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.
As the film opens on an Oklahoma farm during the depression, two simultaneous visitors literally hit the Wagoneer home: a ruinous dust storm and a convertible crazily driven by Red, the ... See full summary »
Coogan, an Arizona deputy sheriff, is sent to New York to collect a prisoner who escaped from custody in Arizona. Everyone in New York assumes Coogan is from Texas, much to his annoyance. To add to Coogan's problems the prisoner is in Bellevue after taking a trip on LSD trip while In custody so he decides to cut a few corners. In the process the prisoner escapes, steals Coogan's gun and Coogan is ordered home. Too proud to return home empty handed, Coogan sets out into the big city to track down and recapture his prisoner.Written by
According to screenwriter Dean Riesner, who held script meetings after hours with Clint Eastwood in his hotel, "I'd leave his suite, and I'd be going down the hall and there'd be some girl coming down the hall from the opposite direction and heading into Clint's room." Added Riesner: "There were always a bunch of girls around him, I'll tell you that. Gals from the office, gals around the set, gals in the picture." See more »
Lampposts: The movie is set in New York yet shows side street lighting usually found in San Francisco. By 1967, half of New York had replaced street lighting with new aluminum poles, and those that had not been replaced would have seen the more common 'bishops crook' masts or 'long arm' poles. See more »
[while holding a broken bottle in Wonderful Digby's face]
All right now, I don't like violence, Mr. Wonderful whatever your name is. You better drop that blade, or you won't believe what happens next, even while it's happening.
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When originally released theatrically in the UK, the BBFC made cuts to secure an 'X' rating. All cuts were waived in 1994 when the film was granted an '15' certificate for home video. See more »
It would be easy to dismiss this movie as lightweight entertainment however this is a much more interesting film if for no other reason than it is the first pairing of Siegel and Eastwood one of the most interesting partnerships in cinema that between 1968 and 1971 produced four good movies and at least one classic, "Dirty Harry". In this film Clint forged a bridge between his cowboy persona and the contemporary characters that he went on to play. While it was released to theatres the frame compositions look better in 4;3 TV ratio suggesting that like another Siegel film, "The Killers" this was produced with TV in mind and released to cinemas when the quality of the piece became apparent. I think this might explain why it has taken so long for a 1.85 transfer to be released and why the quality of the DVD is so poor, full frame prints look fine. Also the use of what looks like pre-standing sets gives it a low budget TV feel. With "Play Misty for me" Clint became a director and Siegel appeared as an actor thus the partnership was ended, the pupil became the master. Clints style as a director owes much to Siegel and he still has the economy which was a hallmark of Siegels work. Another partnership that began in this film was with actor Albert Popwell who went on to appear with Clint in the first four Dirty Harry movies,portraying a different role in each film. So as an Eastwood or a Siegel fan this is a must see pivotal movie and contains much of their trade mark craft even on a low budget. Don Stroud is as ever a bonus as is Susan Clark.
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