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As Reddit doesn't allow posts to exceed 40,000 characters, Eastwood's edition had to be split into two parts because his whole career cannot be ignored. The first part was posted yesterday.

Million Dollar Baby (2004)¨

"Beyond his silence, there is a past. Beyond her dreams, there is a feeling. Beyond hope, there is a memory. Beyond their journey, there is a love."
His 25th film. Based on stories from the 2000 collection Rope Burns: Stories from the Corner by F.X. Toole, it stars Eastwood, Hilary Swank and Morgan Freeman. The film follows Margaret "Maggie" Fitzgerald, an underdog amateur boxer who is helped by an underappreciated boxing trainer to achieve her dream of becoming a professional.
Paul Haggis wrote the script on spec, and it took four years to sell it. The film was stuck in development hell for years before it was shot. Several studios rejected the project even when Eastwood signed on as actor and director. Even Warner Bros., Eastwood's longtime home base, would not agree to a $30 million budget. Eastwood persuaded Lakeshore Entertainment's Tom Rosenberg to put up half the budget (as well as handle foreign distribution), with Warner Bros. contributing the rest.
The film had an incredible run in limited release, breaking many records for Eastwood's career. It eventually earned a fantastic $216 million worldwide, becoming his highest grossing film ever. It received critical acclaim, and it was named as one of his greatest films. It won four Oscars: Best Picture, Best Director, Best Actress (for Swank), and Best Supporting Actor (for Freeman). Eastwood became one of the very few directors to make two films to win both Best Picture and Best Director.

• Budget: $30,000,000.
  
• Domestic gross: $100,492,203. ($166.8 million adjusted)
  
• Worldwide gross: $216,763,646.
  

Flags of Our Fathers (2006)

"A single shot can end the war."
His 26th film. Based on the book written by James Bradley and Ron Powers, it stars Ryan Phillippe, Jesse Bradford, Adam Beach, John Benjamin Hickey, John Slattery, Paul Walker, Jamie Bell, Barry Pepper, Robert Patrick and Neal McDonough. The film follows the 1945 Battle of Iwo Jima, the five Marines and one Navy corpsman who were involved in raising the flag on Iwo Jima, and the after effects of that event on their lives.
The film received positive reviews, but it bombed at the box office with just $65 million against its huge $90 million budget.

• Budget: $90,000,000.
  
• Domestic gross: $33,602,376. ($52.2 million adjusted)
  
• Worldwide gross: $65,900,249.
  

Letters from Iwo Jima (2006)

"The completion of the Iwo Jima saga."
His 27th film. Based on Picture Letters from Commander in Chief by Tadamichi Kuribayashi, it stars Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryō Kase and Shidō Nakamura. It's a companion film to Flags of Our Fathers, and portrays the Battle of Iwo Jima from the perspective of the Japanese soldiers.
In the process of reading about the Japanese perspective of the war for Flags of Our Fathers, in particular General Tadamichi Kuribayashi, Eastwood decided to film a companion piece with this film, which was shot entirely in Japanese. The film was shot back-to-back, starting filming just one month after Flags of Our Fathers wrapped filming.
Despite being seen as the least accessible of both films, this film was much more successful at the box office than the previous film (including a colossal $42 million in Japan alone). It also received critical acclaim, particularly for how it handed the depiction of good and evil from both sides. It received 4 Oscar nominations, including Best Picture and Best Director.

• Budget: $19,000,000.
  
• Domestic gross: $13,756,082. ($21.3 million adjusted)
  
• Worldwide gross: $68,673,228.
  

Changeling (2008)

"To find her son, she did what no one else dared."
His 28th film. It stars Angelina Jolie and John Malkovich, and is based on real-life events, specifically the 1928 Wineville Chicken Coop murders in Mira Loma, California. It follows a woman united with a boy who she realizes is not her missing son. When she tries to demonstrate that to the police and city authorities, she is vilified as delusional, labeled as an unfit mother and confined to a psychiatric ward.
The film earned $113 million worldwide, barely breaking even at the box office. The film received mixed reviews, but Jolie received praise for her performance. She was nominated for the Oscar for Best Actress.

• Budget: $55,000,000.
  
• Domestic gross: $35,739,802. ($52 million adjusted)
  
• Worldwide gross: $113,398,237.
  

Gran Torino (2008)

"Ever come across somebody you shouldn't have messed with?"
His 29th film. It stars Eastwood, and follows Walt Kowalski, a recently widowed Korean War veteran alienated from his family and angry at the world, whose young neighbor, Thao Vang Lor, is pressured by his cousin into stealing Walt's prized Ford Torino for his initiation into a gang. Walt thwarts the theft and subsequently develops a relationship with the boy and his family.
The film received great reviews, as well as praise from the Hmong community. It ended up becoming a sleeper hit, and it earned $270 million worldwide, becoming his highest grossing film.

• Budget: $25,000,000.
  
• Domestic gross: $148,095,302. ($215.6 million adjusted)
  
• Worldwide gross: $269,958,228.
  

Invictus (2009)

"His people needed a leader. He gave them a champion."
His 30th film. It stars Morgan Freeman and Matt Damon. Following the aftermath of the apartheid, President Nelson Mandela decides to unite his people by supporting a rugby team in their bid to win the 1995 Rugby World Cup.
The film earned $122 million worldwide, barely breaking even. It received positive reviews, and Freeman and Damon received Oscar nominations for their performances.

• Budget: $50,000,000.
  
• Domestic gross: $37,491,364. ($54.7 million adjusted)
  
• Worldwide gross: $122,426,792.
  

Hereafter (2010)

"Touched by death. Changed by life."
His 31st film. It stars Matt Damon, Cécile de France, Bryce Dallas Howard, Lyndsey Marshal, Jay Mohr and Thierry Neuvic. An American with a special connection to the afterlife, a woman with a near-death experience and a young English boy, who lost his loved ones, cross paths in an effort to find closure in their lives.
Despite mixed reviews, it managed to earn $107 million, turning a small profit.

