#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In the year 1971, San Francisco faces the terror of a maniac known as Scorpio- who snipes at innocent victims and demands ransom through notes left at the scene of the crime. Inspector Harry Callahan (known as Dirty Harry by his peers through his reputation handling of homicidal cases) is assigned to the case along with his newest partner Inspector Chico Gonzalez to track down Scorpio and stop him. Using humiliation and cat and mouse type of games against Callahan, Scorpio is put to the test with the cop with a dirty attitude.
Plot: When a madman dubbed ‘Scorpio’ terrorizes San Francisco, hard-nosed cop, Harry Callahan – famous for his take-no-prisoners approach to law enforcement – is tasked with hunting down the psychopath. Harry eventually collars Scorpio in the process of rescuing a kidnap victim, only to see him walk on technicalities. Now, the maverick detective is determined to nail the maniac himself.
Smart Tags: #zodiac_killer #.44_magnum #female_nudity #neo_noir #smith_and_wesson_.44_magnum_revolver #smith_and_wesson_model_29 #city #urban_setting #criminal #villain #female_frontal_nudity #bare_breasts #pistol #violence #ambush #cult_director #cult_film #murder #police_protagonist #san_francisco_california #california
|7.7/10 Votes: 144,276|
|7.5 Votes: 1555 Popularity: 13.92|
The directing is remarkable but, the most interesting side of this film is the character created by Eastwood, a policeman who decides to take the law by his hand disregarding any kind of right or procedure.
Quite like his characters in the far west … but in nowadays U.S.
The story itself is, plainly, bad and grotesque.
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.
Classic renegade justice
This stylish 1970s critique of the U.S. justice system is well known as a crime action drama, and is widely regarded as one of many breakthrough films for Clint Eastwood. Eastwood plays the same sort of character he typically plays – a likable tough guy with a powerful sense of justice and ice for blood. This Eastwood, however, has lost his wife to a drunk driver, some of his partners to murderous criminals, and some aspect of his sanity to his job. He’s an inspector in the San Francisco police force’s Homicide Division. The film is highly regarded for Eastwood’s charismatic performance, for the boldness of the Dirty Harry character, and for the several spaghetti-western quotes uttered by Eastwood.
I have a slightly different take on this film. Dirty Harry was released in the same year as The French Connection – http://www.imdb.com/title/tt0067116/combined – a film partly based on real life detectives catching the feeling of police dealing with the hard realities of the drug trade in the big apple of the early 1970s. Dirty Harry – as cool as Eastwood’s character may be – is a one-dimensional creature compared with Gene Hackman’s Popeye Doyle. Something about Harry Callahan’s political incorrectness resonates in a disturbing way with people who have only examined police work and the justice system through their televisions. The reality of this aspect of modern life is far less interesting, dramatic, and straightforward. And the critique of “American justice” is at least as powerfully made in the French Connection as it is here. Furthermore, The French Connection was an extremely innovative film, while Dirty Harry was a fairly typical stylized police-fantasy. The only explanations for the on-going popularity of this film, then, are Eastwood’s charisma and the sheer entertainment value of this gutsy, gritty, hardcore crime drama.
Harry is on the trail of a serial killer played by the phenomenal character actor Andrew J. Robinson in his major film debut. Andy Robinson makes a great psycho, and, at times, appears so out-of-control (nicely contrasted with Eastwood’s reptilian calm) that it is a wonder he didn’t seriously injure himself during the shooting of the film. When Robinson abducts a young girl and buries her alive, extorting $200, 000 from the mayor’s office, Harry uses some unconventional tactics to bring him to justice. This brings us slightly past the midpoint of the film, and just to the point where it accelerates into a first-rate action thriller.
While I think Dirty Harry is a very good film, and worth seeing at least a couple of times, I do not necessarily agree with the general opinion concerning the film. It is disappointing to me that this film did not make Andy Robinson the star that it helped to make Clint Eastwood into – especially since the range of characters and emotions these two men have shown themselves capable of is so disparate (in favor of Mr. Robinson). It is also surprising to me to see that the obvious connection (dare I say plagiarisn) between this film and the French Connection has been glossed over by film history so completely. In the same light, it bothers me that this film is rated so highly as compared with the French Connection. And finally, I am pleased that Dirty Harry is still a film that action fans enjoy, because unlike most of what the action genre produces today, this is a film with a message, and a subtle and hauntingly memorable intelligence.
“Well, I’m all broken up over that man’s rights.”
“Dirty Harry” is an incredible action film, one of the finest ever made and certainly an *extremely* influential one, spawning legions of imitative cop flicks made in the subsequent 43 years. It gave Clint Eastwood a contemporary-set star vehicle to rival the Westerns he’d headlined in the 1960s, and gave us an iconic hero character with whom we could identify: a man who’s weary of a “justice” system that shows too much sympathy to lowlife bad guys who don’t merit that sort of thing.
Eastwoods’ “Dirty” Harry Callahan (so nicknamed because he gets stuck with “dirty” jobs that nobody else wants to do) is a police detective with a wicked .44 Magnum (that will blow your head *clean* off) and a disgust at having to deal with weak superiors and criminal slime. Harry picks up the trail of a psychotic rooftop sniper, “Scorpio” (Andrew Robinson, in one hell of a breakthrough film performance), and is willing to do anything necessary – the rulebook be damned – to get his man.
Highlighted by Lalo Schifrins’ groovy jazz score, impressive aerial photography, and exemplary location work (director Don Siegel and company make the city of San Francisco just as much a character here as any of the human players), “Dirty Harry” is wonderfully put together, and features a solid action climax involving a bus. Harry’s dialogue (the screenplay is credited to Harry Julian Fink, Rita M. Fink, and Dean Riesner) is memorable and quotable; his “do I feel lucky” speech is now cinema legend.
The film is very well directed by Siegel and features a strong supporting cast including Harry Guardino, Reni Santoni, John Vernon, John Larch, John Mitchum, and Josef Sommer; small uncredited roles are played by the likes of Max Gail, Richard Lawson, and Albert Popwell; Popwell, as buffs well know, became a recurring actor in the “Dirty Harry” series.
Overall, this is absolutely essential viewing for action fans of all ages.
10 out of 10.
Original Language en
Runtime 1 hr 42 min (102 min), 1 hr 39 min (99 min) (cut) (Portugal)
Genre Action, Crime, Thriller
Director Don Siegel
Writer Harry Julian Fink (screenplay), Rita M. Fink (screenplay), Dean Riesner (screenplay), Harry Julian Fink (story), Rita M. Fink (story)
Actors Clint Eastwood, Harry Guardino, Reni Santoni, John Vernon
Awards 2 wins & 4 nominations.
Production Company Malpaso Company, Warner Brothers
Sound Mix Mono
Aspect Ratio 2.39 : 1
Camera Panavision PSR R-200, Panavision C-Series Lenses
Laboratory Technicolor, Hollywood (CA), USA (color)
Film Length 2,726 m (Sweden, cut version), 2,825 m (Sweden, uncut version), 2,807 m (Norway)
Negative Format 35 mm (Eastman 100T 5254)
Cinematographic Process Panavision (anamorphic)
Printed Film Format 35 mm