Dirty Harry


Dirty Harry

Overview:

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.

Votes 612 (7.4/10)

Runtime: 102 minutes

Release Date 1971-12-21

Budget: $4,000,000.00

Revenue: $35,976,000.00

Website: Link

Tagline: Detective Harry Callahan. He doesn't break murder cases. He smashes them.

Production company:

  • Warner Bros.
  • Malpaso Company

Production country:

  • United States of America

Genres:

  • Action
  • Crime
  • Thriller

Trailer

Further Information

Insp. Harry Callahan
Clint Eastwood
Clint Eastwood
Lt. Al Bressler
Harry Guardino
Harry Guardino
Insp. Chico Gonzalez
Reni Santoni
Reni Santoni
The Mayor
John Vernon
John Vernon
Scorpio Killer
Andrew Robinson
Andrew Robinson
Chief
John Larch
John Larch
Insp. Frank DiGiorgio
John Mitchum
John Mitchum
Mrs. Russell
Mae Mercer
Mae Mercer
Norma
Lyn Edgington
Lyn Edgington
Bus Driver
Ruth Kobart
Ruth Kobart
Mr. Jaffe
Woodrow Parfrey
Woodrow Parfrey
Att. William T. Rothko
Josef Sommer
Josef Sommer
Judge Bannerman
William Paterson
William Paterson
Liquor Store Owner
James Nolan
James Nolan
Sid Kleinman
Maurice Argent
Maurice Argent
Miss Willis
Jo De Winter
Jo De Winter
Bank Robber (uncredited)
Albert Popwell
Albert Popwell
Communications Secretary (uncredited)
Joy Carlin
Joy Carlin
Suicide Jumper (uncredited)
Bill Couch
Bill Couch
Swimmer (uncredited)
Diana Davidson
Diana Davidson
Pedestrian (uncredited)
Vince Deadrick Sr.
Vince Deadrick Sr.
TV Watcher (uncredited)
Chuck Dorsett
Chuck Dorsett
Man in Jaffe's Cafe (uncredited)
Al Dunlap
Al Dunlap
(uncredited)
Larry Duran
Larry Duran
Homicide Detective (uncredited)
George Fargo
George Fargo
Hot Mary (uncredited)
Lois Foraker
Lois Foraker
Tunnel Hoodlum (uncredited)
Max Gail
Max Gail
Tunnel Hoodlum (uncredited)
John Garber
John Garber
Tunnel Hoodlum (uncredited)
Christopher Pray
Christopher Pray
Policeman (uncredited)
Eddie Garrett
Eddie Garrett
Helicopter Pilot (uncredited)
James W. Gavin
James W. Gavin
Homosexual (uncredited)
David Gilliam
David Gilliam
Minor Role (uncredited)
Don Haggerty
Don Haggerty
Newsman (uncredited)
Scott Hale
Scott Hale
Underwear Chick (uncredited)
Kate Harper
Kate Harper
Man in Truck (uncredited)
Bob Harris
Bob Harris
Flower Vendor (uncredited)
Chuck Hicks
Chuck Hicks
Big Black Man (uncredited)
Raymond Johnson
Raymond Johnson
Homosexual (uncredited)
Richard Lawson
Richard Lawson
Third Nude (uncredited)
Laurie Mock
Laurie Mock
Hippie Girl (uncredited)
Ann Noland
Ann Noland
Lady in Jaffe's Cafe (uncredited)
Kathleen O'Malley
Kathleen O'Malley
Homicide Detective (uncredited)
Angela Paton
Angela Paton
Car Driver (uncredited)
Victor Paul
Victor Paul
Ann Mary Deacon (uncredited)
Debralee Scott
Debralee Scott
Pedestrian Passing Harry's Car (uncredited)
Don Siegel
Don Siegel
Hippie Guy (uncredited)
Kristoffer Tabori
Kristoffer Tabori
Police Sergeant (uncredited)
Tony Dario
Tony Dario
Director
Don Siegel
Don Siegel
Screenplay
Harry Julian Fink
Harry Julian Fink
Screenplay
Rita M. Fink
Rita M. Fink
Screenplay
Dean Riesner
Dean Riesner
Producer
Don Siegel
Don Siegel
Original Music Composer
Lalo Schifrin
Lalo Schifrin
Executive Producer
Robert Daley
Robert Daley
Director of Photography
Bruce Surtees
Bruce Surtees
Editor
Carl Pingitore
Carl Pingitore
Art Direction
Dale Hennesy
Dale Hennesy
Set Decoration
Robert De Vestel
Robert De Vestel
Sound Designer
William Randall
William Randall
Story
Harry Julian Fink
Harry Julian Fink
Hairstylist
Jean Burt Reilly
Jean Burt Reilly
Makeup Artist
Gordon Bau
Gordon Bau
Assistant Director
Robert Rubin
Robert Rubin
Stunt Coordinator
Buddy Van Horn
Buddy Van Horn
Story
Rita M. Fink
Rita M. Fink
Assistant Director
Barry Stern
Barry Stern
Stunts
Bob Harris
Bob Harris
Unit Production Manager
Jim Henderling
Jim Henderling
Costume Design
Glenn Wright
Glenn Wright
Story
Jo Heims
Jo Heims
Screenplay
John Milius
John Milius
Executive Producer
Clint Eastwood
Clint Eastwood
Sound Re-Recording Mixer
Sergio Reyes
Sergio Reyes
Sound Re-Recording Mixer
Dan Wallin
Dan Wallin
Still Photographer
Bernie Abramson
Bernie Abramson
Electrician
Kyle T. MacDowell
Kyle T. MacDowell
Associate Producer
Carl Pingitore
Carl Pingitore

John Chard

More than iconography here in dynamite Siegel/Eastwood teaming. 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 versus bad guys movies, some of the film's dialogue became part of modern day speak, and it's 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. Yet it might never had happened since Robinson was petrified of guns, but Siegel stood by him and coaxed him through it. The result is a maniacal turn that scares and amuses in equal measure - witness his mad singing during a bus kidnap scene, you will not 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 can go argue with Harry. 9/10

Andres Gomez

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.

talisencrw

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.

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