• Budget: $50,000,000.
  
• Domestic gross: $32,746,941. ($47 million adjusted)
  
• Worldwide gross: $106,956,330.
  

J. Edgar (2011)

"The most powerful man in the world."
His 32nd film. The film stars Leonardo DiCaprio, Armie Hammer, Naomi Watts, Josh Lucas, and Judi Dench, and follows the career of FBI director J. Edgar Hoover, focusing on Hoover's life from the 1919 Palmer Raids onward.
The film received mixed reviews; while DiCaprio received praise, the technical aspects of the film were criticized. It earned $84 million, making it a box office success, but far below what DiCaprio usually makes at the box office.

• Budget: $35,000,000.
  
• Domestic gross: $37,306,030. ($52 million adjusted)
  
• Worldwide gross: $84,920,539.
  

Jersey Boys (2014)

"Everybody remembers it how they need to."
His 33rd film. Base on the 2004 jukebox musical, it stars John Lloyd Young, Erich Bergen, Michael Lomenda, Vincent Piazza and Christopher Walken, and tells the story of the musical group The Four Seasons.
It received mixed reviews, with praise for the musical numbers but criticism for the narrative and runtime, and failed at the box office.

• Budget: $40,000,000.
  
• Domestic gross: $47,047,013. ($62.3 million adjusted)
  
• Worldwide gross: $67,647,013.
  

American Sniper (2014)

"The most lethal sniper in U.S. history."
His 34th film. It is based on the memoir by Chris Kyle, Scott McEwen and Jim DeFelice, and stars Bradley Cooper and Sienna Miller. The film follows the life of Kyle, who became the deadliest marksman in U.S. military history with 255 kills from four tours in the Iraq War, 160 of which were officially confirmed by the Department of Defense. While Kyle was celebrated for his military successes, his tours of duty took a heavy toll on his personal and family life.
In 2012, Cooper and Warner Bros. bought the rights to the memoir. Cooper wanted Chris Pratt to star as Kyle, but WB told him they would only greenlight the film if he stars in it. After Kyle's murder in 2013, Steven Spielberg signed to direct. Spielberg had read Kyle's book, though he desired to have a more psychological conflict present in the screenplay so an "enemy sniper" character could serve as the insurgent sharpshooter who was trying to track down and kill Kyle. Spielberg's ideas contributed to the development of a lengthy screenplay approaching 160 pages. Due to Warner Bros.' budget constraints, Spielberg felt he could not bring his vision of the story to the screen. So Eastwood was brought in to direct.
The film attained a solid, but not extraordinary response from critics. It also attracted some controversy over its portrayal of both the Iraq War and Kyle himself.
The box office though?
To say that the film had a fantastic run would be selling it short.
It opened on Christmas Day in 4 theaters, and it earned a huge $633,456 ($158,364 PTA). But the following weekend, it actually increased despite playing at the same amount of theaters, adding $676,909. That translated to a $169,227 PTA, becoming the highest second weekend PTA in history for a live-action film. And on its third weekend, it earned $579,518 ($144,879 PTA), becoming the first film to have three weekends above $100,000 PTA. In the 22 days it played in just 4 theaters, it earned $3,424,778.
On its first wide weekend, the film shook the industry by opening with a colossal $89 million. That was almost as much as the other 2014 blockbusters, and given that the film didn't have 3D pricing, it's very likely it sold far more tickets than them. It broke the January opening weekend record by twice as much, and the second biggest for an R-rated title. With insane word of mouth ("A+" on CinemaScore), this film had the legs. In less than one week, it became Eastwood's highest grossing film domestically. On its second weekend, it dropped just 28% and made $64 million, which was the biggest second weekend for an R-rated film (a record it still maintains) and crossed $200 million domestically. And by March, the film overtook The Hunger Games: Mockingjay – Part 1 ($334 million) as the highest grossing 2014 film in North America.
After an insane run in theaters, it closed with a gigantic $350 million domestically, which made it the second highest grossing R-rated film in North America. Overseas, it was also very strong, and it made a huge $547 million worldwide. It was easily Eastwood's highest grossing film, even adjusted for inflation. One of the greatest box office runs in recent memory. It received six Oscar nominations, including Best Picture, Best Adapted Screenplay, and Best Actor for Cooper, ultimately winning one for Best Sound Editing.
The biggest surprise of the 2010s? Perhaps. Cause let's face it, when 2014, did any of you had this as the top film of the year? Or even in the Top 20? Please.

• Budget: $59,000,000.
  
• Domestic gross: $350,159,020. ($463.7 million adjusted)
  
• Worldwide gross: $547,659,020.
  

Sully (2016)

"The untold story behind the miracle on the Hudson."
His 35th film. Based on the autobiography Highest Duty by Chesley "Sully" Sullenberger and Jeffrey Skiles, it stars Tom Hanks, Aaron Eckhart, Laura Linney, Anna Gunn, Autumn Reeser, Holt McCallany, and Jamey Sheridan. The film follows Sullenberger's 2009 emergency landing of US Airways Flight 1549 on the Hudson River, in which all 155 passengers and crew survived and the subsequent publicity and investigation.
The film received strong reviews, and earned over $240 million worldwide, becoming one of his highest grossing films.

• Budget: $60,000,000.
  
• Domestic gross: $125,070,033. ($163.3 million adjusted)
  
• Worldwide gross: $243,870,033.
  

The 15:17 to Paris (2018)

"The real heroes."
His 36th film. Based on the autobiography by Jeffrey E. Stern, Spencer Stone, Anthony Sadler, and Alek Skarlatos, it stars Stone, Sadler, and Skarlatos as themselves and follows the trio through life leading up to and including their stopping of the 2015 Thalys train attack.
Despite choosing Kyle Gallner, Jeremie Harris and Alexander Ludwig as the leads, Eastwood decided to cast the heroes to play themselves, which was met with confusion as they lacked acting experience. And that was reflected on the final film; it received negative reviews for its acting, and it bombed at the box office.

• Budget: $30,000,000.
  
