Si la police de San Francisco ne remet pas immédiatement 200 000 dollars à un homme qui vient de commettre un crime, il recommencera au rythme d’un assassinat par jour. L’inspecteur Harry Callahan est sur ses talons.
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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.
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.
This is the film that cemented Clint Eastwood into badass stardom and kicked off a franchise for this gruff anti-hero. Don Siegel's film is one of the best cop films of the 70s and still stands the test of time in some aspects.