Lenz). Despite the chemistry between the two leads and sweet nature of the story, "Breezy" ranked low on the list of Eastwood's directorial accomplishments.

In 1975, following a turn as a retired thief who teams up with an innocent drifter (Jeff Bridges) on a cross-country journey after a robbery gone bad in "Thunderbolt and Lightfoot" (1974), Eastwood once again directed two films in differing genres. Returning to the Western, he directed and starred in "The Outlaw Josey Wales" (1975), another revisionist take on the classic movie staple that saw him play a peaceful farmer driven to revenge after his family is murdered by gunmen. He then turned to an action thriller for "The Eiger Sanction" (1975), playing an art history professor who moonlights as a hired assassin for an international intelligence consortium. For a third time, Eastwood played Dirty Harry; this time in "The Enforcer" (1976), an underappreciated installment to the series that paired Harry with a female detective (Tyne Daly), while inserting a much needed comedic tone with several funny and memorable verbal exchanges. Back in the director's chair, he directed and starred in "The Gauntlet" (1977), an action comedy that was a subtle spoof on his Dirty Harry persona. Eastwood played Detective Ben Shockley, an alcoholic do-nothing tasked with escorting a Las Vegas hooker (Sandra Locke) to a mob trial in Phoenix.

By the late 1970s, Eastwood began to break away from his tough guy characterizations by diversifying his resume with more comedies and romantic roles. Despite the shift in focus, he remained one of the biggest box office draws in the world, while simultaneously adding more colors to his directing palette. In "Every Which Way But Loose" (1978), he played a bare-knuckle boxer who pals around with his orangutan, Clyde, while falling for a country-and-western singer (again, Eastwood's off-screen girlfriend, Locke). Despite the threadbare plot and overall goofiness of the concept, the film nonetheless proved to be another gigantic hit for Eastwood. Turning to prison drama, he starred in Siegel's tense thriller, "Escape From Alcatraz" (1979), playing real-life convict Frank Morris, who in 1962 managed to escape from the famed island prison with two other cons (Fred Ward and Jack Thibeau), only to disappear without a trace. The following year, he scored again with the sequel "Any Which Way You Can" (1980), then showed touches of a sweeter, gentler side with his modern Western, "Bronco Billy" (1980), a light-hearted look at a traveling Old West show led by a loveable loser yearning for freedom and days gone by. Despite his deft direction, "Bronco Billy" was a rare box office failure for Eastwood.

In 1982, Eastwood churned out two more films as a star and director: the Cold War-themed spy thriller, "Firefox," in which he played an American pilot who gets smuggled into the Soviet Union in order to steal a top secret supersonic jet fighter, and "Honkytonk Man," a touching drama about a farmer who gets one last chance at musical stardom in Nashville. Eastwood then stepped behind the camera to direct himself as Dirty Harry in "Sudden Impact" (1983), a lesser installment to the series that nonetheless bestowed the immortal line, "Go ahead, make my day," upon the collective conscience. Always one to try a different take on a familiar character, Eastwood starred in "Tightrope" (1984), a crime thriller in which he played a New Orleans detective on the trail of a serial killer whose penchant for prostitutes and S&M mirrors his own. Eastwood then made another rare misstep with the period comedy "City Heat" (1984), playing a police detective trying to take down a mob boss with a roguish private eye (Burt Reynolds). Eastwood jumped back into the saddle again for the bleak Western "Pale Rider" (1985), in which he played the Preacher, a mysterious drifter who rides into a small gold mining town and helps the locals fight back against corporate interests threatening to take their land.

Never one to be pulled into the claptrap of Hollywood, Eastwood chose to make his residence in Carmel-by-the-Sea, CA, a wealthy town and artist enclave where in 1986, he ran a brief, but successful campaign for mayor. Frustrated by politics as usual, the actor decided to enter the race late in the election cycle, promising better relations between business and the community. Surprisingly, he won with an astounding 72 percent of the vote, and proceeded to strike a balance between conservationists and business development. During his two-year term, Eastwood continued to make films, starring in "Heartbreak Ridge" (1986), in which he played a tough-as-nails Marine drill sergeant tasked with straightening out a squad of misfits, then returned for a fifth and perhaps last time as Dirty Harry in "The Dead Pool" (1988), the least enjoyable installment of the series. Back to directing, his portraits of tormented men with intense inner lives and little ability to communicate reached an apogee with "Bird" (1988), a moody look at troubled jazz musician Charlie "Bird" Parker (Forest Whitaker). A longtime fan of jazz, as well as an accomplished musician and composer in his own right, Eastwood was a natural fit to direct the film. One of his most accomplished features, "Bird" marked the first time that Eastwood opted to break away from straightforward narrative in favor of a more impressionistic style.

