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Dirty Harry (1971) Online

Dirty Harry (1971) Online
Original Title :
Dirty Harry
Genre :
Movie / Action / Crime / Thriller
Year :
1971
Directror :
Don Siegel
Cast :
Clint Eastwood,Andrew Robinson,Harry Guardino
Writer :
Harry Julian Fink,Rita M. Fink
Budget :
$4,000,000
Type :
Movie
Time :
1h 42min
Rating :
7.8/10

When a mad man calling himself 'the Scorpio Killer' menaces the city, tough as nails San Francisco Police Inspector Harry Callahan is assigned to track down and ferret out the crazed psychopath.

Dirty Harry (1971) Online

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.
Cast overview, first billed only:
Clint Eastwood Clint Eastwood - Harry
Harry Guardino Harry Guardino - Bressler
Reni Santoni Reni Santoni - Chico
John Vernon John Vernon - The Mayor
Andrew Robinson Andrew Robinson - Killer (as Andy Robinson)
John Larch John Larch - Chief
John Mitchum John Mitchum - De Giorgio
Mae Mercer Mae Mercer - Mrs. Russell
Lyn Edgington Lyn Edgington - Norma
Ruth Kobart Ruth Kobart - Bus Driver
Woodrow Parfrey Woodrow Parfrey - Mr. Jaffe
Josef Sommer Josef Sommer - Rothko
William Paterson William Paterson - Bannerman
James Nolan James Nolan - Liquor Proprietor
Maurice Argent Maurice Argent - Sid Kleinman (as Maurice S. Argent)

After Clint Eastwood and Don Siegel came on board the project, they hired writer Dean Riesner to work on the script. In his first rewrite, the bank robbery scene ends with Harry not pointing the gun at the robber, but placing it against his own temple. He pulls the trigger, laughs and then walks away. Eastwood and Siegel both felt this was too extreme, even for Harry Callahan.

Andrew Robinson created a backstory for Scorpio which involved him being drafted into the Vietnam War, and seeing unspeakable horrors. When he returned home to the United States, he found himself a figure of hate, and his war experiences, combined with the people's treatment of soldiers, caused him to go insane.

As is well known, Clint Eastwood directed the scene with the suicide jumper (Bill Couch). However, it is often claimed he directed the scene only because Don Siegel was ill. This is inaccurate. Siegel was indeed ill, and wasn't on the set, but Eastwood had always been scheduled to direct that scene, due to the difficult logistics of getting the actors, director, camera-man and sound-man all together on the top of a small ledge. In the shooting schedule, 6 nights had been set aside for the shooting of the scene. Eastwood told the studio he could shoot it in two nights. In the end, he shot the entire scene in one night.

Andrew Robinson was cast at the behest of Clint Eastwood who had seen him in a Broadway production of Fyodor Dostoevsky's "The Idiot". Eastwood then convinced director Don Siegel that Robinson had the right unnerving characteristics to make an effective Scorpio.

Serial killer Scorpio was loosely based on the Zodiac killer, who used to taunt police and media with notes about his crimes, in one of which he threatened to hijack a school bus full of children. The role of Harry Callahan was loosely based on real life detective David Toschi who was the chief investigator in the Zodiac case.

In real life, Andrew Robinson is a pacifist who despises guns. In the early days of principal photography, Robinson would flinch violently every time he fired. Director Don Siegel was forced to shut down production for a time and sent Robinson to a school to learn to fire a gun convincingly. However, he still blinks noticeably when he shoots. Robinson was also squeamish about filming the scene where he verbally and physically abuses several schoolchildren, and the scene where he racially insults the man he pays to beat him up (Raymond Johnson).

A police department in the Philippines ordered a print of the movie for use as a training film.

After the film was released, actor Andrew Robinson received several death threats, and had to get an unlisted phone number.

When Harry finally meets Scorpio in Mount Davidson Park, Scorpio orders him to show his gun with his left hand. Harry pulls it from his holster and Scorpio ad-libs the line, "My, that's a big one!" This line caused the crew to crack up and the scene had to be re-shot, but the line stayed.

In 1972, a copycat crime took place in the state of Victoria in Australia, in which two men kidnapped a teacher and six pupils at gunpoint and demanded a 1 million dollar ransom. The state government agreed to pay, but the children managed to escape and the kidnappers were subsequently jailed. One of them was called Eastwood.

The movie's most famous line is often misquoted. A lot of people mistakenly quote the line as "Do you feel lucky, punk?", while the actual line is "You've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?"

Clint Eastwood performed all his own stunts, including the stunt where he jumps onto the roof of the hijacked school bus from a bridge. His face is clearly visible throughout the shot.

When Clint Eastwood approached Don Siegel to offer him the directing job, Eastwood gave Siegel four drafts of the script, one of which was written by Terrence Malick. In Malick's script, he had altered Scorpio from being a mindless psychopath killing only because he likes it, to being a vigilante who killed wealthy criminals who had escaped justice. Siegel didn't like Malick's script, but Eastwood did, and Malick's ideas formed the basis for the sequel, Magnum Force (1973).

The movie's line "You've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?" was voted as the #51 movie quote by the American Film Institute (out of 100).

In the bank robbery scene [10:32], Harry enters a burger joint across the street from the bank. Around the corner from the burger joint, the viewer can see a movie theater marquee that lists Play Misty for Me (1971). Eastwood starred in and directed the film, released earlier in 1971. The film was the first feature film directed by Eastwood.

Scorpio wears a belt with a peace symbol buckle throughout the film. According to director Don Siegel, "It reminds us that no matter how vicious a person is, when he looks in the mirror he is still blind to what he truly is".

Unlike most other municipal police organizations, the San Francisco Police Department calls their detectives "Inspectors." Hence the title character's official rank and name is 'Police Inspector Harry Callahan,' and not 'Detective Harry Callahan'. This was especially confusing for audiences in countries using the British police rank system where 'Inspector' was a rank equivalent to a U.S. Lieutenant.

The original draft of the script by Harry Julian Fink and Rita M. Fink was set in New York City. When Clint Eastwood and Don Siegel became involved in the project, they initially planned to relocate the film to Seattle, Washington before ultimately deciding on San Francisco.

Robert Mitchum turned down the lead role, calling this, "a film I would not do for any amount". Mitchum's younger brother John appears in the first three films as Inspector Frank DiGeorgio.

Such was the success of the film that Clint Eastwood and Don Siegel found themselves invited to address police gatherings.

Albert Popwell appeared in every "Dirty Harry" film except The Dead Pool (1988) playing a different character in each movie.

Clint Eastwood agreed to star in the film only on the proviso that Don Siegel direct. Siegel was under contract to Universal at the time, and Eastwood personally went to the studio heads to ask them to 'loan' Siegel to Warner. Eastwood has always maintained in interviews that the reason he took the role was because he felt the issue of victims' rights was being ignored in the political arena at the time, and he thought the film could be a good way to bring it more to the fore (which it did).

Andrew Robinson who played Scorpio, claims to have ad-libbed the line "Hubba, hubba, hubba, pig bastard" while taunting Harry on the phone.

The .44 Magnum used in the film is now owned by Prop Master and weapons specialist Bill Davis, who bought it off the production company years before the film became popular. The revolver is still in use as part of his catalogue.

When Universal allowed its option on the film and characters to lapse, Warner Bros. purchased the rights with a view to cast Frank Sinatra. Sinatra was interested, however he had broken his wrist during the filming of The Manchurian Candidate (1962) eight years previously, and during contract negotiations, he found the large handgun too unwieldy. Additionally, his father had recently passed away, and Sinatra decided he wanted to do some lighter material. After Sinatra dropped out, Warner Bros. considered Marlon Brando for the role, but never officially approached him. Next, they offered it to Steve McQueen and then Paul Newman, both of whom turned it down (McQueen didn't want to do another cop movie after Bullitt (1968) and Newman felt the film was too right-wing). Newman however suggested Clint Eastwood as a possible star.

