alexanderdavies-99382 "Dirty Harry" is one of two Police thrillers that are without equal. The other film being "The French Connection." Both films are that well made in every department, along with being HUGELY influential, that every other American 1970s Cop film was bound to be compared. Putting it simply, you shall not find another movie of this kind that can match them. It is interesting in itself how different a film "Dirty Harry" would have been if a different actor had been cast in the leading role of the San Francisco Police Inspector. People like Paul Newman and Burt Lancaster were offered the part but due to their liberal political views, neither man was interested. Apart from anything else, both actors were given different scripts to look over. The closest contender for the Harry Callahan character, was Frank Sinatra. I'm not saying he wouldn't have been any good but the film as a whole would have been completely different. In addition, it is highly doubtful that "Dirty Harry" would be enjoying the following that it has had since its release in 1971. Sinatra wouldn't really have been physically imposing enough either. However, he did a good job in the 1968 movie, "The Detective." Thank goodness Clint Eastwood was cast. Who else can say lines like "Go ahead, make my day" or "Do you feel lucky?" and carry the same kind of impact? Thanks to films like "Hang 'Em High," "Coogan's Bluff" and "The Beguiled," Clint Eastwood was on his way to becoming a box office sensation. It was inspired that he and Don Siegel work together for their fourth collaboration. Their previous films were very good on the whole but both men saved their best for "Dirty Harry." Harry Callahan, from his first scene with dialogue, immediately displays his contempt for authority and bureaucracy. This occurs via his complaining about having to wait a long time before the Mayor of San Francisco calls Callahan into his office. The viewers are left in no doubt as to how Callahan functions as a person as well as a Police officer. He doesn't seem to cultivate many friendships or relationships, he hasn't many interests outside of his work and is constantly being reprimanded by his superiors for one reason or another. The latter has been done to death in cinema but back in 1971, that was quite a new thing. Callahan's colleagues don't particularly care for his working methods but still begrudge him some respect for being a tough son of a gun and for producing good results. It is no small wonder that Callahan has had many partners, all of whom either die whilst on active duty or they request a transfer. The opening scene of "Dirty Harry" sets the tone for the whole film. Don Siegel cleverly disguises the true appearance of the psychopathic sniper but the killer's presence is certainly felt. The music is somewhat off centre but that only heightens the tension as that woman in the swimming pool falls victim.... Andrew Robinson gives a defining performance as the sniper in question. Apparently, he was spotted by Clint Eastwood during a theatre performance and so, Eastwood put Andrew Robinson's name forward. Harry Guardino, John Larch and John Vernon provide excellent support. They know Callahan's methods only too well, judging by the considerable paperwork they are given each time Callahan uses his signature 44 Magnum. There is plenty of excitement in this film. The scene where Callahan has his lunch interrupted by the bank robbery is terrific as he opens fire on the perpetrators in question. As hard as he is, even Callahan displays a vulnerable side. The section where he secretly liaisons with "Scorpio" (Andrew Robinson) in the city park, shows that side to Callahan's character. It is a violent and tense moment of cinema and is very well done. My late father always complained when Callahan uses torture in order to extract either a confession or vital information after a teenage girl is abducted by Scorpio. It is enough that Callahan stabbed the killer in order to defend himself after his brutal assault in the park. It is a bit over the top for Callahan to shoot the injured leg of the killer and to then slowly rotate his foot over the killer's profusely bleeding injury. The scream that Scorpio gives is enough to make the hair on the back of your neck stand on end. The scene finishes with the camera slowly gliding away as Callahan continues his torture....... The only thing that can be said in Callahan's defence, is that he was very concerned about the girl's safety and location. Does that justify using torture so as to extract information from an unarmed suspect? Only the viewer can decide. Naturally, Callahan was brought to order over his conduct by being given a severe reprimand by the District Attorney. Don Siegel cranks up the tension further with the climax, including a bus full of school children being held hostage by Scorpio. It was bound to come down to a confrontation between Callahan and Scorpio. Their climatic gunfight is brilliant. The ending is slightly steeped in ambiguity. When Callahan throws his Police badge into the pond, did he do that as a sign of his anger and frustration or did he choose to resign? Again, only the viewer can decide. A truly definitive Police thriller and it is worthy of a far higher rating on this website.