By the time the 1990s rolled around, Eastwood began to see signs that he was becoming less of a box office draw. After starring in the forgettable "Pink Cadillac" (1989), Eastwood encountered two significant financial failures: "The Rookie" (1990), a formulaic cop thriller about a veteran detective schooling a rookie (Charlie Sheen) while trying to track down a drug dealer, and "White Hunter, Black Heart" (1990), an interesting, but ultimately flawed fictional take on the shooting of John Huston's "The African Queen" (1951). Eastwood directed the latter, which proved to be another welcome departure stylistically, though the engaging film barely made a peep at the box office. But Eastwood enjoyed a popular and critical rebirth with "Unforgiven" (1992), a so-called anti-Western which earned him Oscars for Best Picture and Best Director, as well as several other major awards. A spellbinding morality tale about the effects of killing on a man's soul, "Unforgiven" took both an ironic and sentimental view of several of Eastwood's earlier gunfighter incarnations. Dedicated to his mentors "Sergio" and "Don," the film was a commercial hit, grossing over $100 million during its long run, while single-handedly reinvigorating a favorite Hollywood genre that had seemingly run its course.

Eastwood's next star vehicle, "In the Line of Fire" (1993), was an immediate hit, turning the tide against the decline in his box office prowess. The taut political thriller pitted a veteran Secret Service agent (Eastwood), still troubled by his inability to protect John F. Kennedy in Dallas, against a brilliant, but obsessed assassin (John Malkovich) determined to kill the current president (Jim Curley). Eastwood directed his next feature, "A Perfect World" (1993), in which he played an experienced law man tracking down a dangerous escaped convict (Kevin Costner) with an eight-year-old hostage (T.J. Lowther). Even the most jaded of critics praised Eastwood's restrained adaptation of "The Bridges of Madison County" (1995), which took an overwrought bestseller and honed it into a finely acted adult love story. A mature look at passion, "Bridges" not only exhibited Eastwood's subtle directorial touch, but also provided him with a romantic lead that he played with confidence and charm. Starring opposite Meryl Streep, he exuded a low-key sexuality while revealing a soft, yet masculine side. Eastwood also contributed original compositions to the soundtrack, which were released on his newly launched Malpaso Records. That same year, Eastwood made an uncredited cameo in the children's fantasy, "Casper" (1995).

With "Absolute Power" (1997), Eastwood began to address the issue of growing old. In this uneven thriller, he portrayed a thief out to commit one last crime before retiring, but witnesses a murder involving the President of the United States (Gene Hackman). Also that year, he stayed behind the camera for "Midnight in the Garden of Good and Evil" (1997), a slow-moving adaptation of the acclaimed true-life novel about a shocking murder in Savannah, GA that gets pinned on a high-society figure (Kevin Spacey). For "True Crime" (1999), Eastwood portrayed a burnt-out reporter who finds a last shot at redemption when he becomes convinced a death row inmate (Isaiah Washington) is innocent. He made his most blatant attempt to deal with aging with his next directorial effort, "Space Cowboys" (2000), in which he played the leader of a quartet of veteran astronauts called out of retirement to fix a satellite first sent into space 40 years earlier. In 2002, he directed and starred in "Bloodwork," a competent, but standard thriller with Eastwood as an FBI agent taunted by a clever serial killer (Jeff Daniels).

Eastwood received high praise when he stepped behind the camera for "Mystic River" (2003), an adaptation of Dennis Lehane's crime novel which explores the interwoven history of three men (Sean Penn, Tim Robbins and Kevin Bacon) and the terrible events from their boyhood that later force them to make irrevocable choices. Considered one of his best pictures since "Unforgiven," the film earned six Oscar nominations, including Eastwood's second as Best Director. Oscar buzz ignited anew with his follow up, "Million Dollar Baby" (2004), which was an even more effective effort than "Mystic River." Eastwood played Frankie Dunn, an old-school boxing trainer afraid of intimacy after a painful rift with his daughter. With the pointed advice of his friend and former boxer (Morgan Freeman), Dunn gets a last shot at coaching a champion (Hilary Swank), who in turn becomes the daughter he never had, only to be faced with a moral choice after a sudden tragedy. Praised by critics as an exquisite and subtle film, "Million Dollar Baby" received wide acclaim after earning five Golden Globe nominations, including Best Director, which Eastwood ultimately claimed. Meanwhile, the film earned seven Academy Award nods, including Best Picture, Best Director and a surprising Best Actor nomination for Eastwood - only the second of his long career. He failed to win the acting award, but did take home Best Director and Best Picture Oscars.

