Um Agente na Corda Bamba

Inner darkness is out of control in this thriller set in New Orleans. A veteran cop(Clint Eastwood)is put in peril when evidence links him to the serial murders he is investigating. Genevieve Bujold co-stars. Twelve year old Alison Eastwood plays one of the cop's two daughters, and surprisingly holds her own. This shady thriller is worth your time. The pace is a little slow, but very intense. Some pretty cool sets and mellow jazz. Don't get too relaxed.

Of all of Clint Eastwood's performances, this is probably my favourite. In this part, Eastwood gives his character enormous depth and vulnerability, and touches on the insecurities and weaknesses that drive an otherwise normal man into sexual deviance. All of this he does in the guise of one of his most well-worn characters -- a police detective out after a psychopathic killer. Unlike the "Dirty Harry" pictures or "The Gauntlet", in which Eastwood only suggested the existence of human weakness, here that weakness is interwoven with the plot (in which the psychopath knows and manipulates the detective's weakness for deviant sex), heightening the tension.

What makes the film all the more impressive is that it doesn't dwell exclusively on the deviant side of Eastwood's personality. That would be the easy way out. Instead, it counterbalances that aspect of his character with some nice family moments, making sure to let the audience know (and convincingly at that) that this is a man who truly does have more than one side to him.

The acting from the supporting players is fine, although most of them (namely, Genevieve Bujold and Dan Hedaya) are given little to do. Perhaps the most surprising discovery from the film is the performance of Eastwood's daughter Alison, who gives an exceptional performance as the detective's daughter, who senses something is not quite right with her father, but loves him just the same.

The film is not without flaws -- Tuggle's script skips a couple of grooves in the plausibility category (namely, when certain characters have to be killed off), and there are a few gaps in the script. All told, however, Tuggle's direction is strong, using dimly lit sets for more than just noirish effect, and building up to a very strong finale. Moreover, his scriptwriting flaws can be excused because of the strong and full character he creates.

This is a film in which Eastwood creates a character not unlike that in his superb performance in "In the Line of Fire." All the same, it is a performance that in a weaker Oscar year might have been worthy of an Oscar nomination.

Here is a very, very tense thriller about a New Orleans cop (Clint Eastwood) finding a serial killer.....and vice-versa.

This is a very dark (literally) film with a big film-noir look and feel. Neo-noir, I guess, is what they call post-1950 gritty crime films like these.

Eastwood's character in "Tightrope" is a complex one. On one hand, he's a wonderfully loving father of two sweet girls (one played by his actual daughter, and played well), and yet he is a weak man when it comes to prostitutes. But, whatever side he shows - light or dark - he's interesting, as always. So is the female star of this movie, Genevieve Bujold, a woman with a very intriguing face and just a trace of her French accent. Dan Heyada contributes strongly in a low- key performance.

Yes, this film is a bit too much on the seedy side for my normal tastes, definitely sordid, but very well done. It's a story that grabs you early and locks you in all the way.

TightRope is a very accurate name for this picture, the most interesting aspect of which is Eastwood's attempts to balance his duties as a responsible and loving father with his taste for deviant sex. This latter he shares with the serial killer he is pursuing. The killer has a penchant for strangling his victims with ribbons which I guess is another meaning for "tight rope".

Eastwood's character is very well fleshed out and his desire to provide a safe and normal home life for his daughters and later to establish a relationship with a rape defence adviser he is attracted to, is very believable. While this is happening, he is drawn deeper and deeper into the dark world of bondage and sado-masochism and there is for a long time some doubt as to which way he will fall and even that he may know more about the killings than he admits.

All this is very compellingly handled.

Unfortunately the villain is straight out of central casting. A one-dimensional cardboard cut-out who the film makers attempt to give some mystery to by having him wear masks. Yawn. Unlike Eastwood, this villain is poorly drawn and apart from an uncharacteristic appearance at the start, is completely silent. He just swans around in the shadows a-la the phantom of the opera and has little of the sense of personality even of Scorpio in Dirty Harry.

There is no real reason why he should be masked, actually, since he is an undistinguished looking character, and stalking around with an assortment of facial coverings is more likely to draw attention to himself if anything. One must believe that this oddly disguised person can enter and leave buildings (such as brothels - highly security conscious in the real world) without anyone noticing. Or perhaps he goes in unmasked and whips out his disguise later? Who knows? If the latter, why bother with the disguise at all? It certainly has not been thought out and is a very cheap attempt to create a sense of intrigue and danger.

Its a pity because the constant appearance of this silly villain actually detracts from the menace and darkness of this film. Without him, there would be real doubt as to whether Eastwood was really the killer himself, for instance. I do not think I give anything away in saying this, since the clunking villain is seen stalking Eastwood from quite early on, hovering behind him or looking in the skylight, so much so that you feel like shouting "He's behind you!" in a pantomime sort of way.

Other details do not ring true, such as Eastwood telling a young male hooker to go to a warehouse to be paid by the killer then going there himself to find (surprise! Surprise!) the hooker hanging by his neck. Cheap and unrealistic writing like this add to the schlock horror feel.

All this leads to a routine and unnecessarily gory finale. However, a touching moment with his girlfriend shows that the film makers do understand subtlety.

...in a dark and unsettling psychological thriller. Directed by Clint's protégé Richard Tuggle (who wrote the screenplay to the earlier Siegel-Eastwood classic ESCAPE FROM ALCATRAZ (1979), the film's first half is uncertain and suffers from clichéd (albeit well staged and visualised) New Orleans locations - shady whorehouse dives, red light tinged bars and over officious police procedural rooms and locker-room banter.

The plot itself is functional but nothing special: a serial killer with a penchant for young, pretty blondes, is terrorising the city by disposing of prostitutes by strangling them and dumping the bodies all over the city. The twist in TIGHTROPE is that the killer is also dogging the footsteps of kinky cop Detective Wes Block (Eastwood), a lonely divorcée with two young children. Block eases off the shackles of a tough day job by frequenting the very same sleazy dives that his thoroughly unpleasant nemesis does.

A predictable game of cat and mouse ensues, but the film's stock film noir origins are transcended by Eastwood's continual playing with his own star status and by a very interesting exploration of his character's private obsessions and genuinely touching relationship with his two young daughters. Special mention here for real-life daughter Alison Eastwood, quite superb as the older and more perceptive girl, who clearly suspects her troubled father is up to more than just "looking for something" on his late night travels through New Orleans's seamier districts.

The more conventional opening section of TIGHTROPE is distinctly misleading, largely because about half way through, the film's most interesting character (played by the truly excellent GENEVIEVE BUJOLD) comes much more to the fore. As the feisty and fiercely intelligent Rape Crisis Center head Beryl Thibodeaux (nice use of Bujold's French-Canadian heritage here for a movie set in New Orleans!) Bujold's sharp dialogue exchanges with ultra macho Detective Wes Block-Clint Eastwood are a constant joy, and, of course, edge us deeper into film noir territory as Block's kinky sexual practise and failed marriage become the focus of the investigation.

Tuggle does a generally excellent job of keeping the material visually interesting, although he pays less attention to the minor characters, wasting a great character actor like Dan Hedaya for the role of Block's sidekick on the investigation. Overall though, this is an underrated film in the Eastwood canon and worthy of your attention. It's a slick genre piece with a surprising ability to probe the areas of Eastwood's star persona not normally explored in the Dirty Harry series.