Tough Guise: Violence, Media & the Crisis in Masculinity

What real locations were used in the making of the film?

I've heard Harry only fires five shots in the bank robbery scene. Is this accurate?

Dirty Harry is Clint Eastwood's masterpiece!

I feel awkward about liking this movie. But it's still an inimitable classic.

Eastwood and his .44 Magnum blew away this original action classic!

Eastwood shines as the soft-spoken but deadly serious detective Harry Callahan

now Hilton San Francisco Financial District

Holiday Inn Select Downtown Hotel - 750 Kearny Street, San Francisco, California, USA

Clint Eastwood in The Outlaw Josey Wales (1976)

Clint Eastwood in Escape from Alcatraz (1979)

Clint Eastwood and Jessica Walter in Play Misty for Me (1971)

Clint Eastwood and Sondra Locke in The Gauntlet (1977)

Clint Eastwood in High Plains Drifter (1973)

Uh uh. I know what you're thinking. "Did he fire six shots or only five?" Well to tell you the truth in all this excitement I kinda lost track myself. But being this is a .44 Magnum, the most powerful handgun in the world and would blow your head clean off, you've gotta ask yourself one question: "Do I feel lucky?" Well, do ya, punk?

Clint Eastwood and Don Siegel in Dirty Harry (1971)

Clint Eastwood, Denise Dyer, Diane Dyer, Derek Jue, Ruth Kobart, Sean Maley, and Andrew Robinson in Dirty Harry (1971)

Clint Eastwood

Andrew Robinson

Harry Guardino

Harry Julian Fink

Rita M. Fink

Dean Riesner

When a killer calling himself &quot;Scorpio&quot; menaces San Francisco, tough-as-nails Police Inspector &quot;Dirty&quot; Harry Callahan is assigned to track down the crazed psychopath.

Don Siegel

Dirty Harry

Something wild about Harry

Don Siegel&apos;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&apos;s first collaboration, Coogan&apos;s Bluff, but it packs a much more uneasy political punch.

Inspector Harry Callaghan is the taciturn, laconic spokesman of Nixon&apos;s Silent Majority, elevated to iconic status. His dialogue with criminals is delivered behind the barrel of a devastatingly phallic Magnum hand-gun. &quot;Feel lucky, punk?&quot; he taunts one wounded miscreant in a famous line he repeats at the end of the film.

There&apos;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&apos;s just as coolly authoritative and exciting. Siegel uses Bruce Surtees&apos; 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&apos;s wounded leg, shows Siegel&apos;s smooth mastery of the medium.

Siegel made the insouciant Charley Varrick with Walter Matthau next, after which his career went into slow decline.

Theatrical Trailer from Warner Bros. Pictures

https://m.media-amazon.com/images/M/MV5BYTE3ZDE1ZWEtZTVmNi00NmI1LWEwZTUtN2QyZWE1YTg1NTMwXkEyXkFqcGdeQXVyNzU1NzE3NTg@._V1_.jpg

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.

When a killer calling himself "Scorpio" menaces San Francisco, tough-as-nails Police Inspector "Dirty" Harry Callahan is assigned to track down the crazed psychopath.

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