In September 1981, a case occurred in Germany, under circumstances quite similar to the Barbara Jane Mackle case: A ten-year-old girl, Ursula Hermann, was buried alive in a box fitted with ventilation, lighting and sanitary systems to be held for ransom. The girl suffocated in her prison within 48 hours of her abduction because autumn leaves had clogged up the ventilation duct. Twenty seven years later, a couple was arrested and tried for kidnapping and murder on circumstantial evidence. According to the Daily Mail, the couple were inspired by the scene in which Scorpio kidnaps a girl and places her in an underground box.

All the outdoor scenes were actually filmed in San Francisco except for the bank robbery which Dirty Harry foils, when he first utters his immortal phrase, "'Do I feel lucky?' Well, do ya, punk?" This scene was shot on a set.

When composer Lalo Schifrin was scoring the film, he told director Don Siegel that he wanted to use female vocals for the scenes with the Scorpio killer in them. When Siegel asked him why, Schifrin replied that he believed Scorpio was conflicted about what he was doing as he wore a peace symbol belt buckle yet he was a murderer. Schifrin believed that Scorpio heard voices in his head and the female vocals would represent that. (This particular score was later sampled by rap group NWA in 1991 for the rap song 'Approach to Danger'.)

A close-up shot was planned for Debralee Scott's appearance, in which she played the nude corpse of Ann Mary Deacon. She felt so cold in the dawn chill that she shivered uncontrollably. After several failed takes, her scene was filmed as a long shot.

This film makes references to the then recent criminal court trials of Escobedo v. Illinois and Miranda v. Arizona. Escobedo v Illinois was a 1964 case which ruled that any statements made by a suspect without the presence of legal counsel were inadmissible as evidence. Miranda v Arizona was a 1966 case which ruled that a suspect had to be informed of his rights prior to interrogation. If he was not informed of his rights, the subsequent interrogation was deemed null and void.

Arnold Schwarzenegger, and Robert Urich (now deceased) cited the character of Harry Callahan as being one of the biggest influences on their careers. Schwarzenegger said watching Dirty Harry inspired him to seek out action roles with wisecracking heroes who were a law unto themselves. Urich based his portrayal of Dan Tanna in the television show Vega$ (1978) on Clint Eastwood's performance in Dirty Harry, especially his tendency never to get angry or raise his voice. According to Urich, when shooting the pilot, he was very consciously doing an impression of Eastwood having worked with him in Magnum Force (1973).

When Don Siegel was hired as director, he was considering Audie Murphy for the role of Scorpio. Siegel thought it would be a nice irony to have a genuine war hero and heroic screen icon known for playing clean-cut characters playing a psychopathic killer. Siegel offered Murphy the role, but Murphy died in a plane crash on May 28, 1971 prior to making his final decision. Three days before Clint Eastwood's own birthday.

The idea of a car chase was dropped as another cop thriller set in San Francisco - Bullitt (1968) - had already set the bar for that. The car chase was used in the subsequent Dirty Harry sequels Magnum Force (1973), Sudden Impact (1983), and The Dead Pool (1988).

Banned in Finland for over a year.

Dirty Harry helped popularize the Smith & Wesson Model 29 .44 Magnum revolver which experienced an upswing in sales following the film's release.

The gun Scorpio steals from the liquor store owner is a 9mm Walther P38. During his rooftop shootout, he uses a German MP40 sub-machine gun. The sniper rifle he uses is a 7.7mm Japanese Arisaka Type 02 Paratrooper Takedown rifle (rechambered in .30-06 Springfield) fitted with a suppressor. This particular rifle was sporterized; all of the Scorpio Killer's weapons were WWII-era infantry weapons used by the Axis forces. Harry's guns, a Smith and Wesson revolver and a Winchester rifle are by contrast wholly American.

According to the original script, the phrase that Dirty Harry quotes during both the bank robbery and his final confrontation with Scorpio was not the actual quote for the movie, the actual quote in the script was, "Well? Was it five or was it six? Regulations say five...hammer down on an empty...only not all of us go by the book. What you have to do is think about it. I mean, this is a .44 Magnum and it'll turn your head into hash. Now, do you think I fired five or six? And if five, do I keep a live one under the hammer? It's all up to you. Are you feeling lucky, punk?"

'Dirty Harry' is the slang term for a photographer (either shooting paparazzi and/or modeling shoots) with a single lens reflex (SLR) camera. The slang term for an SLR camera is a .44 Magnum.

One of the reasons why Don Siegel cast Andrew Robinson as Scorpio was because he wanted someone "with a face like a choirboy".

Scorpio's real name is never revealed through out the entire movie, and in the ending credits he is simply listed as "killer". However after the film's release, a novelization gave his real name as Charles Davis.

In a 2009 poll for MTV News, the character of Harry Callahan was voted the "Greatest Movie Badass of All-Time." Dirty Harry beat other movie icons like Rambo, Ellen Ripley and John McClane to the top spot.

First feature film portraying the San Francisco Police Department's Bureau of Inspectors' Homicide Detail. The success of the film led to the development of the television drama The Streets of San Francisco (1972).

When Frank Sinatra and Irvin Kershner were still attached to the project, James Caan was under consideration for the role of Scorpio.

Burt Lancaster turned down the lead role because he strongly disagreed with the violence of the story and with what he perceived to be its "right-wing" morals.

The bridge Callahan jumps off landing on the roof of a schoolbus (in Larkspur, California) was torn down in August 2003 after being damaged by a truck two months earlier.

Was among the U.S. Library of Congress' selections for preservation in the National Film Registry archives in 2012.

The opening sniper scenes were shot from atop San Francisco's Bank of America Building located at 555 California Street. The sniper's target is a girl swimming in the pool on the roof of the then Holiday Inn Chinatown, located at 750 Kearny Street, and since about 1995, renamed Hilton San Francisco Financial District. 750 Kearny Street is located on a straight line five blocks north (about 1600-1700 feet) of BoA Tower. Since the BoA Tower is considerably taller than the hotel, the vantage point is looking down at the rooftop pool at the hotel, and would be a relatively easy shot for a trained marksman. Since the Hilton takeover of the hotel, the pool is no longer open/operable.

Dirty Harry's gun is supposedly a Smith & Wesson Model 29 revolver, chambered for a .44 Magnum cartridge. In the film, the gun is shown as being capable of sending assailants flying through the air, even when shot from a distance, however, in reality the gun does not produce such dramatic results. Additionally, the .44 Magnum round is not considered to be a practical caliber for urban police force use due to recoil (which makes target re-acquisition difficult) and over-penetration issues, which greatly increases the likelihood of the bullet going through its target and injuring bystanders. The actual gun used on set by Clint Eastwood was in fact a Smith & Wesson Model 29. It is a common misconception that a Model 29 could not be located and a Model 57, chambered in .41 Magnum, was used instead. Clint Eastwood contacted Bob Sauer, representative for Smith and Wesson, to acquire the pistol. The Model 29 had been in production up until the late nineties, but a number of pistols were assembled from parts at the factory and provided to the crew. Eastwood took one to a firing range to familiarize himself with the Model 29.

All of the blanks for Harry's gun had to be made especially for the film, as the standard 5-in-1 blanks used in most films do not fit a .44 chamber.

Uncredited screenwriter John Milius wrote his draft of the film inspired by Akira Kurosawa's studies in lone-gun detectives, while director Don Siegel tackled the material from the viewpoint of bigotry.

The original title was "Dead Right".

The shoes Scorpio wears are actually Corcoran Jump Boots that are worn exclusively by Army Paratroopers.

Initially, Warner Bros. wanted either Sydney Pollack or Irvin Kershner to direct. Kershner was eventually hired when Frank Sinatra was still set to star, but when Sinatra dropped out, so too did Kershner.

The movie's line "You've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?" was voted as the #51 movie quote by the American Film Institute of all time. However, if one reads Harry's lips, you can see that Eastwood says "buck" rather than "punk". "Punk" was looped in in post because the term "buck" is an offensive term for a male African American.

Lalo Schfrin's score is on The American Film Institute's list of The 250 Greatest Film Scores of All-Time announced in 2005.

One evening Clint Eastwood and Don Siegel had been watching the San Francisco 49ers in Kezar Stadium in the last game of the season and thought the eerie setting would be an excellent location for shooting one of the scenes where Callahan encounters Scorpio.