Idiot-Deluxe Though there were several actors interested in the role, we can all be thankful that it was a 41 year-old Clint Eastwood that ultimately landed the role and film history was made.In this first (and best) installment of the series, we have Inspector Harry Callahan of the San Francisco P.D. on the trail of Scorpio, a sadistic serial-killer, whose attempting to extort the city of $100,000 - but the sum soon rises as do the stakes. The role of Scorpio is brilliantly portrayed by the little-known/under-rated actor Andy Robinson, who, after this movie should have gone on to do great things, but instead, he was soon cast for a role in a soap opera pathetically enough; of which he was soon fired from merely because "he's that mean man, from that scary movie". Knowing this, one can easily surmise that the soap opera crowd must be some of the softest and most delicate people in the world. Anyway back to the movie, Eastwoods good friend and mentor, veteran film director Don Sigel helmed the project, which was filmed in and around Clint's home town of San Fransisco and like all of the Dirty Harry films "the city by the bay" serves as the primary location of the series.Owing much to the fact that Scorpio's a homicidally insane night-owl, who has very busy night-life, many of the movies most crucial scenes occur at night, which were strikingly captured by the masterful eye of veteran cinematographer Bruce Sortees. The scene on the roof-tops involving the attempt on the catholic priests life, where Scorpio gleefully shoots-up the rotating "Jesus Saves" sign is the most perfectly composed/photographed night scene I've ever seen in a movie, another great one is the scene involving the labyrinthine layers of Kezar stadium (which dramatically ends with one of the best helicopter shots ever). Scorpio as you'll see, is a man whose not burdened by a conscience and leaves a trail of destruction virtually everywhere he goes and though he's highly impulsive, he's not stupid and ropes along Callahan, The Mayor and the SFPD for almost the entire movie, first with extortion attempts, then he tries his hand at blackmail - and more extortion.When watching this first outing of Dirty Harry one quickly realizes just how perfectly suited the cast and crew were, it's a marvel, a thing of sheer perfection and as a result of their combined talents, every single aspect of this film seems to fall perfectly into place and crystallizes at that moment, resulting in the creation of an iconic screen hero/film series. Though four more "Dirties" would follow, the first film still stands out as the best of the lot; but what are the reasons behind that, as there are so many to consider. First of all Eastwood's great as always - that's a given. However for me it's the thrillingly compelling performance of Andy Robinson, that elevates this film to the next level and the series never had a more effective antagonist. Huge props must also be given to Don Sigel, whose skillful direction fully compliments the film and keeps the pace rolling at a high level of intrigue. Sigel's direction is so to the point that there's not a single scene wasted, not even a single wasted frame.Another stalwart of the series is composer extraordinaire Lalo Schifrin (the man behind the Mission Impossible theme), who scored all but one of the series five films. But it's in this film that his music is most memorable and effective, Schifrin's music has a way of capturing the vibe of Scorpio's murky, night-time world, pitch perfectly. I'm particularly found of the tension his music stirs up whenever Scorpio is coldly eyeing his victim from a distance. Schrifin was, again, the perfect choice of composer, which as stated earlier is a recurring fact, when considering the people who where behind this classic film. Which finally brings us to George Milius, the films screen-writer, whose contributions are invaluable to this films lasting greatness. Milius is primarily remembered for his iconic "Do I feel lucky" routine, which Harry loves to taunt criminals with; his famous words are, of course, reinforced by the presence of his infamous partner - the mighty Smith & Wesson 44 magnum revolver. What this all adds up to is the best cop drama ever made and it's scary to think of how badly this movie would have sucked, with someone else in Clint's signature role. Give praise to the exploits of Inspector Callahan, as this series has been an institution of greatness for nearly the past half a century.

Raushan Kumar (AbsoluteRaushan) Well I only watched this movie because of Clint Eastwood, I have watched Gran Torino, Good Bad and the Ugly , and many .They were pretty good movies. My hopes were lot higher with this movie . I mean it's Clint Eastwood. People write songs about him. He made old cowboy movie look cool. But this one I found to to be boring. And many things are happens for no reason. Last half an hour is bit of interesting but many people would just left the movie.

talisencrw Recently I've considered drastically negatively re-appraising Clint Eastwood's work, both directorially and as a thespian, as a knee-jerk reaction to his constant defense of the more racially-bigoted face of conservative America, but because of what his work has meant to me as a cinephile over the years, plus in tribute to everyone else's work involved in this film, particularly director Don Siegel's, that simply wouldn't be fair.As well, you're basically getting, boiled down in its 103-minute timespan, 45 years after the fact, the main dilemma facing the USA. Whose rights are more important--the good guys' or the bad guys'? If they're equal, should they be considered equal, and what does that mean to the law enforcement and judicial systems? Quite simply, THE most important American-made film of the past 50 years. NOT my very favourite (that's '2001: A Space Odyssey'), but the most significant.And it hasn't aged a single day because of it.