Features
Clint Eastwood's Accidental Heroes
Perhaps Eastwood isn’t just interrogating heroism, he’s interrogating himself.
Perhaps Eastwood isn’t just interrogating heroism, he’s interrogating himself.
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Don Siegel's "Dirty Harry" (1971) may not be the greatest film of Clint Eastwood's career but its title character is certainly the one that best defines it. Looking back, it's hard to imagine it took five years for such an acclaimed picture to arrive here in Mexico. Censorship wasn't common in those days but there was something about "Harry." The only other feature that I can recall getting a similar treatment was "Two Minute Warning" with Charlton Heston. Both dealt with mad snipers on the loose so my guess is that someone decided it was better not to give anyone ideas.
BIG SUR, CA -- The Dirty Harry style, Clint Eastwood was explaining, is simplicity itself: "You start with this ultimate fantasy character, this guy who's always fighting the establishment, who isn't interested in the intricacies of society, who tells his boss to go to hell. You equip him with a .44 magnum, pointing out that it's the most powerful handgun in the world. You make him a cop and send him out into the streets. And you whittle down his dialog." Eastwood, as unlike this description as possible, was sipping herb tea on a veranda overlooking the Pacific. The dry December sunlight spilled down and the hills of Big Sur rose behind him, and his dialog wasn't whittled down at all. Among other things, Eastwood talks a lot more than the characters he plays, perhaps because he has more to say.