• Domestic gross: $36,276,286. ($45.2 million adjusted)
  
• Worldwide gross: $57,176,286.
  

The Mule (2018)

"Nobody runs forever."
His 37th film. Based on the 2014 The New York Times article The Sinaloa Cartel's 90-Year-Old Drug Mule by Sam Dolnick, it stars Eastwood, Bradley Cooper, Laurence Fishburne, Michael Peña, Dianne Wiest, and Andy García. Due to financial issues, horticulturist Earl Stone becomes a courier for a drug cartel. Slowly, he grows closer to his estranged family, but his illegal activities threaten much more than his life.
It received good reviews (although some questioned its story and tone), and earned over $173 million worldwide.

• Budget: $50,000,000.
  
• Domestic gross: $103,804,407. ($129.6 million adjusted)
  
• Worldwide gross: $174,804,407.
  

Richard Jewell (2019)

"The world will know his name and the truth."
His 38th film. The film stars Paul Walter Hauser, Sam Rockwell, Kathy Bates, Jon Hamm, and Olivia Wilde. The film depicts the July 27 Centennial Olympic Park bombing and its aftermath, as security guard Richard Jewell finds a bomb during the 1996 Summer Olympics in Atlanta, Georgia, and alerts authorities to evacuate, only to later be wrongly accused of having placed the device himself.
The film received positive reviews, but several journalists criticized the critical portrayal of the reporter that first accused Jewell: Kathy Scruggs (specifically for trading sex for stories). The film marked another commercial failure for Eastwood.

• Budget: $45,000,000.
  
• Domestic gross: $22,345,542. ($27.4 million adjusted)
  
• Worldwide gross: $44,645,542.
  

Cry Macho (2021)

"A story of being lost and found."
His 39th film. Based on the novel by N. Richard Nash, it stars Eastwood and Dwight Yoakam. Set in 1979, it follows a former rodeo star hired to reunite a young boy in Mexico with his father in the United States.
Nash tried to get this film made all the way since 1970s, but no studio was willing to pick it up. He restructured his films as a novel, was successful and studios were now interested. There were a few candidates for the leading role; Robert Mitchum, Roy Scheider, Arnold Schwarzenegger and Eastwood himself. Arnie was willing to star in the film back in 2003, but put it on hold when he was elected Governor. He was set to star after leaving office, but the project was scrapped after his affair scandal was made known. In 2020, Eastwood signed to return.
The film received mixed reviews, particularly for its writing and acting. It was also a huge flop at the box office, and marked Eastwood's least attended film as leading man. David Zaslav criticized the studio's decision to finance the film. Warner executives allegedly said that although they knew the film was unlikely to turn a profit, they felt indebted to Eastwood for his decades-long relationship with the studio and his consistent ability to deliver films under budget and on time.

• Budget: $33,000,000.
  
• Domestic gross: $10,310,734. ($11.9 million adjusted)
  
• Worldwide gross: $16,510,734.
  

The Future

He recently wrapped post-production on his 40th film, Juror No. 2. It stars Nicholas Hoult, Toni Collette, Zoey Deutch, Leslie Bibb, Chris Messina, J. K. Simmons and Kiefer Sutherland, and follows a juror serving on a murder trial who realizes he may be at fault for the victim's death.

MOVIES (FROM HIGHEST GROSSING TO LEAST GROSSING)

No.	Movie	Year	Studio	Domestic Total	Overseas Total	Worldwide Total	Budget
1	American Sniper	2014	Warner Bros.	$350,159,020	$197,500,000	$547,659,020	$59M
2	Gran Torino	2008	Warner Bros.	$148,095,302	$121,862,926	$269,958,228	$25M
3	Sully	2016	Warner Bros.	$125,070,033	$118,800,000	$243,870,033	$60M
4	Million Dollar Baby	2004	Warner Bros.	$100,492,203	$116,271,443	$216,763,646	$30M
5	The Bridges of Madison County	1995	Warner Bros.	$71,516,617	$110,500,000	$182,016,617	$22M
6	The Mule	2018	Warner Bros.	$103,804,407	$71,000,000	$174,804,407	$50M
7	Unforgiven	1992	Warner Bros.	$101,167,799	$58,000,000	$159,167,799	$14.4M
8	Mystic River	2003	Warner Bros.	$90,135,191	$66,460,000	$156,595,191	$25M
9	Sudden Impact	1983	Warner Bros.	$67,642,693	$83,000,000	$150,642,693	$22M
10	A Perfect World	1993	Warner Bros.	$31,130,999	$104,000,000	$135,130,999	$30M
11	Space Cowboys	2000	Warner Bros.	$90,464,773	$38,419,359	$128,884,132	$60M
12	Invictus	2009	Warner Bros.	$37,491,364	$84,935,428	$122,426,792	$55M
13	Heartbreak Ridge	1986	Warner Bros.	$42,724,017	$78,975,983	$121,700,000	$15M
14	Changeling	2008	Universal	$35,739,802	$77,658,435	$113,398,237	$55M
15	Hereafter	2010	Warner Bros.	$32,746,941	$74,209,389	$106,956,330	$50M
16	Absolute Power	1997	Sony	$50,068,310	$42,700,000	$92,768,310	$50M
17	J. Edgar	2011	Warner Bros.	$37,306,030	$47,614,509	$84,920,539	$35M
18	Letters from Iwo Jima	2006	Warner Bros.	$13,756,082	$54,917,146	$68,673,228	$19M
19	Jersey Boys	2014	Warner Bros.	$47,047,013	$20,600,000	$67,647,013	$40M
20	Flags of Our Fathers	2006	Warner Bros.	$33,602,376	$32,297,873	$65,900,249	$90M
21	The 15:17 to Paris	2018	Warner Bros.	$36,276,286	$20,900,000	$57,176,286	$30M
22	Firefox	1982	Warner Bros.	$46,708,276	$0	$46,708,276	$21M
23	Richard Jewell	2019	Warner Bros.	$22,345,542	$22,300,000	$44,645,542	$45M
24	Pale Rider	1985	Warner Bros.	$41,410,568	$0	$41,410,568	$6.9M
25	The Gauntlet	1977	Warner Bros.	$35,400,000	$0	$35,400,000	$5.5M
26	The Outlaw Josey Wales	1976	Warner Bros.	$31,800,000	$0	$31,800,000	$3.7M
27	Blood Work	2002	Warner Bros.	$26,235,081	$5,559,637	$31,794,718	$50M
28	Midnight in the Garden of Good and Evil	1997	Warner Bros.	$25,105,255	$0	$25,105,255	$30M
29	Bronco Billy	1980	Warner Bros.	$24,265,659	$0	$24,265,659	$6.5M
30	The Rookie	1990	Warner Bros.	$21,633,874	$0	$21,633,874	$30M
31	True Crime	1999	Warner Bros.	$16,649,768	$0	$16,649,768	$55M
32	Cry Macho	2021	Warner Bros.	$10,310,734	$6,200,000	$16,510,734	$33M
33	High Plains Drifter	1973	Universal	$15,700,000	$0	$15,700,000	$5.5M
34	The Eiger Sanction	1975	Universal	$14,200,000	$0	$14,200,000	$9M
35	Play Misty for Me	1971	Universal	$10,600,000	$0	$10,600,000	$950K
36	Honkytonk Man	1982	Warner Bros.	$4,484,991	$0	$4,484,991	$2M
37	White Hunter Black Heart	1990	Warner Bros.	$2,319,124	$0	$2,319,124	$24M
38	Bird	1988	Warner Bros.	$2,181,286	$0	$2,181,286	$14M
39	Breezy	1973	Universal	$200,000	$17,753	$217,753	$750K