As he mellowed with age, Eastwood became more ruminative and thought-provoking on a variety of themes, echoes of which were seen in his examination of violence in "Unforgiven." With "Flags of Our Fathers" (2006), an epic World War II drama that focused on the three surviving U.S. servicemen who raised the American flag during the battle for Iwo Jima, Eastwood used the war genre to explore how a single image can rally a nation in a time of great need, while cynical politicians callously disregard the truth. Leapfrogging from the violence of the black sand beaches to the war bond campaign back home, "Flags of Our Fathers" focused on two Marines (Adam Beach and Jesse Bradford) and a Navy corpsman (Ryan Phillippe) being shuttled across the nation by the government to raise money as they cope with the official sanitized version of events.

Even before the film was released, "Flags of Our Fathers" was considered to be a top contender for Oscar consideration, including Eastwood, whose rich and deeply engaging direction seemed to poise him for a third straight nomination. But it was the companion film, "Letters from Iwo Jima" (2006), which was shot on the heels of its predecessor and focused the oft-told tale from the unique perspective of the Japanese defenders led by an ingenuous general (Ken Watanabe), that earned Eastwood major award recognition. "Letters from Iwo Jima" received Golden Globe Award nominations in 2006, including one for Best Director for Eastwood. He also earned a second Best Director nod for his work on "Flags of Our Fathers." He took one out of three nominations, winning a Golden Globe for Best Foreign Language Film for "Letters from Iwo Jima." He went on to earn yet another Best Director nomination at the Academy Awards, but predictably lost out to Martin Scorsese for "The Departed."

An intensely private person, Eastwood was rarely featured in the tabloid press. His only real brush came in 1989 when former co-star and live-in lover, Sandra Locke, filed a palimony suit after the couple split. Then in 2008, Eastwood was publicly criticized by director Spike Lee for not presenting a single black character in either Iwo Jima film, despite their active participation in the battle. Eastwood shot back, saying that the film was about the flag-raising and told Lee to "shut his face." Later in the year, Eastwood was earning press for what he did best - acting and directing. He first helmed the period thriller "Changeling" (2008), starring Angelina Jolie as a distraught mother who battles a corrupt Los Angeles Police Department in 1928 after they claim to find her missing son, whom she knows is still missing. Then he directed and starred in "Gran Torino" (2008), a low-key thriller about a widowed, hateful and unhappy old man (Eastwood) who tries to reform a neighborhood Korean boy (Bee Vang) after he tries to steal his prized 1973 car, only to find himself protecting the boy's family from a local Asian gang. Eastwood earned a Golden Globe nomination for his "Changeling" score, and also earned a nod at the same awards for the title song to "Gran Torino."

Eastwood next directed "Invictus" (2009), the true story about how South African president Nelson Mandela (Morgan Freeman) helped unite a fractured nation by inspiring rugby captain Francois Pienaar (Matt Damon) to lead his sub-par team toward an unlikely World Cup championship in 1995. Hailed by critics, "Invictus" was another inspired effort by the director, who earned a Golden Globe nomination for Best Director. In his role as a producer, Eastwood earned an Emmy nomination for Outstanding Nonfiction Special for "Johnny Mercer: The Dream's On Me" (TCM, 2010), while he stepped behind the camera again to direct "Hereafter" (2010), a supernatural drama about three divergent people (Matt Damon, Cécile De France and George McLaren) who are brought together by their profound experiences with death. The film earned mixed reviews and suffered from meager box office totals. Eastwood moved on to direct one of his most ambitious films, "J. Edgar" (2011), a biography of enigmatic longtime FBI Director J. Edgar Hoover (Leonardo DiCaprio) that focused on his scandalous career and controversial private life. While critics were split over Eastwood's directing, praise was near unanimous for DiCaprio's sterling performance, which included being aged 40 years to depict Hoover as an older man.

Although a registered Republican since the early-1950s, Eastwood's politics, like the man himself, were that of a true iconoclast. Over the years he had voted for candidates from both parties and publicly denounced the wars in Vietnam and Iraq. And while he had initially wished President Barack Obama well during the start of his first term in office, Eastwood, became a vocal booster for Republican candidate Mitt Romney in the 2012 election, dissatisfied with what he viewed as Obama's inability to govern. After attending a fundraiser for Romney's campaign earlier in the month, Eastwood made an appearance as the surprise guest speaker at the close of the Republican National Convention in August. In a display that bordered on theater of the absurd, the 82-year-old actor embarked on a free-form discussion with President Obama - represented by an empty chair on the stage - during which he expressed his dissatisfaction with the president and his endorsement of Romney. So odd was this discourse with an imaginary Obama, pundits were stunned and Eastwood became a particular target of comedians and the subject of mocking Internet sites and memes .

