One of the most famous Western Clint Eastwood was combined

Most Hollywood representatives are lucky if they have a truly distinctive character in their screen list list, not to mention two. We may talk about Harrison Ford (Han Solo and Indiana Jones), Silster Stallone (Rocky and Rampo), or Keno Reeves (New and John Wake), but it can be said at the top of the Klint Eastwood pile with the man without a name and a “dirty” Harry. It was not limited to that this was an unforgettable impression in both roles, but these characters have also become almost synonymous with types Each of them. Can you really imagine Westerners without thinking about the coat and chew In “The Dollar Trilogy” in Sergio Lyon (Or the police excitement without photographing it, achieving along the barrel of his hand gun in “Dirty Harry”)? In fact, you can even determine the moment in the cinema when two famous characters merged in Eastwood, and this film is a disregarded Western called “Kojan’s Trend”.

Directed by Don Siegel, The Neo-Western is the first among the five films made by the veteran director with Eastwood. Siegel had a strong and strong career working in a type of type and perhaps famous for preparing an invasion in 1956 “for the two sighs” before he cooperated with the latest strong man in Hollywood. Everyone and Eastwood was not enormous, frank and humbleAnd, which made them a wonderful conjugation as the latter sought to build on international fame that he acquired from the Western Lyon Mudaruna.

“Hang ‘Em hight,” TED POST Port “, which made it in theaters first, but” Coogan’s Bluff “was much more confident in its identity, as it succeeded in mixing Western elements with modern legal excitement in the city. It was initially conceived as a TV series by Hermann Miller and Jack Leard (who were working at the Eastwood exhibition before Mega-Fami “Rawhide”) is a great way for the special brand of Laconic Badassary. It was released at a time when Westerners are the most elegant like “The Wild Bunch” and “Once in the West” she was giving the classic form of this type of sad transmission“Coogan’s Bluf” looks like a reprimand against the executive. The wild West may have already faded at this point, but Siegel and Eastwood were taking traditional Western values ​​in the heart of Manhattan in the late 1960s and ready to break some heads in the old way.

Clint Eastwood plays the star of “Kojanz Blav” in the role of Walt Kojan, an honorable deputy from the fictional houses of Arizona. It may drive a pocket instead of riding a horse, but, in many ways, it rises to the old border. It cannot be canceled and Ultra-Macho, he has no concerns about hitting the suspects before taking them in the face of the bullet if that means getting his leg. It is also a little bit of Lutthario, and celebrates the last arrest with a small angle while his prisoner is restricted abroad. His coarse approach disturbs his boss, who nevertheless sends him to New York to return James Ranjman (Don Straud), a fighter fled to the city to evade justice.

Once he was on the ground in Manhattan, Kojan could not look largely in the gray streets in the urban forest. Walt does not matter. Like “Crocodile Dundee” by Paul Hogan after about 20 years, it makes it meaningless in the back country more than just a match on anything that the city must throw on. It wanders in cowboy shoes, a thread tie, and the huge Setson, and is achieved from the Fleabag Hotel and immediately clashed with Lieutenant McLOY from NYPD, which plays with Grouchy Relish by Lee J. Cobb.

The Coogan mission is complex when Mcelroy reveals that Ringerman is currently in the hospital after taking an overdose of LSD and will not be released without the approval of the Supreme Court. The red tape and additional leaves are not the way they do things in Arizona, and Kogan is not in a mood to get around. Instead, the Ringerman Delivery Hospital (the “trick” is deceived, but the gambling goes badly when the prisoner’s friends maintain law and help the killer to escape. Now we enter a familiar area of ​​”Dirty Harry” fans: Although MCLROY is warning that it does not have any jurisdiction in New York, CoGan continues to irritate through the city’s Habi community to track its goal and take it home by any necessary means.

“Coogan’s Bluf” is a time capsule, which was appointed during a period when the power of flowers and the movement of anti -culture still momentum as the sixties were approaching its end. In this sense, Coogan from Eastwood is highly representing a man: Renerman may be a violent criminal that deserves to bring justice, but the contempt of cowboy lawyers towards Reefer Bohemian Underground Culture is a large square view of the scene. In short, Kojan is happy with everyone’s tower, hitting non -wiping kinds, sleeping with a Ringerman girlfriend for information about his place. Just not great, man!

It is great to see how Eastwood’s defect in the “Triple Dollar” merges into something that approaches the level of dirty from Harry throughout the movie. The transition from a roaming weapon began to a lucky axis in the former actor, “Hang ‘Em High”, when his character gained the Marshal badge to help his endeavor to revenge. This time, an honorable emblem is placed on the Kojan shirt on the side of the law, but its approach to adhering to it is not everything that is far from the man without a name. By the end of the movie (when things become really violent), this kind of brave revenge that came out regularly by Harry Callen and his very large rifle.

“Coogan’s Bluff” is a relatively light -heart film, but it paved the way for “Dirty Harry” after three years, and there are other similarities that go beyond the presence of Eastwood. Don Straded with the miserable flame of scorpion in the last movie (Andy Robinson’s sniper with a long hair with a sign of peace on his belt). In this regard, it appears that both films depict the anti -movement as something deviant and a threat to traditional American values. Interestingly, the last scene of “Coogan’s Bluff” reflects until the opening moments of “Dirty Harry”, with a woman on the surface of a skyscraper – albeit in a much darker context. It seems as if “The Beguiled” (their second cooperation) between them, Siegel and Eastwood could not wait to continue from where they stopped. The result will put the template during the next two decades of excitement in Hollywood.