Harry Callahan es un duro policía criado en la calle, sus compañeros lo llaman Harry el sucio por sus métodos contra el crimen, y porque siempre se encarga de los trabajos menos deseados. En San Francisco, un tirador ha matado a dos personas. Harry será asignado al caso.
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Don F****** Siegel, with another borderline script, how delightful ! I remember watching scenes from this as a teenager and finding it all too silly to be true. Watching it today, i actually have a different eye for this, Friedkin or Cimino. Those right-wing cops have their methods and you might be very skeptical but we avoid so much sentimentality, so much bullshit. It’s dry as can be and that’s what you want !
Fun in its anti-hero's one liner-spewing glory, while its 1970's cynicism is equally delightfully brazen as it is off-putting in its old-fashioned outlook (sexism, racism, conservative values.) As watchable as it is, it comes off like a more streamlined and basic version of the same year's The French Connection; without anything in the way of arcs: as character's, concepts, and themes are persistent throughout.
A more interesting film than the seemingly single-minded surface would indicate with some degree of edgy discourse between inert bureaucracy and a kind of just amorality. Eastwood's totemic gum-chewing slab of granite cuts the right jib, but it's a tartly visceral experience: high on circumstantial atmosphere but lowered by some Bondian throwaway cynicism. Schifrin's fused score however is a standalone treat.
Not a huge fan of this one, which too often feels like a collection of set-pieces than a coherent whole; however, the final act surely ranks as one of the most powerful in 70s cinema. The school bus hijacking is a master-class of acting & direction, while the final showdown has Eastwood transformed into an almost supernatural enforcer; less a character in the conventional sense than an embodiment of social injustice.
After making westerns as for the beginning of his acting career, Clint takes justice on the streets of San Francisco as a cop for whom we all call him Dirty Harry. Working with Siegel again, the film features a great action/mystery storyline to keep you pinned alongside unforgettable performances by Clint & Robinson and a tense but groovy score by Schifrin. Make sure it's his day when you're in City by the Bay.
A grungy snapshot of an America in disarray, stuck in between the past and a fast-changing socioeconomic reality. It's such a tour de force, filmmaking-wise. The cinematography and camerawork are as good as it gets in this type of nihilistic thriller. And Scorpio's a villain straight out of a giallo film. He’s twitchy, unflinching, and terrifyingly psychotic. But this is Eastwood’s film, and he’s pure perfection.
It's the first time I see it, and I admit that I didn't expected such a great film. It's definitely not the 'macho' cop character that I've been described for a long time: it's finely written, greatly played, and the killer is motherfucking scary. He reminded me a bit of Malcolm MacDowell.