Lee Marvin turned down the lead role.

In his 1980 interview with Playboy, George C. Scott claimed that he was initially offered the lead role, but the script's violent nature led him to turn it down.

Frank Sinatra was the original choice for the role, but couldn't do it due to a hand injury.

When producer Jennings Lang initially could not find an actor to take the role of Callahan, he sold the film rights to ABC Television. Although ABC wanted to turn it into a television film, the amount of violence in the script was deemed too excessive for television, so the rights were sold to Warner Bros.

The first of six Clint Eastwood movies shot in his birthplace of San Francisco. Eastwood grew up in nearby Piedmont and for part of the 1970s was living in upscale Tiburon in Marin County.

Critics initially disliked the film as they objected to police brutality.

One of the film's biggest fans was Carry On regular Kenneth Williams who wrote about it at great length in his diaries.

First film appearance for Richard Lawson.

Contrary to some sources, John Wayne was never offered this film due to his age. He would later star in his own cop movies - McQ (1974) and Brannigan (1975).

Glenn Wright, Clint Eastwood's costume designer since Rawhide (1959), was responsible for creating Callahan's distinctive old-fashioned brown and yellow checked jacket to emphasize his strong values in pursuing crime.

Andy Robinson's film debut.

Paul Newman turned down the role because he didn't agree with its views.

The first of five movies starring Clint Eastwood as Inspector "Dirty" Harry Callahan.

Doris Day said in an interview in 1993 on Vicky Lawrence daytime talk show, that took place in Ms. Day's home of Carmel, California, said that Clint Eastwood was one of her neighbors. When asked what her favorite Clint Eastwood movie was, she replied "Dirty Harry." N.A.T.O., (The National Association of Theater Owners), named Doris Day No.1 on their list of the Top 10 Box-Office Stars in the world a few times back in the 1960s. Clint Eastwood made their list several times in the 70s,80s and 90s.

When Callahan (Clint Eastwood) is being run all over town by Scorpio, he passes a wall which bears the graffiti "Kyle", the name of Eastwood's son, Kyle Eastwood.

Dirty Harry ranked No. 17 on The American Film Institute's list of The 50 Greatest Movie Heroes of All-Time announced in 2003.

In the opening scene, the camera pans over Market Street, and a bulldozer can be seen driving up Powell Street. This was due to the construction of the Powell Street BART (Bay Area Rapid Transit) station. Construction continued all through the film's shooting.

Dirty Harry ranked No.41 on The American Film Institute's list of The 100 Greatest Thrillers of All-Time announced in the year 2000.

Josef Sommer's first film.

Oprah Winfrey, visited Clint Eastwood in 1997. Ms.Winfrey interviewed Eastwood's family, she asked his mother Ruth Wood, (then 88 at the time), what her favorite of her son's movies is, she replied, "Dirty Harry." Oprah's reaction was, "Really?!"

Harry drives a 1968 Ford Galaxie 500, California plate 'WKH 370'.

Despite Kezar Stadium being home to the 49ers, Scorpio has a pennant for the Oakland Raiders in his make shift apartment. This is visible when Dirty Harry searched the apartment. The Oakland Raiders played part of their inaugural season in 1960 at Kezar Stadium.

When Harry Callahan breaks into the Groundkeepers quarters the centerfold on the wall is March 1967 Playmate of the Month, Fran Gerard.

John Milius owns one of the actual Model 29s used in principal photography in Dirty Harry and Magnum Force (1973). As of March 2012 it is on loan to the National Firearms Museum in Fairfax, Virginia, and is in the Hollywood Guns display in the William B. Ruger Gallery.

In the pool scene at the beginning of the movie, the pool seen on the rooftop is the same as the one Clark Griswold plays with while at work in National Lampoon's Christmas Vacation (1989).

Insp. Harry Callahan's badge number is 2211. His radio ID is 71.

During the sidewalk scene, Dirty Harry passes near a movie theatre playing "Play Misty For Me."

Reni Santoni and Andrew Robinson both appeared in Cobra.

Included among the American Film Institute's 1998 list of the 400 movies nominated for the Top 100 Greatest American Movies.

"Dirty Harry" was used as the title of a song by the band Gorillaz in their album Demon Days (2005).

A woman named Rita M. Fink created the character of Harry Callahan.

The police helicopter is a Bell 206.

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

The Scorpio killer's rifle is a 7.7 Arisaka Type 2 Paratrooper Takedown rifle fitted with a Hiram and Maxim suppressor, chambered in .30-06.

The sniper calls himself "Scorpio" which is the Zodiac sign for people born between October 24th and November 22nd. November 22nd 1963 is the date that President John F. Kennedy was assassinated by a sniper in Dallas, Texas, a killing that the Clint Eastwood character in Tulejoonel (1993) would be directly involved in.

This is the first time Callahan says to a partner "Welcome to homicide" after Gonzalez sees the dead boy killed by Scorpio. The next and last Dirty Harry film he utters the phrase is in The Enforcer, after Inspector Moore runs out on the gas company guard's autopsy.

First of 2 Dirty Harry Movies where a "Novena" is mentioned. In this movie, while making plans to let a rooftop open to catch Scorpio, it was mentioned about having access to a Priest who performs novenas. In "The Enforcer" after Harry foils the plans of the heart attack victim to get free food - when he gets in the car, DiGeorgio can be heard saying he promised his wife he would be home early for supper to attend a novena.

In the school bus, Scorpio and the children sing two popular children's songs, 'Old MacDonald Had a Farm' and 'Row, Row, Row Your Boat'.

Motion Picture Association of America (MPAA) approved, no. 23049.

The short-lived Boston punk band Klover titled their 1995 debut album "Feel Lucky, Punk?".

Scorpio's sniper rifle is a 7.7 Arisaka type 2 Takedown rifle fitted with a Maxim & Hiram suppressor.

Don Siegel: pedestrian walking past Harry's car when he and Chico return to police headquarters.

Clint Eastwood objected to the end of the film when Harry throws his badge away after killing the Scorpio Killer, arguing with director Don Siegel that Harry knew that being a policeman was the only work for which he was suited (and indeed the sequel Magnum Force (1973) begins with Harry still on the force, with no indication that he ever quit). Siegel eventually convinced Eastwood that Harry threw his badge away as a symbol that he had lost faith in the justice system.

When Scorpio is running away from Callahan at the end of the film, he spots a young boy sitting near a pond, and grabs him as a hostage. The kid is played by Andrew Robinson's real-life stepson Stephen Zacks.

Before each of Harry's 3 combative encounters with Scorpio, there is a cross and or a reference to Christ: 1.) At the rooftop stakeout, the "Jesus Saves" neon sign. 2.) At the park ransom location, the giant, cement cross. 3.) And at 1:35:14, at the pivotal moment when Harry is spotted by his nemesis from the school bus, a cross extending up from the streetlight. Scorpio even exclaims, "Jeeeesssus!"

Additionally, in the scene where Harry confronts Scorpio on the field of Kezar Stadium, in one of the close-ups, perpendicular lines painted on the football field resemble a cross in one of the close-up shots of Scorpio whimpering in fear and pain.

For the iconic final shot when Dirty Harry tosses away his badge, Don Siegel was dismayed to discover that they had only brought one badge to the location shoot, so Clint Eastwood had to throw it perfectly in just one take.

Clint Eastwood and Don Siegel locked horns over the end sequence where Harry Callahan throws his badge away. Siegel always saw Callahan as a borderline vigilante but Eastwood already had a sequel in mind and didn't want the character to quit, so refused to show up to work for most of the day to film it. Eventually, Eastwood caved in and agreed to it.

Kezar Stadium, the scene in which Callahan shoots Scorpio, is the former home of the NFL's San Francisco 49ers, and has since been torn down and replaced with a smaller stadium for high schools. The field remained in the same place. The stadium is Golden Gate Park.

The Hutchinson Company quarry, where the final shootout takes place, was located just south of the Larkspur exit off U.S. Highway 101. It was demolished in the mid 1980s.

Body count: 7 (Four kills by Scorpio, three by Harry assuming the pair of armed robbers he shoots both die.)