Across those 39 films, he has made $3,536,687,297 worldwide. That's $90,684,289 per film.

The Verdict

Insanely profitable.
Even the bombs do not taint this kind of reputation. Eastwood has made all these films under budget and never past its deadline. That's something that has to be treasured for studios, no wonder he's been staying with Warner Bros. since 1976. His ability to get films ready in short notice is impressive; Richard Jewell started filming in June and it was on theaters in December. One of the most impressive actors who transitioned into directors. You can tell that Sergio Leone and Don Siegel taught him well.
Now of course, his method of directing can also have its setbacks: he's often known for not asking for multiple takes and he skips rehearsals. So that means the performances of his actors aren't always the best they could've done. Which is why, despite making some masterpieces or fantastic films, he's also made a few films with weak technical aspects: poor lighting (J. Edgar), questionable logic (Cry Macho), obvious props (the fake baby in American Sniper), and some bad acting (Gran Torino and The 15:17 to Paris). At the same time, it's clear he can also get extraordinary performances through these methods; Gene Hackman, Sean Penn, Tim Robbins, Hilary Swank and Morgan Freeman won Oscars for starring in his films.
He also proved old age doesn't prevent you from continuing to work. He's turning 94 in a few weeks, and he's still directing films. Manoel de Oliveira directed films until he was 104, so perhaps we still have a few more years with Eastwood behind the camera.
P.S. Ever since I started this series, there's been suggestions that I should do "Actors at the Box Office" multiple times. While the idea is intriguing, that doesn't seem feasible for me. I'd have to categorize whether the actor is leading, supporting, original IP, adaptation, remakes, etc. Besides, with the continuing decline of star power, it's tough to decide what actor is truly moving the needle at the box office. That's why I'm making solely "Directors at the Box Office", because the director is responsible for the production. If the film succeeds, the director will get credit. And if the film flops, the director will be blamed. So this is the closest you'll get to "Actors at the Box Office".
Hope you liked this edition. You can find this and more in the wiki for this section.
The next director will be Robert Zemeckis. One of the biggest falls from grace.
I asked you to choose who else should be in the run and the comment with the most upvotes would be chosen. It had to be a controversial filmmaker. Well, we'll later talk about... Zack Snyder. Oh, BoxOffice chose fuego 🔥
This is the schedule for the following four:

Week	Director	Reasoning
May 20-26	Robert Zemeckis	Can we get old Zemeckis back?
May 27-June 2	Richard Donner	An influential figure of the 70s and 80s.
June 3-9	Ang Lee	What happened to Lee?
June 10-16	Zack Snyder	RIP Inbox.

Who should be next after Snyder? That's up to you.

Police are seeking assistance to locate a 60-year-old man reported missing from Alberton Road, Alberton.
Simon Tierney, pictured, was last seen on Thursday, April 25 at 6.45pm.
Police believe Simon was travelling in a white Ford Courier utility. This vehicle was located abandoned on the Cunningham Highway, Tarome.
Simon is described as Caucasian in appearance, 180cm tall, with a shaved head and a moustache.
Police and family hold serious concerns for his welfare.
Anyone with information regarding the Simon’s whereabouts is urged to contact police.

