Nun Sara is on the run in Mexico and is saved from cowboys by Hogan, who is preparing for a future mission to capture a French fort. The pair become good friends, but Sara never does tell him the true reason behind her being outlawed.
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Coogan, an Arizona cop, is sent to New York to collect a prisoner. Everyone in New York assumes Coogan is from Texas, much to his annoyance. To add to Coogan's problems the prisoner isn't ready, so he decides to cut a few corners. In the process the prisoner escapes, and Coogan is ordered home. Too proud to return home empty handed, Coogan sets out into the big city to recapture his prisoner. Written by
A film highly recommended, essential for the followers of Eastwood.
At New York reaches "Walt Coogan" (Clint Eastwood), a sheriff of Arizona who pursues a dangerous murderer who has escaped his jurisdiction. "Coogan" used to using methods of his own a cowboy not of a policeman, collides with the methods used by agents of the big city. We are facing a urban western.
This film marks a turning point in the race of Clint Eastwood to put in contact, for the first time, with Don Siegel, Here Eastwood starts to perform his figure of gallant, interpreting perfectly the role of seductive whenever the occasion required to achieve his ends other than the kind of character that starred in films of Sergio Leone.
It is one of the most important moments in the life of a giant of cinema, Clint Eastwood. The meeting between the Eastwood and Don Siegel mark a before and after the artistic career of Clint Eastwood, both as an actor as in his subsequent race director. They shared a large amount of hobbies and passions. Among them their love for the film from director Sergio Leone, which Siegel had enjoyed through the screen and Eastwood had starred with great success. Perhaps that is why the film is a work of transition It has a delicious soundtrack for the maestro Lalo Schifrin that help at any time the narrative rhythm of the tape. We should also emphasize the good work as secondary to Lee J. Cobb giving life to the serious and quiet "lieutenant McElroy", and Susan Clark. It is not the best film of the five that both agreed but if served to the beginning of a great time to develop during the 1970 with "Harry the dirty" as a success and with the police cinema in the height of its history.
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