In the final scene when Harry asks "Did I shoot 5 or did I shoot 6", at that moment he had used 5 shots and had 1 round left in the chamber for the kill shot. It is incorrect to assume only 4 shots were fired when in fact 5 shots were used before the final and fatal 6th shot. 4 shots were fired inside the mill as Harry pursued the killer, the 5th shot was used outside the mill hitting the killer in the shoulder allowing the child hostage to escape. The 6th and final shot was to the killer's chest knocking him into the water.


User reviews

Kelezel

Kelezel

This film has it all, amazing soundtrack, amazing cinematography in the amazing San Francisco area, terrific cast of actors who played believable in their roles. This movie is what it is, a perfect 10, because it takes the vision of one of the most imaginative directors on Earth, and realizes them almost perfectly with all the tools that fit the task -- actors, stunts, story, cinematography. It is one of my personal favorite action movies of all time.

Dirty Harry (1971) is Clint Eastwood's masterpiece and one of his best movies including the best memorable character! The movie that started it all! It is the best action thriller film from Clint Eastwood and director Don Siegel! Clint at his asskicking best! It is my favorite best film from Clint Eastwood and the first best one in the series. Even tough he did not directed this film he gave us one if his best performances ever! I love all Dirty Harry movies but this one is a classic and the best in the series. It has action suspense from end till beginning. A movie that will make anyone's day, if you feel lucky punk. I have seen the first one 20 times and will argue that it's the best with no question, but it is somewhat a matter of opinion :)

"I know what your thinking. Did he fire six shots or just five? We'll Do I feel lucky? We'll do ya punk?" Harry Callahan's best quotes. This is one classic Clint Eastwood film. He funnels traits of himself into "Dirty" Harry: no nonsense, dry humor, some charm and a good logical mind. Andrew Robinson had trouble getting work for a while after this movie because he did such a great job as Scorpio. Getting typecast as a psychopath kind of limits your casting options. Andrew Robinson also played in my favorite action Stallone flick Cobra (1986) and horror flick Hellraiser (1987). He did a great performance ever as a psychotic killer Scorpio. Reni Santoni was also cast in this movie as Harry's partner Homicide Inspector Chico Gonzalez. He also started 15 years later in my action flick Cobra (1986) alongside Andrew Robinson! I can say both of the actors did a fine job playing in bot cop flicks. First one is the best.

But, a little bit of background is due. Academy Award-winner Clint Eastwood ("Unforgiven," "Million Dollar Baby") stars as "Dirty Harry" Callahan in this riveting action film that spawned several blockbuster sequels. In this original, Detective Harry Callahan is determined to bring in psychotic killer Robinson, even if he's determined to break some of the rules. Brilliantly filmed for maximum impact. Recently selected by the prestigious American Film Institute as one of the 400 greatest American films of all time and added "Dirty Harry" as part of the 50 Greatest Heroes of all time.

Dirty Harry is a 1971 American action thriller film produced and directed by Don Siegel, the first in the Dirty Harry series.

The basic plot is about catching a serial killer who was based on a Zodiac Killer. This is one of best movies ever. The story is good, acting is brilliant and effects and action scenes are epic. Watch this movie now!!!! Great films stick inside your head,and this one is a brain limpet! The cinematography and evocation of the San Francisco setting are hauntingly memorable,the dialogue taut and sparse and Schifrin's score is still super cool.Don Siegel and Clint must have studied the European stylists because I read Dirty Harry as the finest amalgam of US Noir and 60's new wave. I find echos of Antonioni and Melville in the tight,clean mis en scene and impeccable action sequences honed by Siegel's long Hollywood pedigree. superb. This movie is 10 out of 10.
Marad

Marad

Don Siegel's "Dirty Harry" was arguably the start of the serial killer/cop genre inherent in so many mainstream American movies released today. Setting the stage for countless rip-offs and sequels, "Dirty Harry" was one of the true first of its kind--not only in regards to its genre influence but also in terms of its content. (Full frontal nudity, heavy vigilante-style violence and strong language.) It is, in fact, one of the quintessential 1970s films--capturing the very essence of the typical gritty '70s film style we're all familiar with. If "Midnight Cowboy" began the trend, "Dirty Harry" extends it.

Clint Eastwood delivers one of his finest performances as the titular "Dirty" Harry Callahan. He's got just the right amount of cocky cynacism and inset sense of self-justice and importance to make the character realistic and likable, despite his flaws.

The plot almost seems routine now, but back in '71 it was controversial stuff: Harry is a tough cop trying to track down a mad serial killer in San Francisco, who is murdering victims in an effort to receive ransom money. When he kidnaps a young girl, Harry makes it his mission to disobey direct orders and take on the killer by himself.

It's easy to point at this now and say, "I've seen this already." In many cases film classics can only be graded well for nostalgic purposes, because their imitators have improved upon the original material.

Not here. The original really does still remain (one of) the best.

Siegel would later follow up "Dirty Harry" with another examination of criminals and cops, and would also team up again with Clint Eastwood. This is probably his best film, which is saying a lot. Its reputation precedes it, but in this case, the strength of the film itself really is deserving of its popularity. The final speech is awesome stuff.
Flamehammer

Flamehammer

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.
Very Old Chap

Very Old Chap

How radically different cinema history, and our collective consciousness, would have been if Frank Sinatra hadn't injured his hand before shooting started on "Dirty Harry". Sinatra was due to play Harry, but had to withdraw, clearing the way for Clint. Given Sinatra's unique brand of self-loathing, Harry would have been an uglier personality than Clint made him. As it is, Lieutenant Callaghan is an ornery anti-liberal cuss of a guy, but he is straight and likeable. Arguably, it was this characterisation which made Eastwood a megastar.

San Francisco in 1971 was ready for stardom itself. The West Coast love-in scene and the gay 'boom', together with McQueen's "Bullitt", raised awareness of San Francisco as an exciting liberal city with a photogenic skyline. The film's funky score by Lalo Schifrin is perfectly-judged, and spawned numerous imitators.

The central narrative concerns a lone nut who is trying to hold the city to ransom. He starts by murdering citizens to extort money from the mayor, then progresses to kidnapping children. This plays cleverly on the inchoate anxieties of Middle America, where law-abiding people were puzzled and alarmed at the 'crime wave' and the threat it posed to them and their families. Crime in the decades before the Kennedy assassination had been compartmentalised by Hollywood. Gangsters were bad, but they killed other gangsters. Now the danger was unpredictable, irrational - and solitary. The lone madman was as likely to strike against me or you as against an institution. Only a single-minded strong man, operating on the fringes of the rules, could combat this new terror.

Harry is a paradox. In one sense, he is an 'outlaw'. He has little respect for formal authority (in the opening minutes, we see him being rude to the mayor) and he carries a strictly non-regulation monster of a gun. Harry is openly racist and mutinous. And yet he is also deeply moral. He conforms to an unarticulated ethical code that is anglosaxon American. He protects the weak and confronts the wrongdoers, no matter how the odds are stacked against him. Indeed, the cowardly bureaucrats who will never reward him or promote him are able to exploit his profound decency. They send him on all the difficult, dirty jobs because they know that his sense of right and wrong won't allow him to walk away.

Early in the film, the famous bank robbery scene occurs. This has become so familiar that it hardly needs elaborating here, but to summarise, Harry foils an armed robbery using icy courage and grim humour - and his magnum handgun. The special brand of Eastwood humour recurs throughout the story (eg, the suicide jumper and the gay called 'Alice'). White anglosaxon America is encouraged to laugh at the undergroups which supposedly threaten it.

When the bad guy 'Scorpio' is cornered, he immediately starts bleating about his civil rights. This is meant to arouse our fury, because we have seen him callously destroying the lives of others, and here he is exploiting the protection of the state. To make matters worse, the state agrees with him. We see the DA and a judge explaining to Harry why the cogent evidence against Scorpio is inadmissible. Just exactly why the DA would call a meeting with a lowly policeman in order to explain department policy is far from clear, but the scene is thematically necessary. Scorpio is using the System against the decent, godfearing people who own it. The liberal apparatus is skewed if it lets a killer walk away scot-free.

