MPAA Rating: R/Genre: Neo-Noir Action Thriller/Stars: Clint Eastwood, Harry Guardino, Reni Santoni, John Vernon, Andy Robinson, John Larch, John Mitchum, Mae Mercer, Lyn Edgington, Ruth Kobart, Woodrow Parfrey, Josef Sommer, William Paterson, James Nolan, Maurice S. Argent, Jo de Winter, Craig Kelly, Debralee Scott/Runtime: 102 minutes
Among the numerous individuals who make up the hardworking group of people who spend their days and nights bringing to life the various cinematic stories that we as movie goers find ourselves being engaged and/or entertained by, there are some who are just (for whatever reason) in an entirely different league from a lot of their peers in the industry. Indeed maybe it’s the fact that they’ve been working a long-time, maybe they’re known for going all in whenever they play a role and thus have to be very selective, maybe they are the kind of person who could literally portray just about anyone and still find a way to be nominated for awards, or maybe you’re just a one of a kind talent who I am not entirely sure if the world will ever get another quite like them to name but a few examples. Yet besides such screen dignitaries as Michael Caine, Robert De Niro, Daniel Day-Lewis, Meryl Streep, and Jack Nicholson to name but a few I feel like there is at least one other name that should definitely be added to their iconic ranks. That being none other than Clint Eastwood. Indeed here is a guy who, being Squinting Monthly’s favorite male model aside, got his start as Rowdy Yates on the Western TV show Rawhide, proceeded to become a film star thanks to his work as the enigmatic Man with No Name in Sergio Leone’s spaghetti western Dollars Trilogy, and then (as if that wasn’t enough) became an equally as acclaimed director starting in 1971 with the movie Play Misty for Me. However, in addition to his directorial career taking off then, it was also in the year 1971 that movie goers saw Eastwood hit a new benchmark in his career when he made the choice to be in a film about a tough as nails cop who is equally as good at his job even as he also chooses to play more by his own rules than those found within the rulebook as he is at using his .44 Magnum. A film, and slice of cinema I happen to be reviewing for you today, known simply as Dirty Harry. Perhaps the most remarkable thing about this movie though is not the fact that it managed to be one of the cinematic parties that is arguably responsible for the creation of the “cinematic crime saga” as audiences nowadays know it. Nor is it the fact that its influence is still being felt in film to this very day. Rather, it’s the fact that this slice of cinema was made over 5 decades ago and it still holds up really freaking well. To be sure, it has a few issues to its name, but with the aid of extremely solid work on both sides of the camera Dirty Harry “71” is nevertheless one hard-hitting, engaging, and surprisingly insightful cop thriller that thankfully isn’t likely to see the impact it has on cinema as a whole start to fade anytime soon.
The plot is as follows: Taking us as movie goers once more to that distinct locale known as San Francisco, Dirty Harry “71” gets its thrilling story underway on a rather run of the mill kind of sight. That being a woman deciding to just take an afternoon dip in a rooftop pool on top of a skyscraper. Or at the very least that would be the case if a random psychopath didn’t decide to make the choice to shoot her dead while she was engaged in said swim and leave a rather ominous note at the scene. One that not so politely makes the request for 100 grand in cold hard cash lest the city wish to see more people die. At any rate, we soon witness as this case is handed over to a member of the San Francisco Police Department by the name of Inspector Harry (or Dirty Harry as he is known by his peers on the force) Callahan. A guy who, among other things worth knowing about him, is someone who rocks a Magnum Smith & Wesson Model 29 as his firearm of choice as well as the fact that he is very much an individual who operates less off the police handbook and more so off his own personal code of conduct. Yet despite the latter of this pair of items very much seeing him be treated with (at best) a more than slightly skeptical eyebrow by both his peers and superiors in equal measure, there is no denying that Dirty Harry is a highly efficient and skilled officer. A claim that, with the emergence of this rather ruthless serial killer (eventually being dubbed the Scorpio Killer), we shall soon see be put to the test. Not just because Callahan, against his wishes and more than slightly high reservations, is soon assigned what seems to be the latest in a revolving door of partners in the shape and form of a young rookie by the name of Chico Gonzalez. Rather, it is also because Scorpio has decided that he has more than a few issues with the fact that there is actually a member of the police force who (oh the horror) is able to both keep up with him to say nothing of who could actually have the determination and drive to take him down. Thus what has started out as a fairly simplistic (or as simple as such a situation could ever be) case of a serial killer terrorizing the city has now turned into a thrilling and ever-escalating game of cat and mouse. One that will see Harry realize that maybe if he wants a chance at catching this guy he might have to utilize his distinct form of justice to such an extreme that it would see him come dangerously close to being less a cop and more a vigilante with a badge and a gun. As for how this game is resolved to say nothing of the impact that it has on both our hero and his quarry that is something I shall let you see for yourself….
