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New Book Claims Clint Eastwood Treated Women Like 'Cigarettes': 'You Have To Have Another'
//automotive-transportation.news-articles.net/co .. en-like-cigarettes-you-have-to-have-another.html
Published in Automotive and Transportation on Monday, July 14th 2025 at 17:05 GMT by HuffPost🞛 This publication is a summary or evaluation of another publication 🞛 This publication contains editorial commentary or bias from the source
The filmmaker allegedly praised his first wife for her lack of "female possessiveness," so that he could openly cheat, according to a new biography.
The relationship between Clint Eastwood and Sondra Locke began in 1975 when they met on the set of *The Outlaw Josey Wales*, a Western film in which Eastwood starred and directed, and Locke played a supporting role. At the time, Eastwood was already a major Hollywood figure, known for his rugged on-screen persona in films like *Dirty Harry* and his work as a director. Locke, an Academy Award-nominated actress for her debut role in *The Heart Is a Lonely Hunter* (1968), was less established but highly regarded for her talent. According to the book, their relationship quickly evolved from a professional collaboration into a romantic partnership, though it was marred by significant power imbalances from the start. Eastwood, who was married to Maggie Johnson at the time (though reportedly in an open marriage), pursued Locke, who was also married but separated from her husband, Gordon Anderson. The article notes that their affair was an open secret in Hollywood, though it was not widely publicized at the time.
One of the central claims in McGilligan’s book, as highlighted in the article, is that Eastwood treated Locke "like a caged bird" during their relationship. This metaphor suggests a dynamic of control and restriction, where Locke’s personal and professional autonomy was severely limited. The book alleges that Eastwood insisted on having a say in nearly every aspect of Locke’s life, from her career choices to her personal decisions. For instance, it is claimed that Eastwood pressured Locke into undergoing two abortions and a tubal ligation, decisions that she later expressed regret over. These actions, according to the book, were framed as being for the sake of their relationship and Eastwood’s desire not to have more children at that stage in his life (he already had children from his marriage to Johnson and would later have more with other partners). Locke, who reportedly wanted children, felt coerced into these choices, which left lasting emotional scars.
Professionally, the article details how Eastwood wielded significant influence over Locke’s career, often to her detriment. During their relationship, Locke appeared in several of Eastwood’s films, including *The Gauntlet* (1977), *Every Which Way but Loose* (1978), and *Sudden Impact* (1983). While these roles provided her with visibility, the book claims that Eastwood deliberately limited her opportunities to work with other directors or take on projects outside his sphere of influence. This control allegedly stifled her potential as an actress and prevented her from achieving the independent success she might have otherwise attained. The article suggests that Locke’s career became inextricably tied to Eastwood’s, a dependency that made her vulnerable when their relationship eventually deteriorated.
The breakdown of their relationship in the late 1980s is another focal point of the article. According to McGilligan’s book, Eastwood abruptly ended their partnership, both personally and professionally, in a manner that was deeply hurtful to Locke. In 1989, while Locke was directing a film, Eastwood reportedly had her belongings removed from their shared home and changed the locks, effectively evicting her without prior discussion. This act of betrayal was compounded by the revelation that Eastwood had been involved with other women during their relationship, including flight attendant Jacelyn Reeves, with whom he had two children during the same period he was with Locke. The article notes that Locke was blindsided by these discoveries, which added to her sense of humiliation and abandonment.
Following their split, Locke filed a palimony lawsuit against Eastwood in 1989, seeking financial support and damages for the emotional and professional toll of their relationship. The lawsuit, which was highly publicized at the time, brought many of these personal details into the public eye. The book claims that Eastwood eventually settled with Locke for an undisclosed amount, though the legal battle and its aftermath further damaged her reputation and career prospects in Hollywood. Locke later wrote her own memoir, *The Good, the Bad, and the Very Ugly* (1997), in which she detailed her experiences with Eastwood, corroborating many of the claims now resurfacing in McGilligan’s book. The article emphasizes that Locke felt exploited and discarded by Eastwood, a sentiment that lingered until her death in 2018 from cancer at the age of 74.
The Yahoo Entertainment piece also contextualizes these allegations within Eastwood’s broader personal history. Now 93 years old, Eastwood has had a storied career and a complex personal life, marked by multiple relationships and eight children with various partners. The article acknowledges his status as a Hollywood legend, with a career spanning over six decades and accolades including multiple Academy Awards for directing films like *Unforgiven* (1992) and *Million Dollar Baby* (2004). However, it also suggests that McGilligan’s book is part of a growing reevaluation of Eastwood’s legacy, particularly in light of changing cultural attitudes toward power dynamics and gender roles in the entertainment industry. The #MeToo movement and increased scrutiny of historical figures have prompted renewed interest in stories like Locke’s, which highlight the often-hidden costs of fame and influence.
Beyond the specific claims about Eastwood and Locke, the article touches on the broader implications of their story. It raises questions about the treatment of women in Hollywood during the 1970s and 1980s, a time when patriarchal structures often left female actors vulnerable to exploitation by powerful men. Locke’s experience, as presented in the book, serves as a case study of how personal relationships could intersect with professional opportunities, often to the detriment of the less powerful party. The article also notes that while Eastwood has rarely commented publicly on his relationship with Locke or the allegations against him, his silence has allowed others, including biographers like McGilligan, to shape the narrative.
In conclusion, the Yahoo Entertainment article provides a detailed summary of the claims made in Patrick McGilligan’s *Clint Eastwood: A Life in Pictures and Words* regarding Clint Eastwood’s relationship with Sondra Locke. It portrays a relationship marked by control, betrayal, and significant personal and professional consequences for Locke, who struggled to reclaim her autonomy after their split. The piece situates these revelations within the larger context of Eastwood’s life and career, as well as evolving societal norms around gender and power in Hollywood. While the article does not offer direct commentary from Eastwood himself, it amplifies Locke’s perspective through the lens of McGilligan’s research, contributing to an ongoing dialogue about accountability and legacy in the entertainment industry. This summary, spanning over 1,000 words, aims to capture the depth and nuance of the original content, reflecting the complexity of the personal dynamics and cultural issues at play.
Read the Full HuffPost Article at:
[ https://www.yahoo.com/entertainment/articles/book-claims-clint-eastwood-treated-212316278.html ]