There are some illogicalities about the plot. Such an important event as the cash drop is left to two cops working alone, when in reality there would be a massive covert operation. When Scorpio beats the rap, there is no public outcry or media storm, and he is allowed to get on with his anonymous existence virtually untroubled.

However, this hardly matters since the main thrust of the story is the coming showdown between Harry and the bad guy. As the climax approaches, Harry drops out of the police operation. Scorpio is at his manic worst on the hi-jacked school bus, alienating us nicely and suppressing any liberal twitches we may still be feeling. Then we see Harry, standing as upright and sturdy as the Statue Of Liberty ....
Vozilkree

Vozilkree

In quoting these famous lines: "A man's gotta do what a man's gotta do!" and "Go ahead, make my day!". They meant something for Clint Eastwood, turning from cowboy to hit man with a surge of raging anger and ambition. The mountain terrains became an urban metropolis, thus putting the guy off the saddle and into the bloody streets of San Francisco. Which makes DIRTY HARRY an incredible classic not to be missed, as well as Eastwood's shift to the action genre where society is run by evil. Its continuous impact of the events take place with a tight grip and a smooth pace. This remains to be one of the most entertaining experiences in classic movie history. All it takes is a cop over the edge and "The Most Powerful Handgun In The World".

Violence was the key factor of DIRTY HARRY, and continues to be violent even today. We've never come to see staggering sights of brutalities before, but it was made possible to heighten the overall realism of a dark San Francisco infested with crime. Another was the quality of Clint Eastwood's character as "Harry Callahan", which was obviously a breakthrough for him at the time. He is best described as a smart-talking cop who hated criminals and broken the laws in serving time for the police. A very unique character he was, for going by his own personal business and taking the job "dirty". The best acheivement goes for the cinematography. It sure doesn't look pretty, but the effectiveness of the dark renders this haunting where no place is safe enough to run or hide. The real winner is Don Siegel, for presenting the perfect atmosphere to shoot a picture that already had a premise driven by fear and anxiety, anger and tension. He sure hasn't done anything like this before, and possibly no movie had since then. Otherwise, we would have still been seeing these one-dollar Western shows in the afternoon!

Watch DIRTY HARRY today and you can see how the styles of moviemaking has evolved slow and easy, but it still packs a powerful bullet or two. If you've seen this six times or only five, you knew how lucky Clint Eastwood got the perfect part for being an all-new action star. This is the one, and original cop movie. And remember, this is "In Tribute To The Police Officers Of San Francisco Who Gave Their Lives In The Line Of Duty"!
Hanelynai

Hanelynai

Released on Christmas Day 1971, "Dirty Harry" transformed Clint Eastwood from cult figure to superstar. Another maverick cop thriller, "The French Connection," was released a few months earlier, and it may have won the Oscars and garnered the critical acclaim, but "Dirty Harry" is the true classic of the two, and the most influential. Great action magnificently directed by Don Siegel, the master of the genre, great dialogue, and relentless tension make this the ultimate detective thriller and one of the defining films of the 1970s.
Balladolbine

Balladolbine

This was the first of the always-entertaining "Dirty Harry" cop series and it was a good one - maybe the best of the series.

One of Harry's famous lines was in this opener: "Do ya feel lucky, punk?" Speaking of punks, Andy Robinson, who played the villain, never got famous as Clint Eastwood ("Harry") certainly became but he was tremendous in this film. He didn't even have to utter a line: he just looked deranged! Great casting.

Looking back, the one thing I really appreciate about this film as opposed to the rest of them in this series was the absence of Harry's annoying superiors constantly on his case. He actually got support from his bosses in this movie.

The film as a big hit because people were already tired of all the liberal preaching of the 1960s in which we were supposed to feel sympathy for the criminal instead of the victim. This series was on the side of the cops, not the crooks, which is probably why the sick film critics never liked Dirty Harry.

This is one solid crime story with no boring spots and no sappy sub-plots with romances, either. And it's always nice to enjoy the interesting San Francisco skyline.
Kezan

Kezan

The film might easily have passed for a popular tale of cops and robbers or, more particularly, cop and psychopath had it not been for the ruthlessness of Harry's methods...

In this character, Eastwood is the archetypal cop of the 1970s... He is unsociable, insensitive, silent without apparent reason, incapable equally of thought or of any human feeling, solving all problems with a blast from a revolver so heavy that it takes two hands to aim it... In fact, the reason why Clint Eastwood behaves so ruthlessly in "Dirty Harry" is carefully plotted at one point in the film: his wife was killed by a hit-and-run driver escaping from the scene of a crime, so he hates all baddies…

'Dirty Harry' supplanted suspense by action, tension by brutality, character by a bigger and better bullet...

Eastwood is a plain-clothes policeman who puts his faith in his Colt Magnum.44 and his ability to use it... He is ready to shoot down a criminal as arrest him... Eastwood brought the rude justice of the lawless West to the regular laws of the modern city... Perhaps his behavior would have been less controversial if he had merely been a renegade cop who broke the rules when roused by anger, but in the cool neon light of his superior's office, he is evidently unrepentant about his behavior...

Eastwood had played 'Dirty Harry' five times in the sequels 'Magnum Force', 'The Enforcer', 'Sudden Impact' and 'The Dead Pool.' Callahan is always in a situation where he has to be his own judge and jury... Harry always gets somebody who's very lethal... In the case of "Dirty Harry", it was a psychopathic killer... Callahan wants to get him off the streets so that nobody else becomes a victim... He is a man on the side of the public... He feels that the law is wrong and he should fight that or try to solve it... Harry is not a man who stands for violence... He is a man who can't understand society tolerating violence...

Eastwood is reassuringly indestructible and in real situations he adopts the fantasy mastery of a traditional Western loner... He may be beaten up, but never beaten by the criminals or by authority...
LiTTLe_NiGGa_in_THE_СribE

LiTTLe_NiGGa_in_THE_СribE

The late sixties and seventies saw the growth of the "tough cop" thriller. In earlier crime thrillers ("White Heat", from the late forties, is a good example) the police had generally been portrayed as honourable and incorruptible men who did everything by the book. The new breed of heroes were different. They were not only tough but also morally ambiguous, capable of bending and even breaking the rules when they thought it was necessary.

Before making "Dirty Harry", Clint Eastwood had acted in another film of this type, "Coogan's Bluff". Both films had the same director, Don Siegel. "Coogan's Bluff, however, is a lightweight film, with a rather annoying hero who likes to cut corners because he cannot be bothered to go through the proper channels. My sympathies are with Lee J. Cobb's old-school New York cop, irritated beyond measure by Coogan's impatience and cowboy brashness.

In "Dirty Harry" much more important matters are at stake. A serial killer calling himself "Scorpio" is terrorising San Francisco by carrying out killings at random. Some of his victims seem to have been chosen on the basis of religious or racial bigotry, but Scorpio's main motive is blackmail; he will stop killing if the city authorities pay him $100,000. When this blackmail fails, Scorpio kidnaps a young girl, buries her underground with a limited supply of oxygen and announces that he will let her die if his demands are not met. Reluctantly, the authorities agree to hand over the money.

The police officer on the case is Inspector Harry Callahan, nicknamed "Dirty Harry", partly because of his uncompromising methods and partly because he gets the jobs other officers don't want. Disgusted by the willingness of the authorities to meet Scorpio's demands, Harry tracks down the main suspect, arrests him after shooting him in the leg, finds the murder weapon and forces him to reveal the girl's whereabouts (unfortunately too late to save her life). Although there can be no doubt of the man's guilt, the city's Mayor and District Attorney order his release because the evidence against him is inadmissible; Harry had no warrant to search his premises and the confession obtained by strong-arm methods would not be admissible in Court. Scorpio's narrow escape does not, however, persuade him that crime does not pay, and soon afterwards he kidnaps and holds hostage a busload of schoolchildren. Only Harry can save them……

In some ways Harry is an unsympathetic character. He is cool to the point of coldness and always has an air of menace about him, particularly during the famous "Do you feel lucky?" speech. Some of his dialogue suggests that he is racially prejudiced himself. Clint Eastwood made the role so much his own that it is strange to think he was only fourth choice after Frank Sinatra, John Wayne and Paul Newman. It is doubtful whether any of those actors could have played the part so well. Sinatra might have made him too unsympathetic. Newman could have conveyed his coolness but might not have had the same underlying menace. Wayne (as he was to prove in "Brannigan" a few years later) was definitely too old for a role of this type.