THE BEGINNING: The Corcel is a medium-sized automobile produced by Ford in Brazil, from 1968 to 1986. Willys Overland do Brasil in a partnership with Renault were involved in a project for a new passenger car, a project that became known at the time as "Project M" which years later, in France became the Renault 12 and in Brazil gave rise to the Ford Corcel, due to the purchase of Willys Overland do Brasil by Ford in 1967, with this, all Willys do Brasil projects and vehicles are now controlled by Ford. "Project M" "Project M", now managed by Ford, is now called Ford Corcel and thanks to Ford, the vehicle project undergoes a series of improvements to adapt to the terrible driving conditions in Brazil.
MY SOURCE: https://youtube.com/@reliquiaautomotiva?si=YYP8QXAkG2-537Z0
THE ENGINES AND OTHER THINGS:
·1.3 RENAULT ENGINE (1968): Under the hood, the Corcel was equipped with a 1300 cc four-cylinder Renault engine. This engine developed 68 hp and 9.8 kg/m or 6.58 lb/ft of torque. This power, combined with the weight of 945 kg or 2083 pounds, allowed the car to go from 0 - 100 km/h or 0 - 62 mph in 23 seconds and reach a top speed of 129 km/h or 80.15 mph. One thing that was highly praised about the car was its consumption, averaging 10 km/l or 23.5 mpg in the city and 13.4 km/l or 31.5 mpg on the highway. The Ford Corcel had good safety by Brazilian standards at that time, the car had things like the split steering column, allowing it to deform and not hurt the driver too much in a crash, the hood opening forward, making that, even if the driver leaves it open, the force of the wind will not allow it to open and block the driver's view, the brakes, which were already efficient, could be improved with the optional disc brakes instead of drums, the Corcel also came with a sealed cooling circuit, being the first Brazilian car to feature this feature.
·IMPROVED 1.3 RENAULT ENGINE (1969 - 1971 CORCEL GT): Under the hood, the 1969 Corcel GT's engine was still the same 1.3 from Renault, but certain improvements to the package increased power to 80 hp and torque to 10 kg/m or 6.71 lb/ft. With this power, the Corcel GT did 0 - 100 km/h or 0 - 62 mph in 20 seconds and reached a top speed of 138 km/h or 85.7 mph.
·1.4 RENAULT GT-XP ENGINE (1972 CORCEL GT-XP): The engine, still of Renault origin, now has 1400 cc and has several improvements that made it develop 85 hp and 11.6 kg/m or 7.79 lb/ft of torque. This made the Corcel GT-XP go from 0 - 100 km/h or 0 - 62 mph in 16.6 seconds and reach a top speed of 144 km/h or 89.4 mph.
·1.4 RENAULT ENGINE (1973 CORCEL): Another new feature was the 1.4 engine with 75 hp and 11.6 kg/m or 7.79 lb/ft, which became standard for all versions.
·MODIFIED 1.4 RENAULT ENGINE (1978 CORCEL II): The Corcel II was equipped with the same 1.4 Renault engine as the first generation Corcel, but with power reduced to 72 hp. With these modifications, the new Corcel II accelerated from 0 - 100 km/h or 0 - 62 mph in 17.2 seconds and reached a top speed of 150 km/h or 93.2 mph. The Corcel II averaged 8.5 km/l or 19.9 mpg in the city and up to 13 km/l or 30.5 mpg on the highway.
·1.6 ENGINE AND 5-SPEED MANUAL TRANSMISSION (CORCEL II GT 1979): The 1.6 engine and 5-speed manual transmission become standard in this version. This engine developed 90 hp and 13 kg/m or 8.73 lb/ft of torque. This engine combined with the new 5-speed gearbox made the Corcel II GT accelerate from 0 - 100 km/s or 0 - 62 mph in 15.9 seconds and reach a top speed of 151 km/h or 93.8 mph.
DESIGN / FACELIFTS / NEW GENERATIONS;
·FIRST DESIGN (1968): The Ford Corcel stood out on its debut for presenting a beautiful appearance, made up of straight lines, with emphasis on its front, which was marked by creases on the hood and by the chrome grille with horizontal friezes, highlighting the raised central part so that could follow the creases of the hood, the circular headlights were accompanied by the driving lights located at the bottom of the grille. Below the assembly was the chrome bumper with the space for the license plate in the center. On its side, the look is marked by the charm of the four-door sedan body and the crease that runs along the entire side of the car, the 13-inch wheels were accompanied by chrome hubcaps. At the rear, the highlight is the rectangular-shaped taillights and the chrome bumper. Another highly praised detail of its design was the large glass area, which favored visibility in all directions.
·FIRST FACELIFT (1971): In 1971, the Corcel received its first restyling, with a new grille with horizontal and vertical friezes and a new emblem in the center, the driving lights are now located below the bumper, and at the rear the only new feature is the four square-shaped taillights, two on each side.
SECOND FACELIFT (1973): In 1973, the Corcel underwent a new facelift, this time much deeper and concentrated mainly on the front of the car, it gained a new hood, with a more aerodynamic design, in addition to a new grille with vertical friezes, a new emblem in the center and new headlight frames, the license plate left the bumper and began to be positioned below it, while the driving lights gained a new design, at the rear the lanterns gained a new design, having a rectangular shape and having reverse lights integrated with them. Inside the car, the only new feature is the dashboard which, regardless of the version, was only offered in a matte black colour.
·THIRD FACELIFT (1975): For the year 1975, the Corcel received a new facelift, with a lower hood that had the logo at the center and the Ford name on the right, a new grille, now made of plastic with horizontal stripes, new hubcaps, split tail lights and an gauge cluster with square dials.
·THE NEW GENERATION FORD CORCEL II (1977): The new second generation Corcel arrived with a beautiful look that followed the trend of the time, made up of straight lines and a two-door body with a fastback style rear, in addition, it is also worth highlighting the new look of its front, made up of headlights rectangular and new driving lights located at the ends next to the headlights, in the center the new engine cooling grille was painted in black and had the Ford logo in the center, but the main highlight of this new grille came from the aerodynamic design. of its horizontal blades, which provided a more intense air flow even at lower speeds, while the bumper, depending on the version, could be painted black or chrome. This new generation lost the option of a four-door body due to the fact that at that time, Brazilians only preferred cars with two doors, but to facilitate access when getting in or out of the vehicle, the most efficient solution was to adopt huge doors, which helped even the rear seat occupants. The main highlight at the rear of this sedan is the smooth fit of the C column, which went all the way to the trunk lid, while the license plate came out of the bumper and is positioned between the rear lights, which have a cleaner, more rectangular design. Inside, the new Corcel was more luxurious and sophisticated, featuring a fully carpeted interior and reclining front seats. The new panel was marked by a beautiful look that followed the trend of the time. Made entirely of plastic and with details such as a radio in the center and two rectangular ventilation outlets at the ends. The instrument panel had information in three circular markers, the first with a speedometer, the second, in the center, with an analog clock and the third with a fuel level marker and warning lights.
