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Dirty Harry (1971)

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.

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(screenplay), (screenplay) (as R.M. Fink) | 3 more credits »
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Cast

Cast overview, first billed only:
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Chico
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Killer (as Andy Robinson)
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Mae Mercer ...
Mrs. Russell
Lyn Edgington ...
Norma
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Bus Driver
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William Paterson ...
...
Liquor Proprietor
Maurice Argent ...
Sid Kleinman (as Maurice S. Argent)
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Storyline

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. Written by commanderblue

Plot Summary | Plot Synopsis

Taglines:

Double Trouble! See more »


Certificate:

R | See all certifications »

Parents Guide:

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Details

Official Sites:

Country:

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Release Date:

23 December 1971 (USA)  »

Also Known As:

Dead Right  »

Box Office

Budget:

$4,000,000 (estimated)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (cut)

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

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. See more »

Goofs

During the bank robbery scene, Harry gets shot in the leg, but afterwards, he is seen walking normally and in no pain at all. See more »

Quotes

Big Black Man: [Big Black has just been given a wad of cash by Scorpio] You want to go all the way?
The Killer: Every penny's worth.
Big Black Man: Relax. Take it easy. It's gonna be all right.
[pulls on a pair of leather gloves and methodically beats Scorpio into a bloody pulp]
Big Black Man: You sure you want the rest of it?
The Killer: Every penny's worth, you black son of a bitch!
Big Black Man: [kicks Scorpio hard] This one's on the house!
[flattens him with one last punch and walks away]
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Connections

Referenced in Sunburn (1979) See more »

Soundtracks

Old MacDonald Had a Farm
(uncredited)
Written by Traditional
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Frequently Asked Questions

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User Reviews

"Harry Hates Everybody!"
14 February 1999 | by (London, England) – See all my reviews

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 ....


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