Coogan, an Arizona cop, is sent to New York to collect a prisoner. Everyone in New York assumes Coogan is from Texas, much to his annoyance. To add to Coogan’s problems the prisoner isn’t ready, so he decides to cut a few corners.
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Clint at his most hyper-masculine, his rugged Arizona sheriff has a culture clash with the drug-crazed hippies of NY, as he seeks to bring one of them into custody. Clint's movies weren't popular with the intelligentsia of the day, as they didn't romanticize hippie culture the way the other movies did. It's rare that the cop who plays by his own rules learns that going by the book is sometimes the way to go like here
What's interesting about this prototype of Dirty Harry is watching the veteran Siegel struggle to understand the changing conventions of Hollywood genre cinema. He perfected the new formula in Dirty Harry by excising the womanizing and lessons learned. In Coogan's Bluff, he's still debating the necessity of police brutality; by 1971, there is no debate.