·1979 TWEAKS: In 1979 the car was slightly modified, gaining new transparent front lights and new rear lights with a beaded design in addition to a new four-spoke steering wheel for the LDO version. In addition to new options such as 5-speed gearbox, headlight washers and a new 1.6 engine.
·1980 TWEAKS: In 1980, the Ford Corcel II received new bumpers with plastic tips, a coolant temperature marker and options such as radial tires, three-point seat belts and a smoked sunroof, while the GT version gets a red trim next to the black paintwork.
1982: In 1982, the Corcel II line received improvements to the gearbox and suspension, in addition to a new central console with digital clock and air conditioning, which was only offered as an option.
1984: In 1984 the Ford Corcel II received new headrests and a new two-spoke steering wheel.
VARIANTS;
·CORCEL TWO DOOR COUPE (1969): The Corcel began to be a great success, and because of this Ford decided to expand the options in 1969, and the first of them was the two-door coupé version, standing out for its sportier look, thanks to the look of the rear side with lines reminiscent of muscle cars and the rear part of the roof that had a smooth slope to the height of the trunk. Another reason why this version was highly acclaimed was the fact that at that time Brazilians had a great preference for cars with just two doors.
TRIM LEVELS;
·CORCEL STANDARD: Initially the Ford Corcel was only available in the most basic version, called Standard. It had a simple but well-finished interior, with emphasis on the internal space, enough to seat 5 people in relative comfort, thanks to the one-piece seats and good wheelbase. The dashboard also had a simple design, with a glove box, ashtray and radio. The gauge cluster only had the essentials for the time, that is: fuel level gauge, speedometer, engine temperature gauge and warning lights. The huge steering wheel has two spokes, and the transmission was a four-speed manual with a lever on the floor.
·CORCEL LUXO (1969): In 1969 the luxury version of the Corcel was released. It had a more sophisticated finish, with details such as trims, various chrome parts, new interior linings, individual front seats with reclining backrests and a panel with new details such as a padded upper part and applications that imitate rosewood.
·CORCEL GT (1969): Launched in 1969 and aimed at a younger audience, the Corcel GT was only available in a two-door coupe version. It had details such as a vinyl roof with the GT logo on the C-pillar, stripes on the sides, black paint on the hood and rear, fog lights, and claws with a rubberized finish on the bumpers. Inside, the GT version featured a new three-spoke sports steering wheel, forced ventilation with two speeds and a complete gauge cluster with: speedometer, rev counter, oil level gauge, fuel level gauge, engine temperature gauge and a voltmeter for the battery.
·CORCEL GT (1971 FACELIFT): The GT version also received a facelift to accompany the others, with high beam headlights embedded in the grille, the grille was even painted in black and had the GT emblem in the center, the hood was also painted matte black and had a fake air vent in the center.
·CORCEL GT-XP (1972): In 1972, the Corcel GT gained a new name and more improvements, such as new wheels with a sporty design, new side stripes, while the markers, previously located in the central part of the panel, were now grouped together on the new central console.
·CORCEL GT-XP (1973): The Corcel GT-XP brought new visual features such as new rectangular headlights integrated into the grille, new side stripes, and two stripes on the hood, similar to those of the Ford Mustang.
·CORCEL LDO (1975): In 1975 was the even more luxurious version called LDO and stood out for presenting a more sophisticated finish, with a vinyl roof, chrome trim on the wheel arches, painted filets on the sides and the same sports wheels as the GT-XP version but without the black paintwork. Inside, it gained new interior linings, dashboard and seats in brown and beige and an exclusive steering wheel.
·CORCEL GT-XP (1975): The Corcel GT-XP only received aesthetic updates, such as new stripes on the sides and hood and new exterior mirrors.
·CORCEL II STANDARD (1978): This version of the Corcel II came without side moldings, had bumpers painted black and came with wheels that had a closed central core.
·CORCEL II L (1978): The intermediate version featured moldings in the middle of the side, chrome bumpers, wheels with a red central core or a crown design in the center.
·CORCEL II LDO (1978): The luxurious LDO version was equipped with chrome bumpers that had rubberized details, moldings at the bottom of the side and new wheels also with a red central core and a silver crown design in the center. The LDO version brought the charm of a monochromatic leather interior with applications that imitated rosewood.
·CORCEL II GT (1978): The new Corcel II GT had a look marked by black paint on the upper part of the body up to the C column, which was surrounded by fillets in yellow and red, black wheels with chrome over rims and high-flying headlights located below the bumper. Inside, the new features are the new three-spoke sports steering wheel, the rev counter on the instrument panel, and the new instrumentation on the central console, which included the oil level marker and the battery voltmeter. The engine was not changed, continuing with the same 72 hp as the other versions.
·CORCEL II GT (1979): This year the GT version undergoes improvements, such as new black stripes located on the lower part of the body, stiffer suspension and black bumpers.
·CORCEL II HOBBY (1980): It was in 1980 that the new version, called Corcel II Hobby, was launched. Aimed at a younger audience, the Hobby version stood out for its cooler look, marked by the bodywork without chrome details and the black wheels with chrome rims. Inside, this version featured red and black trim, the sports steering wheel of the GT version and an instrument panel with a silver finish.
·CORCEL II OS CAMPEÕES SPECIAL SERIES (1982): This special series featured details such as black paint with gold details, gold wheels, fog lights, black leather and black velvet interior, instrument panel with rev counter, digital clock on the center console, five-speed gearbox and options such as a sunroof, radio cassette player and air conditioning.
THE FORD DEL REY: The Del Rey was a Ford luxury sedan launched in the early 1980s and discontinued ten years later, having been replaced by the Versailles. It is a medium sedan, with three well-defined volumes, a choice of two or four doors and robust engines. The model was derived from the Corcel and in its line there was also the station wagon version, called Del Rey Scala and the Pampa pickup truck.