Eastwood's personal life returned to the headlines in October 2013, when his wife of 17 years, former TV news anchor Dina Eastwood, filed papers for legal separation. In 2012, Dina had starred in "Mrs. Eastwood and Company" (E! 2012), a short-lived reality series about her work as the manager of an a cappella singing group and her life raising their teenage daughter Morgan. Celebrity gossip reporters claimed that the show had strained the couple's marriage. Dina Eastwood withdrew the separation papers and on October 24, 2013, filed for divorce, claiming irreconcilable differences and asking for sole physical and joint legal custody of their daughter. Plowing ahead with his directing work amid the personal drama, Eastwood directed two more films in quick succession. "Jersey Boys" (2014) was a screen adaptation of the hit musical about the career of Frankie Valli and the Four Seasons, while "American Sniper" (2014) told the story of Chris Kyle (Bradley Cooper), an elite Navy SEAL during the Iraq War whose work with struggling fellow veterans came to a shocking end in 2013.

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Articles

Two Nights of Clint Eastwood - 10/16 & 10/23

4 Movies / October 16 and 23
Film historian David Thomson wrote of Clint Eastwood that "he has become an authentically heroic image, a man cast in Gary Cooper's rock." As both actor and director, Eastwood has achieved an almost majestic presence that is rare among American filmmakers.

Eastwood is still going strong at age 91, with the recent release of Cry Macho (2021), in which he serves as producer, director, and leading man. In this film he plays a former rodeo star who is hired to reunite a young man with his father.

TCM's salute to this legend encompasses two evenings and four films, with Eastwood acting in three of them and serving as producer and director on two.

Clint Eastwood was born May 31, 1930, in San Francisco and grew up in nearby Piedmont. After relocating to Los Angeles in the early 1950s, he began working in films by playing uncredited bit parts. His breakthrough role was that of Rowdy in the CBS-TV series Rawhide (1959-65).

Eastwood emerged as a big-screen star in such Italian-made "spaghetti Westerns" as A Fistful of Dollars (1964) and The Good, the Bad and the Ugly (1966). He made his debut as a director with Play Misty for Me (1971).

His many other hits have included Dirty Harry (1971), High Plains Drifter (1973), Magnum Force (1973), The Outlaw Josey Wales (1976), The Enforcer (1976), Escape from Alcatraz (1979), Sudden Impact (1983), Pale Rider (1985), Heartbreak Ridge (1986), In the Line of Fire (1993), and The Bridges of Madison County (1995).

In addition to Unforgiven (1992, see below), films bringing Eastwood Academy Awards and nominations have included:

Mystic River (2003): Nominee, Best Picture and Director.
Million Dollar Baby (2004): Winner, Best Picture, Director, Actress (Hilary Swank), and Supporting Actor (Morgan Freeman); nominee, Eastwood as Best Actor.
Letters from Iwo Jima (2006): Nominee, Best Picture and Director.
American Sniper (2014): Nominee, Best Picture.

In 1995 the Academy presented Eastwood with the Irving G. Thalberg Award for his humanitarian efforts.

Eastwood also composed the musical scores for several of his films, including Mystic River, Million Dollar Baby, and Flags of Our Fathers (2006).

Below are the films in TCM's tribute.

Where Eagles Dare (1968) is a British war film about Allied agents, including those played by Eastwood and top-billed Richard Burton, who storm a castle where Nazis are holding an American general prisoner. Brian G. Hutton directs from a script adapted by Alistair MacLean from his 1966 novel.

Every Which Way but Loose (1978) is an action comedy about a trucker who roams the American West with a pet orangutan named Clyde. This boisterous film, directed by James Fargo, was a radical change for Eastwood as an actor. It became a surprise hit and inspired a sequel, Any Which Way You Can (1980).

Bird (1988), a biographical film about jazz saxophonist Charlie "Bird" Parker, was produced and directed by Eastwood and reflects his love of jazz and musicians. Joel Oliansky wrote the script, which delves into Parker's life from his childhood to a premature death at age 34. Forest Whitaker plays the adult Parker, and Diane Venora is his wife, Chan.