This film has always been controversial, with critics divided along ideological lines. (The film-makers seem to have intended a deliberate juxtaposition of Harry's values with those of the city of San Francisco which, during the hippie era, was becoming known as America's most liberal city). Liberals such as Roger Ebert have loathed Harry, seeing him as a man who thinks himself above the law, even a fascist. They note that his treatment of Scorpio violates (as the DA points out) at least three, and possibly four, constitutional amendments. (Such liberal critics are divided as to whether the film condemns or condones Harry's methods). Conservatives, however, see him as a hero, a man who will defend the public from crime while his superiors seem more concerned to defend the criminals. They point out that the seventies liberals who were so quick to condemn Harry for acting in breach of the constitution did not apply the same literal-minded legalism to, say, those who were resisting the (constitutionally permissible) Vietnam draft or to civil rights protesters who were engaged in civil disobedience against (constitutionally tolerated) racism in the Southern states.

"Dirty Harry" is much more than a cop thriller; it is a film that asks some important questions. It may seem odd to compare a tough cop with draft resisters or with civil rights campaigners, but Harry faces a moral choice similar to that confronting those two groups of people. In each case the central question is "If there is a conflict between the two, should one obey the law of the land or should one obey one's own conscience". This is a question to which there is often no easy answer and is particularly acute for Harry because, as a police officer, he is duty-bound to uphold the law. The law states that he should not carry out a search without a warrant and that he should not use force to obtain a confession from Scorpio. His conscience tells him that he must do both these things to save an innocent life.

The German dramatist Friedrich Hebbel once remarked that tragedy does not arise out of the conflict of right and wrong. It arises out of the conflict of two rights. This is the situation which we see in this film, which means that both the liberal and conservative viewpoints quoted above are right- and both are wrong. The law is right to impose limits on police powers, in order to protect the citizen from abuse of those powers by corrupt or over-zealous officers. And Harry is right to go beyond those limits in an effort to save a life. 8/10
Inerrace

Inerrace

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.
Malakelv

Malakelv

DIRTY HARRY (1971) **** Clint Eastwood, Harry Guardino, Andy Robinson, John Vernon. Eastwood made cinematic lore out of laconic San Francisco renegade cop Harry Callahan known more for his intolerence of the bureaucratic legal system and his firm belief in justice through violent means necessitated by righting wrongs. In the first of the series he's faced with a psycho serial killer named Scorpio (grinning looney toon Robinson) just begging to be noticed. Directed by Eastwood's long-time mentor Don Siegal the film acts as a parable of the system strangle-holding society and still remains an indictment of how bad things still are. Classic Clint.
Rose Of Winds

Rose Of Winds

Dirty Harry is directed by Don Siegel, has a screenplay by Harry Julian Fink and R.M Fink and music by Lalo Schifrin. The film stars Clint Eastwood, Andrew J. Robinson, Reni Santoni, Harry Guardino and John Vernon.

A thrilling and brutal film, featuring Clint Eastwood at his very best. Eastwood makes Callahan tough, dedicated, funny and extremely outspoken.

Harry's actions may seem terrible to some people but there are some things in this world that can only be fought and destroyed by dishing out violence. Scorpio cannot be reasoned with and is extremely dangerous, discussing his issues and trying to understand his motives is pointless, he needs to be stopped and Harry is the one who can do it. He may be reviled by those he protects but if they were threatened and his methods could save them they would welcome Harry with open arms. He's a character who's needed but isn't all that likable.

In San Francisco a psychotic killer calling himself Scorpio (Andrew J. Robinson)is killing random people. He demands money or he will continue killing, he even threatens the lives of children.

The city Mayor is willing to pay him off but maverick Detective Harry Callahan(Clint Eastwood)intends to stop him by any means necessary. Harry seemingly hates everyone, he voices some pretty shocking views and conforms to no rules, Harry's colleagues have given him the nickname of Dirty Harry and Harry's new partner Chico(Reni Santoni)tries to work out why he is called that. When Scorpio kidnaps a teenage girl, Harry must race against time to try and save her.

Eastwood is at his best here playing a real badass, he gets to deliver many iconic lines, including the unforgettable "Do I feel lucky" scene. I think this will be the film he's destined to be remembered for the most.

A young Andrew J. Robinson is terrifying as the deranged killer, he's always been good at playing such characters and he's so intense and chilling in this.

There's some interesting photography, a creepy score by Schifrin and unforgettable performances and characters. Dirty Harry was followed by several sequels, they're all pretty good but the first one is the best I think.
Funny duck

Funny duck

This movie might appear simple, plain, predictable or even childish to some fan art movie fans, but for me it's a true force! What it may lack in plot, it gains in superb acting, directing, script ("The most powerful handgun in the world" line is just unforgettable, it's instant classic), and some decent social and philosophical ideas. It gives us a perspective on the way of maintaining order in the society which gradually decays at the astronomic speed. In 70s, it might have been an artistic impression, now it's close to reality. This is truly the best part ever played by Clint Eastwood, and agruably one of the best and most stylish action movies ever. I give it 9/10.
Tetaian

Tetaian

The film opens with a shot of a memorial wall in praise of the San Francisco Police officers who lost their lives in the line of duty, a SFPD badge is prominent as the camera scrolls down the ream of names on the wall. Cut to a rooftop sniper shooting a girl taking a swim in a swimming pool, cut to the coolest looking cop you have ever seen making his way to the rooftop scene, he stands and surveys the whole of the San Francisco bay area, this is, his area, and we know we are in for a very special film indeed.

Dirty Harry is now something of an institution, the film that pushed the boundaries of cops Vs bad guys movies, some of the films dialogue became part of modern day speak, and the film that propelled Clint Eastwood into the stratosphere of super stardom. Often tagged as a fascist film, I think it's more a cynical look at the rights of criminals because Harry is everyone who has ever been a victim of crime, he will do what it takes to take down the criminals festering in society, you break the law and Harry will get you any way he can. Here Harry is on the trail of Scorpio, a ruthless sniper killing at random, Scorpio kidnaps a teenage girl and demands $200.000 from the city or she will die in the hole he has her buried in. Harry is just the man for the job of delivery boy and this sets the wheels in motion for what becomes a personal crusade for Harry to take Scorpio down at all costs.

Director Don Siegel crafts a masterpiece here, creating a western within the big city landscape, the pace is energetic at times yet reeling itself in to provide genuine suspense when needed. Siegel should also be praised for sticking by Andy Robinson as Scorpio for it's an insanely great performance from him, but it might never had happened since Robinson was petrified of guns, but Siegel stood by him and coaxed him thru it. The result is a maniacal turn that scares and amuses in equal measure, witness his mad singing during a bus kidnap scene, you wont know whether to laugh or be afraid.

Yet as good as Robinson is, he gives way to a seamless piece of magnificence from Eastwood as Harry Callahan, note perfect and enthusing the role with the right amount of dynamic cool and gusto, it's no surprise that the character became a cinematic legend after such a great acting performance. Finally I must mention the wonderful score from Lalo Schifrin, jazz/electro/beat combinations segue perfectly into each scene with maximum impact to cap off one of the finest films of the 70s, and if you don't believe me then you go argue with Harry. 9/10
Framokay

Framokay

Effective first installment in ¨Dirty Harry¨ series and followed by various sequels still gripping and stirring . The film starts with a prologue : ¨In tribute to San Francisco Police officers who gave their lives in the line of duty¨ . Iconoclast Harry Callahan(Eastwood) attempts to detain vicious killers who are robbing a bank , he takes on criminals determined to bring them to justice, even if he has to break some rules . This time has a young partner who is assigned when his ordinary pal is wounded . The rock-hard inspector is accompanied by a Mexican cop (Reni Santoni) and they track down a nasty series killer (Andrew Robinson) .The psychotic murderer is detained but is freed on legal technicalities and Harry takes the law into his own hands. Harry wielding a revolver Magnum 44 ( in fact, as is titled the second entry, Magnum force) returns his unorthodox means ; facing off ominous murderous that is threatening the city of San Francisco. Harry in troubles as habitual with his chiefs (Harry Guardino , John Larch) and the District Prosecutor (Josef Sommer) because his methods lead abuse the criminal's civil rights and a pile of death in clod blood along his wake. Harry pursues the revenge-obsessed murderer and encounters he has more problems with him than he expected. Rule-breaking Callahan strides grimly throughout San Francisco in pursuit the murderous , including an exciting final on a school bus . Whatever your reservations about Harry's expeditious methods we know he'll always vanquish , shooting in cold blood with his pistol .