Now right off the ol’ Magnum barrel, it should be pointed out that the work done by the distinct teams operating behind the camera on this film most assuredly do everything in their power, both collectively as well as individually, to come together in order to make this slice of cinema the phenomenal film that it ultimately turns out to be. Without any question whatsoever, this starts with the work done from the director’s chair by the iconic Don Siegel (the 1956 Invasion of the Body Snatchers, Madigan from 1968, and 1979’s Escape from Alcatraz) and this is definitely one of the more noteworthy to be found in his filmography. Indeed not only does Siegel do a masterful job of providing the film with an air of authenticity that helps make the story feel that much more riveting and rooted in reality than it might have been otherwise to say nothing of keeping the audience on the edge of their collective seats via well-placed moments of action and suspense, but he also excels at making sure the story is one that manages to be equal parts incredibly engaging and yet wonderfully easy to follow as well. Suffice it to say it’s a wonderful effort from one of the more noteworthy helmers of his respective generation and it’s easy to see why Eastwood really took after him when he started directing himself. Along with the undeniably skilled work done by Siegel at the helm, this slice of cinema also contains an extremely well-written screenplay as penned by Harry Julian Fink (1965’s Major Dundee), R.M. Fink (1971’s Big Jake), and Dean Riesner (1968’s Coogan’s Bluff) respectively. Indeed in the hands of this writing trio, not only are we as an audience treated to a very well-told and genuinely suspenseful story, but they also bring some significant thematic concepts involving justice and morality into the mix as well thus giving this a fair bit more substance to work with than other films of a similar ilk. Besides the work done by that pair of departments, this slice of cinema also contains a truly on-point effort from Oscar-nominated Bruce Surtees (1974’s Lenny, 1975’s Night Moves, and the first Beverly Hills Cop) in the cinematography department. Indeed through the combined utilization of both a distinctly straightforward visual flair as well as shooting on location in San Francisco, we see that the cinematography department is able to not only make the film feel a bit more grounded in reality, but also partner up with the unflinching atmosphere prevalent throughout. Last, but most certainly not least this section would not be complete if I didn’t take some time in it to talk about the work done by Lalo Schifrin (Cool Hand Luke and Bullitt) on this film’s musical accompaniment. Indeed not only does the score do a fantastic job of reinforcing the thrilling story being told, but it also comes with a distinct vibrance that works in synch with the overall tone of the movie perfectly as well. Suffice it to say that when you take into account solid work from the editing department among others it’s clear that there might be a few things about this film which may ruffle some feathers here and there, but for those willing to give it a chance regardless I promise the work done behind the camera will reward you for doing so.