·BEFORE LAUNCH: Ford had a big problem to face in the late 1970s. With the new decade, Ford began to remodel its cars with modern designs coming from North America so as not to lose sales to more modern models. As the market was in crisis, it was not possible to invest well in a new model, an option taken in the 1970s when they brought the Ford Maverick to the American market, an option revealed to be wrong later, as the initial project was to bring the Ford Taunus. The solution was to call for the creation of a new model, but with an existing platform on the national market. The options were to create a car based on the four-door Maverick, increasing its rear space, which was the model's biggest problem, or to create a product based on the Corcel II platform, launched two years earlier.
In a clinic, two models were displayed to test consumer opinion, and the one chosen was the one that resembled the final design of the Ford Del Rey. A medium sedan, with three well-defined volumes, the option of two or four doors and an economical engine. , being the alternative to avoid higher costs. The model was based on the Ford Granada MKII models, a large model from English Ford manufactured at the same time, and the Ford Taunus, also from European Ford, but from Germany. They were very similar both front and rear, as well as the side, despite the Brazilian model being smaller.
·FIRST GENERATION (1981 - 1984): The Ford Del Rey debuted in mid-1981 and could be found in Gold and basic versions (popularly called "Silver"). It was a car with a refined finish, reminiscent of its older brother, the Ford Corcel under construction, but at the same time reminiscent of the good old Galaxie/Landau. The most complete version came as standard with items that were not common even in cars of its category, such as light alloy wheels, electric windows, electric door locks, rear view mirrors with internal control, velvet seats, fog lights, digital clock located on the central rear view mirror, among other things. The model received an automatic transmission as an option in 1983, and in 1984 it received the CHT engine, a revision of the old 1.6 engine of Renault origin that equipped the Corcel GT, and which was revised to equip the recently arrived Ford Escort. The engine did a lot of good for the model which, despite being economical, suffered during accelerations and restarts, and was the target of criticism from its owners, always losing in comparisons with the main competitors of its time, such as Chevrolet Opala, Volkswagen Santana and after 1985 , the Chevrolet Monza.
SECOND GENERATION (1985 - 1991): In 1985 Ford made some changes to the model, which would remain practically intact until the end of its life in mid-1991. The already tired sedan gained a new front, similar to that of the Ford Corcel, with a “grille” aerodynamics and a spoiler that served as a frame for the fog lights. The model began to have other names. The Silver and Gold were discontinued and the GL entered as a basic version, GLX as an intermediate and the Ghia as a top-of-the-line version. It lost the refinement of alloy wheels, but gained new items. The rim increased to 14 inches and was the first non-sports car in Brazil to use a 60 profile. The 1987 model featured electric rear-view mirrors. With the Ford Corcel leaving the line the previous year, Ford created the L version, with a more stripped-down finish, to fill the gap between the Escort and the Del Rey. In 1988 the model had no relevant changes.
With the merger of Volkswagen and Ford in 1987, Autolatina was created, a large company that came to dominate the market and almost cannibalized Ford of Brazil. The Del Rey was one of the few models that profited from this merger, as it gained the more modern AP 1.8 engine (which was equipped with the Volkswagen Santana). With a small performance gain, its top speed rose from 146 km/h to around 156 km/h, and its acceleration from 0 to 100 km/h went from 16.50 in the 1986 GLX version to around 13.88 seconds, due to the new gear reduction and small increase in power. The Del Rey received some mechanical changes, recalibrated springs at the rear to improve the “anti-dive” effect when accelerating and “anti-squat” when braking. The exterior mirror received a modified base in 1989. The last really notable difference between the models with the 1.6 and 1.8 engines was the consumption, which had increased slightly.
In 1991 the Del Rey was taken out of production. It is a model well remembered for the modernity it had in its time, as its bigger brother (Ford Landau) did not have many modern features (such as electric windows, electric locks and electric mirrors). Its replacement, the Ford Versailles, was not as successful due to its lack of charisma.
THE FORD BELINA: During the development of the M project (later named Corcel) in partnership with Renault, Willys-Overland do Brasil was studying the project of a station wagon/van to occupy the market niche left by the end of DKW-Vemag Vemaguet in 1967 At the same Volkswagen do Brasil was working on a similar project for a while, the Variant station wagon. After the purchase of Willys do Brasil by Ford, the M project continued to be developed. On August 26, 1968, the M project was presented at Clube Pinheiros in São Paulo during the Ford-Willys dealer convention. Named Corcel, the new vehicle was being launched on the market to compete with the VW Beetle. At the same event, Ford presented the prototype of a Corcel station wagon in September 1968. The first prototype of the Corcel station wagon was seen circulating around the factory in São Bernardo do Campo undergoing tests.
Ford even transported a prototype station wagon to its stand at the VI São Paulo Motor Show, with its management undecided about showing the model. In the end, the station wagon ended up not being shown. Instead of launching, Ford chose to carry out further tests of two models: two and four doors (never adopted for series production). The tests were carried out throughout 1969 on Estrada Velha de Santos.
The Ford Belina was launched on the market on March 3, 1970, approximately three months after the Volkswagen Variant.[6] After the launch of Variant and Belina, VW and Ford began an “advertising war” in the station wagon market, with each factory praising its product and criticizing its competitor. In the end, the German automaker prevailed with the argument of the simple and robust mechanics of the air engine (the same as the Volkswagen Beetle). Thus, the Variant's production was around six times greater than that of the Belina.
In one of the first tests carried out by the press, unusual wear was noticed on the Belina's front tires. An error was later discovered in the adjustment of the front suspension of the Corcel-Belina line, which forced Ford to call on all owners of Corcel-Belina line vehicles manufactured between 1969 and 1970 to come to Ford dealerships to have the suspension readjusted. Despite not requiring replacement of parts, this was considered the first recall in Brazil.