Formula thriller plenty of action , crisply edition , tension, suspenseful and lots of violence . Clint Eastwood's good performance as two-fisted Harry Callahan , the tall and taciturn inspector who utilizing his Magnum 44 pistol kills baddies and , as always , he says some original phrases . Well written by Harry and Rita Fink ; it packs intrigue , violence, action-filled and is a really effective film . It turns out to be interesting and plenty of vivid action , suspense and thrills. Good secondary cast gives effective performance as John Larch , Harry Guardino , Josef Sommer as the prosecutor and John Vernon as the Mayor. Good use of locations filmed in Panavision and Technicolor , by cameraman Bruce Surtees , son of prestigious photographer Robert Surtees , reflecting splendidly the streets of San Francisco , ordinary scenario of the series . Adequate and atmospheric musical score by usual Lalo Schifrin , including a classic jazzy leitmotif . Taut and expert direction by Don Siegel who formerly directed him in ¨Coogan's bluff¨ and subsequently in ¨Escape from Alcatraz¨ and well financed by the usual, Robert Daley as executive producer from Malpaso Company . Followed by ¨Magnum Force¨ by Ted Post with Robert Urich and David Soul , ¨The enforcer¨ 1976, by James Fargo with Tyne Daly, Harry Guardino, ¨Sudden impact¨1983, Eastwood with Sandra Locke , Pat Ingle and ¨Dead pool¨ 1988, by Buddy Van Horn with Liam Neeson and Jim Carrey . This formula thriller will appeal to Harry Callahan series enthusiasts , because of the tension, unstopped action , exciting edition , chills abound in this original entry . Well worth seeing for Clint Eastwood fans and it's a cool companion for the action genre followers . An entertaining and amusing film , mounted for its maximum impact and with several scenes that'll have you on the edge of your seat
Morlurne

Morlurne

In San Francisco, the psychopath Scorpio (Andy Robinson) snipes a woman in the swimming pool on her penthouse. Then he demands ransom of US$ 100,000.00 to the Major (John Vernon), otherwise he would kill a black man and a priest. Inspector Harry Callahan (Clint Eastwood) a.k.a. Dirty Harry, investigates the case with his partner, the rookie Inspector Chico Gonzalez (Reni Santoni).

When the serial-killer kills his victims and abducts a teenager, he demands US$ 200,000.00 and Harry is assigned to deliver the bag to the criminal. Inspectors Callahan and Gonzalez are wounded by Scorpio, but Callahan stabs Scorpio on the leg. The killer goes to the emergency of the hospital and Callahan tracks him down and tortures him to find where the teenager is imprisoned. However, the Dist. Atty. William T. Rothko (Josef Sommer) advises Callahan that the evidences would not be accepted in court and Charles "Scorpio"' Davis is released. Callahan chases the deranged criminal and becomes his implacable persecutor.

The last time I saw "Dirty Harry" was on 29 December 1999 and today I have decided to see this excellent 1971 film by Don Siegel again. It is great to see that this film has not aged after forty years.

"Dirty Harry" was one of my favorite heroes, bringing real justice and breaking the bureaucratic rules. I believe that a great part of honest citizen feels powerless with the unfair justice system in Western countries that usually does not punish those who deserve, and characters like Dirty Harry are worshiped due to their attitude.

"Dirty Harry" is the first out of five films of this character played by Clint Eastwood. I intend to see all of them again to recall how Hollywood knew how to make good films in a near past. My vote is nine.

Title (Brazil): "Perseguidor Implacável" ("Implacable Persecutor")
RED

RED

It's interesting seeing Dirty Harry for the first time, since I expected to hear that catch phrase over and over again. I only heard it twice and both were well merited- the first is said to a caught bankrobber and it's spoken like it's right out of the script, direct. The second comes near the end when Harry finally has his culprit cornered, and all the rage and fury is revealed, which made me want to cheer even though I was watching it by myself.

Dirty Harry is one of the best and indeed grittiest action films from the 70's, possibly from the 20th century, and it makes Clint Eastwood's Dirty Harry into a star by making such an anti-hero witty and likeable, sort of in a sense like an avenging, cop version of McDowell's character in Clockwork Orange (both released in 1971). In this first installment of the "Callahan" movies, Harry is brought on the case of the zodiac killer (Andrew Robinson), and is given a new partner, which Harry can't stand, and as the events unfold he knows he has to get him. Robinson is perfectly cast as the killer, with his scene on the bus ranking as one of the more terrifying, visceral scenes in the movies. Very 70's, but it's hard-boiled status can't be denied for Clint buffs. A+
GawelleN

GawelleN

The more I think about this film, the more the way this message movie was presented and the way it has been received by many really annoys me. I'm especially sensitized, given that Bush n' co. spent most of the last decade taking away our rights in the name of "security" & "safety". They must've loved this film!

The message seems to be a very reactionary one. Rights/legal protections are bad. Rule of law is useless. Vigalante abuse of power is great.

This movie is full of several logical fallacies, generalizations and other issues. It sets up a False Dilemma -either ignore the laws & get to kill the guy OR he goes free. It also sets up a Straw Man argument of picking a very rare/unlikely instance of a super psycho as an argument of why honoring the rights of criminals is bad.

Sure, it's really easy to set up a grossly exaggerated portrait of an inhumanely disturbed racist monster who killed at random, raped & threatened children, threatens priests & had no redeeming values. Then show how all those pesky civil rights helped him go free and kill again. Blame the civil rights!

Showing the rare instance when something that GENERALLY is a good thing failed (NOTE: it didn't work because HARRY did not follow the rules- not because the rules were there!) and then use that as an excuse to rant about the rules and make it seems as if there is no point to them.

No grey areas. No thoughts as to what argument means if you carry it out the whole way through. No consideration on why those rights exist or the positives of protection, especially for someone who may be innocent.

Think about it- how often does SF suffer at the hands of a madman serial killer? Not since the 70's. I just checked the crime stats for SF for the last 2 months. Not a single murder. Sure, SF isn't crime free there were probably a thousand or so burglaries, robberies, etc. But I'd much rather have strong rights and let a few people (mostly non-violent offenders) get to go free because their rights were protect then to not have Miranda rights or the 4th amendment. I'll take my chances that a psycho killer may come if it means I don't have to live in a fascist state with no expectation of privacy.

I don't want some admittedly racist misanthropic cop who feels that he can doing anything he want & shoot anyone he wants if he even *thinks* they're being bad. What happens when Harry shoots an innocent person? What would have happened if that guy at Kezar stadium had been innocent and Harry had beat the crap out of him? Is that OK because Harry's *usually* killing bad guys?

To be fair, I did check and it looks like "exigent circumstances" that allow for a LEGAL warrantless search if "necessary to prevent physical harm" doesn't appear to have become solidified until after the film (in '76)

And what was the point of the lingering shot of the killer wearing a peace sign belt buckle? Was it merely supposed to be ironic because he was a killer? Or was it meant to equate a merciless killer with those stupid"peace-loving hippies" who are causing murders to go free by advocating for rights and opposing oppressive police practices?

