THREE NEW FILMS: FROM VISION TO REALITY
Clint Eastwood has grown accustomed lately to fancy questions about the esthetics of his films. So when a reporter calls him at his Carmel, Calif., home to discuss the mythological-existential-metaphysical-theological implications of his new western, ''Pale Rider,'' he does not answer with a silky snarl and the Dirty Harry line -''I'm afraid you've got the wrong idea about me.'' Rather, the plain-spoken actor and director is polite as he muses over the query about whether his character, known as the Preacher or the Stranger, is meant to represent Death, Injustice, the Avenging Angel, the Fourth Horseman of the Apocalypse or, perhaps, the Son of God. The nameless hero rides down from the mountains to help some gold prospectors who are being harassed by an unscrupulous robber baron and a gunslinging marshal. ''People read so many things into it,'' says Mr. Eastwood, whose films were once dismissed by many critics as ''noisy,'' ''brutish'' and ''simple.''