In addition to the extremely well-done work given to us by the assorted units behind the camera, it also does not hurt this slice of cinema in the least that it is also the blessed recipient of a collection of top-tier performances in front of the camera by an impeccably chosen cast of talent that manages to be on the same level if not perhaps a teeny tiny bit higher. Without any doubt in my mind whatsoever, this starts with the work done by Clint Eastwood in the titular role and he is (big surprise coming up here) absolutely phenomenal. Indeed as the titular character, we see that Eastwood does an incredible job at giving audiences a snarky and driven individual who, despite very much being a maverick who strives to function as much as possible outside the rulebook due to a belief that the system simply is just too lenient with the criminal element to say nothing of a loner due to his desire to work alone if he can help it, is nevertheless still someone who is willing to do whatever it takes to keep the innocent safe and thereby ensure that justice is dished out to those deserving of it. Suffice it to say that it’s a fantastic performance and one that is a delightful yet rare example of character and performer synching up perfectly. Alongside the spot-on performance by Eastwood, this slice of cinema also contains a truly electrifying turn from Andrew Robinson (the first Hellraiser from 1987 and Garak from Deep Space Nine) as the serial killer “Scorpio”. Indeed Robinson is chillingly good at giving audiences an extremely ruthless and quite cold-blooded menace who not only doesn’t care about the impact that the insane choices he makes has on the world around him, but who also (and even more chillingly) actually takes a perverse delight in the murderous actions he engages in as well. More than that however, we see that Robinson also excels at, much like the character of the Joker, giving this guy dangerous degrees of erratic and unpredictability about him in regards to his behavior thereby making him difficult for our hero to not only anticipate, but also thwart as well. Suffice it to say then that this is a terrific turn and easily one of the better antagonists in the five Dirty Harry films that audiences were ultimately treated to. Last, but by no stretch of the imagination least I feel like this section would be woefully lacking if I didn’t mention the work done by the always enjoyable John Vernon (Dean Wormer in Animal House, and the voice of Rupert Thorne on Batman: The Animated Series) as the Mayor of San Francisco. Indeed the character might not be as fleshed out as he should have been, but even so Vernon does a wonderful job of giving us an individual who is someone who showcases an extreme reluctance to engage in actions that might not be favorable for him from a political perspective much to the dismay of our shoot first, second, third, and then consider asking questions much later protagonist. Suffice it to say that when you also incorporate into the brew talented efforts from such performers as Reni Santoni (Poppie from Seinfeld), John Larch (It’s a Good Life from the original Twilight Zone show), frequent early Eastwood collaborator John Mitchum (Paint Your Wagon and High Plains Drifter), and American blues singer Mae Mercer among others it’s clear that this slice of cinema might have a few distinct hurdles to overcome, but the work done by this cast most assuredly still makes this film worth watching time and time again.
All in all and at the end of the day is Dirty Harry “71” a perfect and spotless slice of cinema in every way possible plus or minus at the very least 10 more ways thrown in for good measure? Sadly, and as much as I would love to tell you that is the case due to being very much a Clint Eastwood fan through and through, I am afraid that is not something I can say though most assuredly is it not for lack of effort by any means on the part of either the cast or crew involved in bringing it to life for us as movie goers. With that being said, is this the worst slice of cinema made by any of the talented people on either side of the camera? Most assuredly not though I would definitely have to think on what titles could qualify for that rather distinct “honor”. While I think on that though, and as previously touched upon, you should know that this slice of cinema is not going to be one for everyone. Not just because of the fact that the film, to some people, might appear to be a wee bit troubling side due to how it seems to celebrate the titular character’s methods which can be a bit extreme to say nothing of the fact that the actions undertaken by the character are more than a tad unrealistic which, for fans of realistic crime thrillers, might be a bit too much. Rather, it is also because of the fact that, for as solid as the performances given in front of the camera are, a lot of the characters in this sadly are not given a lot in terms of substantial narrative material to work with. Should you find yourself able to get past those particular hurdles however, I think you will find that the work at the helm by Siegel is absolutely engaging, the score is on-point, the cinematography does a terrific job of really bringing you both into the world of the film to say nothing of the taut and thrilling action beats on display, the script is an equal blend of suspenseful as well as insightful, and the performances in front of the camera (with particular regard to the ones provided by Eastwood, Robinson, Santoni, Vernon, and Larch) are all top of the line despite the aforementioned imbalance of narrative material. Suffice it to say then that it might not be a movie for everyone, but for audiences willing to give it a shot I promise that Dirty Harry is both one of the finest movies that the 70s sought fit to give audiences to say nothing of a thrilling, engaging, and just plain entertaining film that also serves as a fitting introduction to one of the most iconic cinematic heroes of the past 4-5 decades. Make of that what thou will dear reader! On a scale of 1-5 I give Dirty Harry “71” a solid 4.5 out of 5.