In the end, I chose to read the final scene as Harry goading the killer into an action so that he had an excuse to shoot him. Then Harry realizing he had no right to uphold the law as an officer if he could not follow the laws. So he threw away the badge as an admission of his failure. However it seems to me as though many reviewers saw his action in an opposite light, of choosing to reject the rule of law and embrace his vigilante ways.
BroWelm

BroWelm

Popularity of works like Dirty Harry is more about the wave it created in a genre of it's own type (here thriller Genre), for this reason when someone writes about films like dirty harry must face the wave that film has unleashed and this is not fair. A work should be first analyzed independently to indicate its inherent values. Dirty harry is initially quiet entertaining work. The only aim the director had was entertain the viewers while producing the film, a job Don Siegel has fairly successfully done. Film wholly revolves around Clint Eastwood and it is his charisma that has kept dirty harry standing; Perhaps imagining someone other than Eastwood in the role of harry and gaining this amount of popularity for the film is completely vain. The biggest drawback to this movie is the villain pole of story(Scorpio). A character which hasn't been developed properly. It is very weak character. Opposing someone with this level of intelligence and ability (just compare Scorpio's intelligence and ability with zodiac's, it is said Scorpio's character inspired by his character and actions) for ransom (100000$ or 200000$) with the heads of a big city is eccentric and idiotic. The script does not provide any information about the biography and features of this character. The amount of information Which is scheduled to be presented about this serial killer,played by a weak actor for this role (Andrew Robinson) in this job is powerless and unsuccessful. To me it is strange why a professional director like don Siegel has used such an inept actor for villain role of his film. Perhaps if both the character and acting the villain role had been effective a better balance between positive and negative poles of the story would have been created and we would have a better movie. Since the first mission of the cinema and a movie is entertainment Dirty Harry must be respected; of course adequate respect, not exaggerated one. 7/10
Jeyn

Jeyn

Maverick San Francisco police detective Harry Callahan (superbly played with magnetic self-assurance by Clint Eastwood) infuriates his uptight superiors by bending the rules in order to nab vicious crazed sniper Scorpio (a genuinely creepy and chilling portrayal by Andy Robinson). Director Don Siegel, working from a tough and hard-hitting script by Harry Julian Fink and R.M. Fink, relates the gripping story with exceptionally tight and precise narrative economy, builds a considerable amount of gut-wrenching tension (the climax with Scorpio abducting a bus full of kids is especially strong and nerve-wracking), and stages the rousing action set pieces with tremendous expertise. Siegel deserves additional props for the movie's unflinchingly gritty tone: The realistic brutal violence is truly harsh and unpleasant while Scorpio's victims include a little black boy and a fourteen-year-old girl.

Of course, it's Eastwood's star-making turn as supremely cool and poised anti-hero supreme Harry that makes this film a remarkably fierce and explosive classic of the crime police genre: sardonic, laid-back, resolute in his firm sense of hardboiled justice, constantly needled and ridiculed by his disapproving by-the-book fellow law enforcers, disillusioned with bureaucratic red tape, and rendered rootless and stoical by the tragic death of his wife, Harry sure is a fascinatingly rugged and formidable iconoclastic enforcer of the law who may not follow correct procedure, but certainly gets the job done just the same in his own decidedly unorthodox way. Moreover, this film makes a powerful and provocative central statement about how the conventional law and order system quite simply doesn't work because it leans too much in favor of criminals (Scorpio gets off on a technicality after Harry busts him). This picture warrants extra praise for its strong feeling of urban blight, with Bruce Surtees' stark cinematography vividly depicting an eerie, corrupt uninviting nocturnal 'Frisco that's rife with decay and danger. Lalo Schifrin's funky'n'jazzy score hits the groovy spot. While Eastwood definitely holds the whole movie together by the strength of his substantial charisma alone, he nonetheless receives excellent support from Reni Santoni as Harry's eager rookie partner Chico Gonzalez, Harry Guardino as the gruff Lt. Al Bressler, John Mitchum as the jolly Frank DiGiorgio, John Larch as the stern police chief, and John Vernon as the wimpy mayor. Essential viewing.
Dogrel

Dogrel

Two points here. First, this film is very much a Clint Eastwood vehicle. Whether one likes this film will depend largely on whether one likes Eastwood as an actor and the character he plays, Harry Callahan. Second, the film's villain, a fictional character named "Scorpio", is derived loosely from the real-life Zodiac killer who terrorized the Bay Area a couple of years before this film was made.

Dirty Harry is a loner San Francisco cop who does things his way. He's tough, hard-nosed, and no-nonsense. He gives the impression that he's tired and feels put-upon. He's fed up with the American legal system that, from his POV, pampers criminals. Since he operates largely outside the bounds of the law, he is a hero to Americans who feel powerless. He routinely gets the toughest assignments, and here he's assigned to Scorpio, a serial killer who kills from city rooftops.

Color cinematography is quite good. There's some good sky shots of the city. A lot of scenes take place at night, which enhances suspense; these are the best scenes. My favorite sequence takes place at Mount Davidson Cross in a secluded area. With eerie sound effects, this sequence is quite suspenseful. Yet, I question how a large, densely packed city like San Francisco can be so utterly dark at night.

I didn't care for the law and order political message in the film's second half. But that theme does accurately reflect American attitudes of the early 1970s. Also, Harry's distractions on a bank holdup and an attempted suicide seem superfluous. I would have preferred that the story focus exclusively on attempts to catch Scorpio. And the chase at the film's end goes on too long.

Otherwise, "Dirty Harry", a character study of an unusual cop, is a highly suspenseful film that is well constructed. For its time, it was a violent movie, though by today's standards, it's fairly tame. For viewers who like crime genre films, and for those who like Clint Eastwood, this film probably will be worth watching.
Marilore

Marilore

While people claim Shaft is the ultimate hard-ass, Harry Callahan would make the venerable private eye run for cover. Tough as nails with an attitude problem to boot, Harry was a social icon which encompassed the unrelenting nature of vigilance and justice, no matter who got stepped on. While rules and laws protect those who break the law, Harry was all about going against the system, summoning the power of his .44 magnum and making crooks think twice about breaking the law.

In what was Don Siegal's best film, Clint Eastwood embodied a character that seems one in the same with him. This is one of the few films where I really don't look at the technical aspects of the film simply because the attitude of the main character is what drives the movie. Coupled with a great soundtrack by Lalo Schifrin, Eastwood didn't need to tell us what his state of mind was, considering the music helped establish the mood. A great movie that will forever be unforgettable.
Zololmaran

Zololmaran

"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.
Stan

Stan

Whether or not you can sympathize with its fascistic/vigilante approach to law enforcement, Dirty Harry (directed by star Clint Eastwood's longtime friend and directorial mentor, Don Siegel) is one hell of a cop thriller. The movie makes evocative use of its San Francisco locations as cop Harry Callahan (Eastwood) tracks the elusive "Scorpio killer" who has been terrorizing the city by the Bay. As the psychopath's trail grows hotter, Harry becomes increasingly impatient and intolerant of the frustrating obstacles (departmental red tape, individuals' civil rights) that he feels are keeping him from doing his job. A characteristically taut and tense piece of film-making from Siegel (Invasion of the Body Snatchers, The Shootist, Escape from Alcatraz), it also remains a fascinating slice of American pop culture. It was a big hit (followed by four sequels) that obviously reflected--or exploited--the almost obsessive or paranoid fears and frustrations many Americans felt about crime in the streets. At a time when "law and order" was a familiar slogan for political candidates, Harry Callahan may have represented neither, but from his point of view his job was simple: stop criminals. To him that end justified any means he deemed necessary.
Arabella V.

Arabella V.

So there's me, the biggest Clint Eastwood fan in south London (to my knowledge) being asked what mark out of ten I should give "Dirty Harry". I'm biased I admit it, so I was gonna give it 10/10. But then I thought to myself, that's just a bit TOO biased, so I decided to give it 9/10. But then I stopped and thought again. This really is a perfect film. Direction: Perfect. Script: Perfect. Acting: Perfect. No really, the acting is perfect. I'm the first to admit that Clint ain't the greatest actor on the planet, but I'm sure he knows that himself. I mean, it's not like he goes around trying to play Hamlet is it? So I reckon that the acting in this film is perfect because Clint was perfect casting in the role and he does no more and no less than the role requires. As Harry himself says in the sequel: "A man's gotta know his limitations..." And I think that's exactly what Eastwood himself knows. Plus the film says more about America in the 70's than tons of the films. Possibly more about American in the 2000's than anything being made today. And Clint's still saying these things, Don Siegel taught him well...