Unforgiven, a revisionist Western written by David Webb Peoples that addresses the nature of violence, was a breakthrough for Eastwood. It won him his first Oscar nomination and award as Best Director and established him as a major filmmaker.

Eastwood stars in an Oscar-nominated performance as an aging outlaw who takes on one more assignment to claim a much-needed bounty. The film scored a total of nine Oscar nominations and won in the following categories: Picture, Director, Supporting Actor (Gene Hackman), and Film Editing.

Critic Richard Corliss wrote in Time that The Unforgiven was "Eastwood's meditation on age, repute, courage, heroism - all those burdens he has been carrying with such grace for decades."

Two Nights of Clint Eastwood - 10/16 & 10/23

4 Movies / October 16 and 23Film historian David Thomson wrote of Clint Eastwood that "he has become an authentically heroic image, a man cast in Gary Cooper's rock." As both actor and director, Eastwood has achieved an almost majestic presence that is rare among American filmmakers.Eastwood is still going strong at age 91, with the recent release of Cry Macho (2021), in which he serves as producer, director, and leading man. In this film he plays a former rodeo star who is hired to reunite a young man with his father.TCM's salute to this legend encompasses two evenings and four films, with Eastwood acting in three of them and serving as producer and director on two. Clint Eastwood was born May 31, 1930, in San Francisco and grew up in nearby Piedmont. After relocating to Los Angeles in the early 1950s, he began working in films by playing uncredited bit parts. His breakthrough role was that of Rowdy in the CBS-TV series Rawhide (1959-65).Eastwood emerged as a big-screen star in such Italian-made "spaghetti Westerns" as A Fistful of Dollars (1964) and The Good, the Bad and the Ugly (1966). He made his debut as a director with Play Misty for Me (1971).His many other hits have included Dirty Harry (1971), High Plains Drifter (1973), Magnum Force (1973), The Outlaw Josey Wales (1976), The Enforcer (1976), Escape from Alcatraz (1979), Sudden Impact (1983), Pale Rider (1985), Heartbreak Ridge (1986), In the Line of Fire (1993), and The Bridges of Madison County (1995). In addition to Unforgiven (1992, see below), films bringing Eastwood Academy Awards and nominations have included: Mystic River (2003): Nominee, Best Picture and Director.Million Dollar Baby (2004): Winner, Best Picture, Director, Actress (Hilary Swank), and Supporting Actor (Morgan Freeman); nominee, Eastwood as Best Actor.Letters from Iwo Jima (2006): Nominee, Best Picture and Director.American Sniper (2014): Nominee, Best Picture. In 1995 the Academy presented Eastwood with the Irving G. Thalberg Award for his humanitarian efforts.Eastwood also composed the musical scores for several of his films, including Mystic River, Million Dollar Baby, and Flags of Our Fathers (2006).Below are the films in TCM's tribute. Where Eagles Dare (1968) is a British war film about Allied agents, including those played by Eastwood and top-billed Richard Burton, who storm a castle where Nazis are holding an American general prisoner. Brian G. Hutton directs from a script adapted by Alistair MacLean from his 1966 novel.Every Which Way but Loose (1978) is an action comedy about a trucker who roams the American West with a pet orangutan named Clyde. This boisterous film, directed by James Fargo, was a radical change for Eastwood as an actor. It became a surprise hit and inspired a sequel, Any Which Way You Can (1980).Bird (1988), a biographical film about jazz saxophonist Charlie "Bird" Parker, was produced and directed by Eastwood and reflects his love of jazz and musicians. Joel Oliansky wrote the script, which delves into Parker's life from his childhood to a premature death at age 34. Forest Whitaker plays the adult Parker, and Diane Venora is his wife, Chan.Unforgiven, a revisionist Western written by David Webb Peoples that addresses the nature of violence, was a breakthrough for Eastwood. It won him his first Oscar nomination and award as Best Director and established him as a major filmmaker.Eastwood stars in an Oscar-nominated performance as an aging outlaw who takes on one more assignment to claim a much-needed bounty. The film scored a total of nine Oscar nominations and won in the following categories: Picture, Director, Supporting Actor (Gene Hackman), and Film Editing.Critic Richard Corliss wrote in Time that The Unforgiven was "Eastwood's meditation on age, repute, courage, heroism - all those burdens he has been carrying with such grace for decades."

Bibliography

Richard Schickel, Alfred A. Knopf (1996)

Notes

Eastwood has a number of business interests including the Hog's Breath Inn in Carmel, California, a line of sportswear Tehama Clint and an alcoholic beverage, Pale Rider Ale.

