Un shérif à New-York

Coogan's Bluff ranks as one of my favorite Eastwood films. Partly because of the time period & location which the story takes place. It's an excellent period piece. Late 1960's New York city in all it's Glory. I live in NYC and it's was nice to see the Pan Am Building in the backdrop. It's now the Met Life building. The Pan Am building was also the location of the final scene where the helicopter takes off. The other reason I like this movie is that Eastwood is essentially playing Dirty Harry before Dirty Harry. Coogan is just like Harry Calahan without the 44. magnum. The story is solid but it's the locales and the situations that Coogan finds himself in that sell the movie. Who cares of it's dated? Of course it's dated but that's part of the experience. Actually most movies made more than 20 years ago (or less) are dated. If you look at it in the context of the time it was made then you'll enjoy it. Ignore the negative reviews and check it out.

Coogans Bluff (1968)

Plot In A Paragraph: Coogan (Eastwood) an Arizona deputy, goes to New York City to escort a fugitive back into custody.

Before Hang Em High had been released, Eastwood had set to work on this movie, a project which saw him reunite with Universal Studios after an offer of $1 million, more than doubling his previous salary.

The thing I like most about this movie was it's tag line "Clint Eastwood gives New York 24 hours to get out of town"

Outside of saying it's the first time Clint worked with Don Siegel, there is not much to say here, it's a pretty generic fish out of water cop movie. We do get a decent motorbike chase at the end, with Clint visibly doing his own stunts. His character seemed a bit like James Bond early on, in that he handcuffs a prisoner to a porch so he can go and have sex with a woman. Once again we get early shades of Dirty Harry in Clint's character, as Coogan does not have much respect for his superiors or the rules and prefers to go it alone. Future Dirty Harry actor Albert Popwell has a small role here too.

Coogan's Bluff continued the trend of each Eastwood movie grossing less than the last, with a $3 million domestic gross.

In this breakout year when films could dump most of their restrictions, this inspiration for the hit television series McCloud, dumped a couple and went the low road on a few things.

The language still was pretty tame but it had a big-time sleazy atmosphere with a bunch of unlikeable characters. Susan Clark played a lot of these kind of roles in the late '60s to about 1980. Clint Eastwood and Don Stroud are the male leads and Eastwood fits the mold as a tough Arizona lawman going to New York City to bring back an escaped convict. This kind of set of the stage, I think, for his Dirty Harry series which began a couple of years after this.

The story moves well and has some good action scenes, but, man, you can tell it is the late '60s and no longer the "classic era" in Hollywood with the nudity and no one with any moral standards.

Clint Eastwood has always been one of the most career-savvy superstars of all time. Looking over his filmography, since his career breakthrough it is obvious he has never done a film strictly for the money and has solid reasons behind every film he has made. Even his worst films have a purpose: "The Rookie," for instance, which most people would agree is a career low, was obviously made to satisfy the brass at Warner Bros. by delivering a modern-day Dirty Harry clone so he would be left alone to work on his Academy Award-winning classic "Unforgiven," which came out two years later. So it is with "Coogan's Bluff," which most viewers would probably dismiss as second-rate Eastwood, but in reality served as a savvy bridge from Westerns (the type of genre he was primarily known for at the time) into more modern day roles.

As directed by his mentor Don Siegel, "Coogan's Bluff" actually opens in the Arizona desert, which strongly resembles the background of his spaghetti westerns. Indeed, the first character we see is a loincloth-attired man, who appears to be Indian, so the audience is tricked into thinking they're watching a western. Then, we see a jeep driving down a dirt road, with a stetson-wearing Clint at the wheel. He is Dept. Sheriff Coogan, and there we see our first view of Clint as a modern lawman. It isn't long before he's in New York City, chasing down an escaped extradited criminal (Don Stroud), romancing a beautiful parole officer (Susan Clark) and butting heads with a strong-willed police captain (Lee J.Cobb, a terrific, yet sadly forgotten character actor of the day). Therefore, in a matter of fifteen minutes, Siegel cleverly introduces Eastwood as a contemporary figure, a transition that will be complete when he returns to modern times three years later in his most famous role, "Dirty Harry" Callahan.

But "Coogan's Bluff" is an enjoyable film on its own terms. Eastwood at times is very funny here--his retort to an unethical cab driver is priceless--and the film moves along at a brisk pace. Just don't expect action galore or a high body count. Clint doesn't kill anybody here; there's no broad conspiracy or mystery to solve; his job is simply to find the prisoner and take him home. In fact, the film is at its best when its dealing with Coogan as a fish-out-of-water, dealing with various New York thieves, crooks, drug dealers, hippies, and the aforementioned cab driver. There is, however, a well-choreographed fight scene in a bar and an exciting motorcycle chase for a climax, but that's as much action as there is. It's also pretty short for an Eastwood film: where most of his films run over two hours, this one clocks in at a brisk 94 minutes, next to "Joe Kidd" and "The Dead Pool," one of his shortest adventures.

So there you have it, a "minor" effort that served a "major" purpose in what has become an important Hollywood career. *** (out of *****)

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.