Don Siegel's highly polished .44 magnum-opus, with Clint Eastwood as the daddy (or should that be mutha?) of all maverick cops. Given an A-picture budget by Warners, Siegel delivered a tremendously taut thriller, as provocatively amoral as anything he had done in his 20-year career of expert B-pics like The Killers.
Dirty Harry also gave Eastwood a definitive Hollywood identity after leaving spaghetti westerns behind. It may lack the humour of Siegel and Eastwood's first collaboration, Coogan's Bluff, but it packs a much more uneasy political punch.
Inspector Harry Callaghan is the taciturn, laconic spokesman of Nixon's Silent Majority, elevated to iconic status. His dialogue with criminals is delivered behind the barrel of a devastatingly phallic Magnum hand-gun. "Feel lucky, punk?" he taunts one wounded miscreant in a famous line he repeats at the end of the film.
There's just enough moral ambiguity about Harry in this film to escape it being an endorsement of vigilantism but if it poses resonating questions about how a liberal society can be held hostage by those outside the law, it also contrives a worryingly two-dimensional picture of psycho-killer Scorpio (Andy Robinson) - and of Harry, himself with which to frame those questions.
Made by the veteran director in the same year as Hollywood-new wave young gun William Friedkin shot The French Connection, it's just as coolly authoritative and exciting. Siegel uses Bruce Surtees' always serviceable photography of San Francisco locations with flair (years before, he had shot the low-budget but excellent The Line-Up there). The swooping helicopter shot out of the baseball stadium, as if to rush the audience away (either as witnesses or as voyeurs) as Eastwood presses his foot on Scorpio's wounded leg, shows Siegel's smooth mastery of the medium.
Siegel made the insouciant Charley Varrick with Walter Matthau next, after which his career went into slow decline.
Dirty Harry also gave Eastwood a definitive Hollywood identity after leaving spaghetti westerns behind. It may lack the humour of Siegel and Eastwood's first collaboration, Coogan's Bluff, but it packs a much more uneasy political punch.
Inspector Harry Callaghan is the taciturn, laconic spokesman of Nixon's Silent Majority, elevated to iconic status. His dialogue with criminals is delivered behind the barrel of a devastatingly phallic Magnum hand-gun. "Feel lucky, punk?" he taunts one wounded miscreant in a famous line he repeats at the end of the film.
There's just enough moral ambiguity about Harry in this film to escape it being an endorsement of vigilantism but if it poses resonating questions about how a liberal society can be held hostage by those outside the law, it also contrives a worryingly two-dimensional picture of psycho-killer Scorpio (Andy Robinson) - and of Harry, himself with which to frame those questions.
Made by the veteran director in the same year as Hollywood-new wave young gun William Friedkin shot The French Connection, it's just as coolly authoritative and exciting. Siegel uses Bruce Surtees' always serviceable photography of San Francisco locations with flair (years before, he had shot the low-budget but excellent The Line-Up there). The swooping helicopter shot out of the baseball stadium, as if to rush the audience away (either as witnesses or as voyeurs) as Eastwood presses his foot on Scorpio's wounded leg, shows Siegel's smooth mastery of the medium.
Siegel made the insouciant Charley Varrick with Walter Matthau next, after which his career went into slow decline.