"Maybe being an introvert gives me, by sheer accident, a certin screen presence, a mystique."---Eastwood on his screen persona quoted in The New York Times, November 21, 1993.

He was named Harvard's Hasty Pudding Man of the Year in 1991.

Eastwood was sued by former lover Sondra Locke in 1994 for fraud and contractual interference stemming from what she claimed was a bogus production deal made with Warner Bros in return for her declining to pursue a palimony case against Eastwood. In 1996, the matter went to trial, but Eastwood settled out of court for an undisclosed amount of money.

While speaking at the 92nd Street Y in NYC, Eastwood was reported to have said: "When I was doing 'The Bridges of Madison County', I said to myself 'This romantic stuff is really tough. I can't wait to get back to shooting and killing.'"---From Daily News, November 15, 1996.

"What? My modern, dysfunctional family? [Laughs.] Life is no great plan. Mine is career-driven and fate-driven. I was in a job that took me around the world. I wasn't always the good guy I could have been. But I haven't run away from members of my family, either. I'm a very integral part of their lives. Dina is wonderful with my ex-wife and the others from my past relationships. She's brought them all together. My ex-wife and I are still business investors, and when she needs something, Dina and I are the first ones there. So I'm blessed."---Clint Eastwood on how some might not approve of his personal life to USA Weekend, January 25, 2004.

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In a career that spanned over half a century, actor-director Clint Eastwood managed to become both a top box office draw and an Oscar-winning director, while managing to shrug off the trappings of Hollywood. Never one to worry about critical or audience reception, Eastwood amassed a staggeringly...

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Oldsmobile Cutlass 1972

Has 180 hp

Is a convertible and has 2 doors

It was the first fully automatic transmission for a mass-market vehicle

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When I bought this 1972 Oldsmobile Cutlass Supreme in 2012, it was advertised as a "tribute car." However, I feel it is best labeled as a modified Cutlass Supreme. It is titled as a '72 but has a 1970 front clip, 4-4-2 badging, W-30 striping and Chevelle seat covers. The engine is a 350-cid V-8 (I wanted this engine versus the 455 so I could get 14 mpg versus 7 to 9 with a 455).

The car was found online and located in the Columbus, Ohio, area. I talked to the owner several times and decided to see the car. We live in central Indiana, so it was a four-hour drive to examine the car. My son and grandson went with me to see the car and my son said before we left that everything we knew seemed to indicate this was the car for me. He said to get the cash necessary to buy the car and we would take the trailer. If all checked out, I would make the final decision. If we wanted the car, we could take it back home with us. As a good father, I listened to my son and it worked out!

The previous owner was a used car dealer and he had owned the car for a year. He drove it a little, but he mainly took it to his car lot on Fridays and Saturdays in nice weather to attract potential buyers of his other cars. This car was not for sale for most of the year that he owned it. When I saw the ad and called the owner, he said he was selling the car so he could buy a real Olds 4-4-2 convertible, which he had wanted for several years. The sale of this car would allow him to display a new car at his car lot on Friday and Saturday. He had reduced the price of this 1972 Cutlass Supreme twice and said he would not reduce it anymore. He wanted cash for the car. I decided the price was fair if all checked out.

My brother-in-law has redone many old cars and I felt he could be very valuable checking over the car. He lived an hour from where the car was located. We met on a Sunday morning at the home of the seller and my son and brother-in-law checked it out. My brother-in-law said the car was worth the money being asked, but it was by no means a perfect car. It was going to take a few thousand dollars to make it a good driver and something I could drive with confidence. I felt the same way, but I liked the appearance of the car. The only issue is the amount of money to make it a good driver has turned out to be much higher than I expected. Sound familiar?

After the car was home and I started looking at the paperwork, I could see the car had been purchased from a classic car dealer in Columbus the previous year. I wanted to try to get some history on the car, so I contacted this dealer. He said he remembered the car very well because of its appearance. It had only been at the dealership a couple of days when the fellow I bought it from had bought the car. This classic car dealer had not had a chance to do much in the way of inspection on the car and the person who sold the car to the dealer did not disclose any information on the car. The classic car dealer would not give me the name of the previous owner to protect his privacy. I understood. Therefore, I have no information about the restoration or reason for all the changes to the car. It appears the car was built from 2007 to 2010.

I researched the VIN and found the car was originally painted Covert Beige and had an automatic transmission. When it was restored, it was converted to a four-speed car. From the numbers on the transmission, it is a Saginaw unit and we think it came from a Camaro.

