All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
Detective Harry Callahan. He doesn't break murder cases. He smashes them.
When a madman dubbed the "Scorpio Killer" terrorizes San Francisco, hard-boiled cop Harry Callahan -- famous for his take-no-prisoners approach to law enforcement -- is tasked with hunting down the psychopath. Harry eventually collars Scorpio in the process of rescuing a kidnap victim, only to see him walk on technicalities. Now, the maverick detective is determined to nail the maniac himself.
The Outlaw Josey Wales takes out the trash on the streets of San Francisco armed with his .44 Magnum in Don Siegel's quintessential man's man fuck you political correctness action flick that introduced the world to one of the coolest badass motherfuckin' characters in the history of cinema Dirty Harry Callahan. Rooftop swimming pool. Shell casing. Scorpio manifesto. Mayor John Vernon. The usual. 211. Sudden Magnum Impact Force. The infamous question. Fuck haircuts. Fuck partners. Fuck highbrows. Fuck them all! Horoscope classifieds. Psycho smile. Blue Thunder's cousin. Tits at the window. Hot Mary? Useful partner? Jumper. Clint's hair. Chico's glasses. High-tech binoculars. Peeping Harry. Loose tooth. Payphone. Wild goose chase. Make out mountain. Alice. Statue stillness. Ski mask. Chico's timing.…
Well, this is surely the most confounding Terrance Malick film. Oh wait, that script was never produced.
What was produced turned out to be one of the most iconic films of the 70’s, and one that ushered in a new style of gritty detective drama. The Man With No Name is transported through time, and now works on the San Francisco police force. As the gun-slinger era drew to a close, Clint and his director friend Don Segal crafted “Dirty” Harry Callahan as the face of the modern day moral gunslinger; one who lives and acts by his own rules. The cherry on top in the form of the equally iconic pair of questions “Do I feel Lucky? Well, do…
It is so nice to re-watch a film you have known for your entire life and find that it really is as good as you remembered.
I'm not sure why I don't grab a Clint film automatically for my Friday Night Action/Thriller selection. Clint is the man. That sounds so 80s but he is The Man. He's always the same reliably rogue character with fantastic zingers when it counts. I was surprised to find that in Dirty Harry none of those were delivered in that way modern movies tend to include "The Zinger That May Go Viral". His were all understated and à propos. Nothing cute and catchy for its own sake. So refreshing.
What is particularly interesting about this…
A very disturbing villain, plenty of solid one liners, and Eastwood playing a tough antihero. Dirty Harry is a very suitable vehicle for the three aforementioned talking points. I enjoyed it even if I felt a little sick at times. Eastwood's costumes (drab browns and grey tweeds but time period appropriate) yet debonair (always in a suit) strike the right balance. Some interesting pieces of musical score as well.
I know what you're thinking. Didn't he review this already?
Well, to tell you the truth, in all this excitement, I didn't really lose track myself. No, I just decided to watch one of my absolute favourites again and I might as well just run through the whole series while I'm at it.
I reckon this is probably about my 63rd viewing of Dirty Harry and as I've mentioned before I probably first saw it, albeit in a heavily edited version, when I was 8. Each time I watch this film I think I watch it in a very different light. I think if you watch a favourite film enough you can start to see things that probably…
If there is one film that I'm most afraid for it falling into the hands of the Hollywood remake machine, it's this one.
It would not make my day if that would happen.
I watched this at Shawn's apartment, it was a lot of fun and has ruined some of my favorite 80's action films (I'm looking at you Lethal Weapon) by seeing where the tropes began. Beautifully shot with naturalistic lighting.
Everything a gritty 70's thriller should be; bleak, well-photographed (there's some truly stunning cinemtography here) and tightly structured, all anchored by a commanding lead performance and wonderfully calibrated moments of tension and violence.
Also does a great job of using it's grim locations as an outward expression of the film's deeply nihlistic core.
De la vraie poésie... None of that artsy fartsy stuff
While this film is deservedly remembered for the role Eastwood provides, I would argue that it is a far more impressive film in regards to cinematography. The football field pan out shot is on a Gone With the Wind wounded soldiers level.
I first watched this when I was probably way too young to watch it, but I loved it then, and I still love it. Lots of memorable scenes, like the football field scene or the jump onto the bus.
I feel as if I have to watch this a few more times before I can use a word like "like," which is rare for me, since my reaction is usually swift to a piece of agitprop this transparent. The film's unrepentant, and I admire that attitude in popular entertainment even as I question the straw man argument it's making.
I can tell you that I was surprised how dark it was. Thematically, of course, but also literally dark. Even a football field with the lights beaming down looks lurid. Siegel has a reputation as a workman-like director, but the seedy look of the film really adds to the dangerous atmosphere of this exaggerated San Francisco as criminal wonderland. Despite how direct the Harry Callahan character is, the film is pretty fragmented. The sequence that worked best for me was the "Simon says" payphone gauntlet, and I wish that the filmmaking had achieved that sort of momentum earlier.
God help you if you don't think Eastwood's a serious badass here; it's a long, long ride.
Clint Eastwood is pretty cool. The politics of this movie are not. (Especially relevant in 2015.) But if you like a damn good action movie, Dirty Harry is still dope.