All the films from all the editions, including those subsequently removed, presently totalling 1187. 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…
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 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…
Movies set in San Francisco have always appealed to me. From Bullitt to Copycat, Vertigo to Zodiac, they all have a backdrop of that beautiful city to enhance their story. Dirty Harry also uses Frisco and the real-life Zodiac Killer as it's inspiration for a film that collared controversy for its violence and no-nonsense protagonist. Don Siegel would give Clint Eastwood one of his most enduring characters and also one of the most quotable. Full of action, full of testosterone, Dirty Harry was Hollywood's answer to the urban crime wave that was sweeping Americas cities. Right-wing in its politics, Dirty Harry Callaghan became the anti-hero of American crime films over the space of four sequels. Technically brilliant, it has aged slightly over the years as a slew of copycat films upped the ante on the violence front, but this remains an iconic film with a cynical edge.
A dull, mindless film, Dirty Harry is the quintessential crime drama of the 60s and 70s. Perhaps the most intriguing aspect of the movie was the villain, played with a fiendish flair by Andrew Harrison. I can't help but look at this film 45 years after it was made and scoff at the horrific police brutality. Portraying the district attorney - the only person in the entire film who seems to care about civil rights - as a spineless moron only adds insult to the injury in this regard. I'm not trying to needlessly politicize a film that is by and large a simplistic action movie, but it is honestly gross that this is a central part of American cinema as well as the American psyche regarding policing.
3 / 5
I feel sorry for those that will come in late to the gritty cop/crime genre. This masterpiece has been ripped off so many times that there is nothing new here for a first time viewer. Even other action classics have taken a scene or two from this film. Lethal Weapon and the rooftop jumper. Lethal Weapon 2 and Riggs dogging his untouchable target. Die Hard With A Vengeance and Gruber running McClane ragged from pay phone to pay phone. The best I can hope for for the jaded seeing this for the first time is that it really does draw you in regardless of later been there/done that followers. Don Siegel knows how to, and even if he seemingly bothers…
Great Cinematography, some classic lines, good moments, Eastwood looks cool as fuck, but the villain is cheesy and its a pretty basic hero almost catches villain 5 times plot/structure.
A masterful B-movie exploitation thriller. Obviously. It's like 20% Callahan butting heads with bureaucratic strawmen and 80% Callahan running around in the dark. The film's expression of post-60s urban anxiety is cut along generational lines - children of the depression worrying over the fallout from a younger generation's cultural revolution, trying to police something they don't understand, as relaxed standards of morality mean that perverts are forced to sink even lower in order to transgress - but the filmmaking is so potent that it transcends its specific cultural context and becomes pure iconography.
If there's one thing I hate, it's political correctness. And this movie reeks of it. Mr Dirty Harry takes his sweet time with his suspects, treats them with kid gloves, has to ask them how many shots he's fired, and generally wastes opportunities to clean up the city because he's too busy talking to people about his feelings. There is a star of the movie though and that's his beautiful big gun that he whips out on a regular basis.
clint eastwood you handsome fucking bastard. every line he says in this movie is quotable. don't know how i went this long without watching this, but it makes me
I think maybe Dirty Harry isn't very good at investigating things? And that seems to be his actual job? He is very good at shooting at things, though.
Also, Scorpio is one of cinema's most under-appreciated villains.
Noirvember film #13
Well, this just breaks my heart. I love Clint Eastwood (at least on film) and everyone and his dog knows of Dirty Harry; we know the speech he gives - "Well do ya punk? - the gun he uses and that his name is equatable to getting shit done.
But, and I hate to say it, the film is really... not very good.
A sniper sets up shop and holds the city ransom and it's up to good ol' Dirty Harry to catch the perp and save the city. Harry hates everyone and "gets every dirty job that comes along" the cop shop. We're shown he's violent as all hell and so when our sniper looks like…