The car had air conditioning and disc brakes along with the four-speed. Along with some good eye appeal, these were features I wanted on a car. This Cutlass Supreme met all these requirements. The car is painted GM Hugger Orange with a black vinyl top and a black interior. The black top and black stripping really offset the bright orange. Without some contrast, the orange might be overbearing.

My ability to repair cars is very minimal. I usually know what the problem may be, but I do not how to fix it nor do I possess the skill to fix it. However, from my previous ownership of a 1941 Plymouth coupe, I had developed relationships with a couple of folks who can repair old cars.

Within a few days of buying the Cutlass Supreme, I took the car to one of the mechanics for him to drive and then access for a few days. I knew the air conditioning did not work and there were a few other minor repairs on my list. He replaced the shocks and fixed some of the wiring issues and some of the other issues he found during the inspection. The air conditioning was going to take some time. It was late September, so we decided that I would drive the car for a couple of months to see what else was needed. He would keep the car for the winter and get the air conditioning working and do whatever else was found to be wrong.

I had fun driving the car for the next 60 days before giving the car to him for the winter. Since the mechanic's garage is only five miles from my house, we set up an arrangement where I would come to the garage every Friday morning to check the progress on the repairs and discuss what direction any repairs would take. I also paid him for the work he had done that week and advanced him money for any big items he would be buying in the next week or two. This arrangement worked well for both of us.

Over the winter, the air conditioning was completely redone. The mechanic recommended replacing these parts in kind. In retrospect, I should have gone with a more modern and efficient system. The system works well, but not great. Other electrical and mechanical problems were addressed by the mechanic during this time.

When I bought the car, the seat covers were in very good shape. However, the seat foam and headliner were not good. I took the car to an upholstery shop in November 2012 and had new foam put in the seats and a new headliner installed. Original Parts Group had everything needed for the job and the upholstery shop said the parts fit correctly.

In October 2012, I had the front end aligned at a shop that had done work on my modern cars. I had them look over all the suspension and they felt it was in good shape.

I had fun driving the car during the summer of 2013. Some minor repairs were necessary, but the car was never tied up for more than a few days. At that time, I had the compression checked. The GM specifications say there should be 100 pounds or more of compression in each cylinder. Two cylinders were in the low 90s. I knew the 350 was burning a little oil, but the car seemed to run well.

My wife and I wanted to take the car on some car tours to surrounding states in 2014, so I decided to have the engine rebuilt over the winter of 2013 and early 2014. The car came with loud mufflers. My wife said she had no problems with having the motor rebuilt as long as I replaced the mufflers with ones that were not as loud. Considering the money that would be spent, I decided this was something I could live with.

The machine shop bored the cylinders .040 over. They said the top end of the engine had been done in the last several years and just needed cleaning. I had the clutch and transmission repaired as necessary. Also, the mechanic suggested many of the other components be replaced such as the starter and alternator. I agreed. I received the car back in April 2014 and the mechanic said to watch the oil until the engine was broken in. That was good advice. I think I burned a couple of quarts of oil in the first 800 miles. If I had not been told about that, I may have caused some big problems.

The car ran well and I was glad I had the engine done. The next issue I addressed was the speedometer. With the oversize tires on the back, the car was running anywhere from 5-15 mph faster than the speedometer read. The delta varied depending on the speed. I found a guy near our house who did nothing but speedometer repairs for many years. He had all the gears necessary. He had me run measured miles and record the odometer and speedometer reading. I had a portable GPS that gave the correct speed. With the data, he supplied new gears. It helped, but did not solve the problem. After three tries, the mechanic said we needed to change the gear inside the transmission. It turned out it was worn. With this change and one more run down the measured mile, the speedometer is now dialed in correctly.

When the engine was rebuilt, a new Rochester carburetor was installed as was a new electronic ignition system. In 2017, the car was not running well. After some good detective work, the mechanic determined that a module in the electronic ignition was bad and there was a crack in the carburetor casting. Since Rochester no longer makes a carburetor for this engine, the units it sells are rebuilt. Again, in hindsight, I should have replaced the intake and put newer-style carburetor on the car.

In the Spring of 2019, I had some body work done to address paint bubbling where the vinyl top meets the rear quarter panel. There was some rust but mainly just the paint bubbling. The body shop felt water was being held in this area and caused the problem. Finding someone to address rust is hard. I usually wash the car every couple of weeks and I had been washing the top. The body shop said to stop washing the top and just wipe it down with a damp rag. My family has had fun with the idea that my compulsive washing was an expensive lesson.