The bad reputation brought about by the problem affected Belina production, which went from 7831 (1970) to 5306 (1971) vehicles. The drop in production forced Ford to invest in the relaunch of the Corcel-Belina line in 1972. The main change for the Belina was the adoption of the 75 HP XP engine, replacing the original 68 HP. The production of mixed-use trucks (including station wagons) was encouraged by market acceptance. Between the first quarter of 1973 and 1975 there was a 26% growth in the production of mixed-use trucks (including station wagons) while car production in the country fell 3.9%.
In 1973 production reached almost thirteen thousand copies. The Belina went through a period of growth in production that did not change even with the launch of the Chevrolet Caravan on the market in 1975. Derived from the Opala, the Caravan station wagon began to compete with the Belina for the market. Thus, Ford adopted a second restyling of the Belina in 1975, with changes to the front and improvements in the design and the adoption of a gas shock absorber to support the trunk lid instead of the obsolete spring shock absorber it used. The arrival of the Caravan and the launch of the remodeled Belina put pressure on the Variant, which began to lose market share until it was discontinued in 1977. At the same time, the Belina project, derived from the Corcel, was feeling the weight of age (given that it was from the 1960) and needed replacement.
THE BELINA II: With the launch of the Chevrolet Chevette in Brazil (and the expectation of a future derivative station wagon launch), the announcement of FIAT's arrival in Brazil and the announcement of the launch of the Dodge 1800, Ford began studying changes to the Corcel line. Inherited from the acquisition of Willys-Overland do Brasil, the Corcel was a Renault project from the 1960s ready when it was taken over by Ford. At the end of 1973, the American multinational carried out the first restyling study of the Corcel. Belina, however, was not initially included because its competition was limited to the Variant. This later changed with the arrival of the Chevrolet Caravan and rumors of the production of a Dodge station wagon (which ended up not being released) and the Chevette station wagon. The redesigned Belina first appeared in print in October 1976.
In 1978, the Belina received a modern update, when it was renamed Belina II, incorporating the main changes of the Corcel II, with straight lines. The versions were the L, simpler, and luxurious LDO.
THE DEL REY SCALA: Derived from the Del Rey, the Scala was launched in 1983, being an evolution of the Belina. Available in a single version: Gold. With a superior finish, it introduced new equipment to the category: electric locks and windows, a ceiling console with a digital clock, reading lights and a panel that even had an oil pressure gauge. Air conditioning was optional. Initially, power steering was not offered, not even as an option. It was equipped with a 1.6 engine with 69 hp. In 1984 it received ventilated disc brakes at the front and its power increased slightly: 73 hp.
In 1985 it received a facelift, with a new front and interior changes. It was now offered in two versions: GLX and Ghia. In 1986 it received power steering and a CHT E-Max engine.
There was also a 4X4 version, launched in 1985 and discontinued in 1987, due to the high incidence of mechanical failures in the system.
In 1987, she was called Belina again. Its production lasted until 1991, when it was discontinued to make way for the Ford Royale. At that time, Belina's sales represented half of the Del Rey family.
FORD PAMPA: The Pampa was based on the second generation of the Corcel and was presented at the 1982 Motor Show, designed to compete with the Fiat Fiorino, Volkswagen Saveiro and Chevy 500.
In the 1984 model, the first changes occurred, receiving the CHT engine, more powerful and economical. The 1600 cm³ CHT engine had 75 HP on alcohol and 73 HP on gasoline, respectively allowing the Pampa to reach a maximum speed of 145 km/h and 140 km/h. The 4x4 model, launched in the same year together with the Belina 4x4, was equipped with a four-speed gearbox, a one-piece seat and also had a second fuel tank in the alcohol version, for an additional 40 liters. Its interior was much more basic than the pioneering 4x2 model.
In 1986, the basic, L and GL models came into existence, and in that same year the entire Pampa line received the front grille of the 4x4 version for the 1987 model. It was similar to the Del Rey, in addition to gaining the Ghia version with luxury items from the Del Rey Ghia model. These include a complete dashboard, windows and electric locks. Despite this, Pampa no longer has air conditioning, only offering hot air as an option.
The Pampa had always been the leader among light pickup trucks until then and continued in this situation until it was discontinued. In 1990 it received the VW AP-1800 engine, powering the L, GL and Ghia versions. The CHT 1.6 still remains in the L and GL 4x4 versions. The following year the S version arrives, much more sporty and complete, only coming with a 1800 cm³ engine and bringing standard items such as external hooks, protective rubbers for the edges of the bucket, day and night rear view mirror, optional power steering, individual adjustable seats , stylized wheels, personalized stripes on the sides, sliding rear window, front spoiler with built-in fog lights and other items found in the Ghia version, such as an electric trio.
In 1992 the Pampa received a new front grille, identical to that of the Del Rey, which production ended in 1991. Two years later it received an electronic carburetor (2E CE) for the 1800 cm³ engines. In 1995, the Ghia and Jeep GL 1.6 4x4 versions were discontinued, leaving only the L (1.6 and 1.8), GL (1.8) and S (1.8).
The Pampa ceased production in 1997, the model year in which the 1.8 engines were equipped with EEC-IV single-point electronic injection, becoming the best-selling automobile-derived pickup in the segment, exceeding 380,000 units sold. Even in the face of competitors with more modern designs such as the recently launched Corsa pick-up, the second generation of the Saveiro, the third generation of the Fiorino pick-up, and the first generation Hilux imported into Brazil, which was initially a small pick-up, and the Mazda B2200, the Pampa has always been a sales leader, extremely popular, robust and attracting a legion of fans across the country, it was succeeded by the Courier, which never had the same sales figures, and it is often possible to see more Pampas on the streets than Couriers .
TRIVIA;
·What is interesting is that although the Renault and Ford models had completely different designs, they shared the same platform, engines and wheels that had three holes and which became famous in Brazil for exactly this reason.
·The name Corcel, means Steed in Portuguese and was chosen as a homage to the Ford Mustang.

Plastic playhouse faded but structurally sound. We got it free on Craigslist and my daughter has grown out of it. I will choose a random winner on Friday 5/10, with the goal of having it picked up by Sunday 5/12.
Please note that the although it comes apart easily for moving, the roof piece is 5.5 x 4.5 feet. It does not fit in my Ford Escape, but may fit in a van or larger SUV.

I should be ashamed of myself but I am not. She's for sale. https://fortmyers.craigslist.org/lee/cto/d/cape-coral-2008-ford-escape/7744378199.html