There are a couple reasons why BRONCO BILLY isn’t one of the better aged Clint Eastwood pictures. First of all, it’s part of that phenomenon that he was so enamored of Sondra Locke that he kept putting her in movies, but playing his most obnoxious love interests (here a comically snide and uptight heiress whose upper crust accent exaggerates more with each cowboy she comes in contact with). These days that also means you might be reminded that after they broke up he reportedly used his clout to sabotage her career.
It’s also a particularly blunt version of the “yeah he’s sexist but he’s secretly sweet and she’ll come around” trope. Clint’s “Bronco” Billy McCoy coerces Locke’s Antoinette Lily into working as his assistant when she’s just trying to borrow a dime for the pay phone. Then he slaps her on the ass. He does rescue her from rapists (good), but then makes a pass at her (insensitive). Maybe worst of all he interrupts her explanation of why she knows how to shoot guns already and then never follows up. I don’t need to know, but he should care if he’s supposed to be in love with her! Anyway I did not find the magical untightening of the rich lady to be all that charming.
At the same time as all that the movie does have a timeless appeal that I can’t resist, because it’s about a tight crew of show-people who have worked together for years, get mad at each other but would die for each other, and have sacrificed to live unconventional lives dedicated to this thing they do together, this traveling wild west show. (read the rest of this shit…)
For eleven years now I’ve had a tradition/superstition/delusion that my first review of a new year has to be a Clint Eastwood movie. And I’ve written about other Clint movies at other times of the year, so the pool of untouched marquee titles is shrinking. Let’s go through chronologically: I’ve done 
Enough with the cowboys. THE SEVEN MAGNIFICENT GLADIATORS is the sword and sorcery version of the 