Every spring, I have the oil and filter changed and chassis greased. There are usually a couple of other things that need attention. I ask the mechanic to look the car over carefully and see if his trained eye finds anything else that needs work.

I have spent a lot of money getting and keeping this car in good condition, but I think it is worth the money. My family and I get a lot of pleasure from driving the car and it makes it worth it to me. Spending money to keep an old car up is just something you need to decide to do if you want a reliable car.

We usually drive the car about 2500 miles per year. We go on one or two car tours per year where we drive 500-700 miles in two or three days. We take Sunday drives around central Indiana. I am not big on car shows as I do not like sitting all day. I enjoy talking to folks at car shows about their cars and answering questions about mine, but there is usually a lot of down time. Trophies mean nothing to me. I know my car is nice but not perfect and I do not need judges to tell me the pluses and minuses. I belong to a car club and we go to assisted living places several times per year. We show our cars for a couple of hours and get to talk to the residents. This is really fun and rewarding. You can see the pleasure they get looking at our cars and asking questions.

At the end of the summer of 2019, the air conditioning was still just running OK. On days above 90 degrees, the air conditioning really did not do the job and I was done trying to make the original system work. I told my wife we were either going to have a very good air conditioning system in the car or we were going to sell it. My wife asked if I still liked the car and I said yes. She said, "That answers the question and now you need to get about finding and installing a new system." I found Vintage Air had systems and kits designed for most cars. They were able to give me several shops that know the Vintage Air System and are trained to install them. I picked one about 60 miles from my house and had it installed in October 2019. We are very happy with the result. We have had many 90 degree days to test the system.

In the Spring of 2020, the clutch developed a chatter. I felt the clutch needed to be replaced, but there was only 8000 miles on the rebuilt clutch. I had the repair shop pull the clutch and check it out. They said the clutch was in good shape, but the clutch push rod was badly worn and caused the chatter. They were able to repair the clutch push rod and I decided to spend the money to put in a new clutch. It took a couple of hundred miles before the clutch seated properly and it now works great. It's a never-ending story with old cars!

I have had an old car since the mid-'90s and have found it to be a rewarding hobby. You meet some great folks that buy and sell cars by attending swap meets and car shows. Getting your car repaired is costly, but you meet some good folks who know how to work on cars and I like helping to source parts. I want a car that is mechanically sound and looks nice. It does not have to be a number 1 or 2 car - I just want a good driver. I know I have a lot more money in the car than it is worth, but my family and I enjoy the car and that makes it all worthwhile.

A highlight for me has been letting my grandson drive the car to his high school prom the last two years. He liked driving it and getting all the positive comments from his teachers and friends.
*As an Amazon Associate, Old Cars earns from qualifying purchases.

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When I bought this 1972 Oldsmobile Cutlass Supreme in 2012, it was advertised as a "tribute car." However, I feel it is best labeled as a modified Cutlass Supreme. It is titled as a '72 but has a 1970 front clip, 4-4-2 badging, W-30 striping and Chevelle seat covers.

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The Nerf Ball was introduced as you couldn't break windows or lamps

Stretch Armstrong was 11$ per toy but ended up making the makers $50 million

Each Pet Rock came from Mexico’s Rosarito Beach

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Do you remember what your favourite Christmas present was growing up?

Well if you don't and you were a child of the 70s we have it covered with this list of the best-selling toys for every year that decade.

From a Magna Doodle to Uno - expect some nostalgic flashbacks.

It also tells you cost of each gift, and what the price would be in today's money.

Merry Christmas!

1970
NERF Ball
£1.25 (£18.63 in today's money)

1971
Mastermind
£1.64 (£22.96 in today's money)

1972
Uno Card Game
£1.01 (£12.93 in today's money)

1973
Shrinky Dinks
£0.40 (£4.76 in today's money)

1974
Dungeons & Dragons
£3.69 (£40.22 in today's money)

1975
Othello
£2.76 (£35.97 in today's money)

1976
Magna Doodle
£2.63 (£19.94 in today's money)

1977
Star Wars Figures
£1.44 (£9.36 in today's money)

1978
Hungry Hippos
£3.94 (£22.14 in today's money)

1979
Strawberry Shortcake
£4.75 (£24.65 in today's money)
The list is taken from a widget made by home interiors specialists Hillarys.

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The best selling toys at Christmas from the 1970s

# data[].attributes.attachment_link.description
Do you remember what your favourite Christmas present was growing up? Well if you don't and you were a child of the 70s we have it covered with this list of the best-selling toys for every year that decade. From a Magna Doodle to Uno - expect some nostalgic flashbacks.