Dirty Harry our man is back on the road for the fourth time, and it is a
rather different film, sort of trying to get away from the comic book hero
feeling the late effort (The Enforcer)
delivered. Sudden Impact is one of those cases, where Clint Eastwood as
star/producer/director shows when he can be at his best, or at his lessor of
times when dealing with a crime/mystery/detective story in his Dirty Harry
fame. We get that 'make my day' line, and un-like in the first film where his
'do I feel lucky' speech was playful and cool the first time and the second
time at the end tough as nails, here it's switched around. He gets into another
shamble with the department, as usual, when he tries to fight crime 'his' way,
in particular with a diner robbery (inspiration
for Pulp Fiction?) and with a high speed pursuit with a senior citizen bus.
He's told to 'take a vacation', and that's the last thing on his mind. This
whole main plot isn't very convincing aside from the expectancy of the story
and lines, which just adds to the frustration. But soon his story merges with
the sub-plot that Eastwood develops from the start and things start to look and
feel a lot better than expected in the early minutes of the film where we sort
of feel a bit disappointed.
Go ahead, make my day creep.
Do you feel lucky punk?
Enter Sandra Locke's character, Jennifer Spencer,
whom we soon learn after some (appropriately) mysterious scenes that she and
her shy sister were victims of a cruel, unfair sexual assault, and is sleekly,
undercover-like, getting revenge. Her scenes and story are the strongest parts
of the film, the most intense, and finally when it goes into Callahan's
storyline (he's getting facts in the same
small town she's in on a murder), the film finally finds a focus between
Eastwood's classic form of clearly defined good vs. evil. Eastwood films the
flashbacks, not to say too much about them, expertly, in a fresh, experimental
style; the trademark Lalo Schifrin score is totally atmospheric in these scenes
and in others. It almost seems like a couple of times an art-house sensibility
has crept into Eastwood's firmly straightforward storytelling style, which
helps make the film watchable and way better than its predecessors.
Legally Blonde.
Two Sisters.
It's a shame, though, that in the end it goes more
for the rather usual expectable points, and until the third act Callahan
doesn't have much to do except his usual 'it's smith...Wesson...and me' shtick.
However, with Locke he gets out of her a very good performance (more subtle and touching than the one in
the Gauntlet) and an exciting climax at an amusement park. In a way I do
and don't agree with Ebert's remark that it's like a 'music video' in
Eastwood's style here. I admit there are comparisons with the simplicity of
both, the directness, but the scenes where Eastwood does break form are
superior to those of any music video. It's cheesy, it's hard-edged, it's not up
to par with the first two 'Harry' pictures, but hey, there could be worse ways
to spend a couple hours with the master of the 44 magnum.
Happiness Is a Warm Gun.
Say, How about some Whiskas?
I'd like to order a Pizza please.
Doesn't Harry have a signal as my former pal Batman?
Verdict? Definitely worth watching compared to the thousands of B movies
that I reviewed so far as decent flicks, in fact if you don’t watch the
prequels before you will find this film a very good action film, though the
truth is you probably have at least seen the original Dirty Harry and know
about how as being the first film has been considered as the best, and that
makes me wonder why do we always prefer the earlier films, as in Star Wars, The
Matrix, Alien, Terminator, The Toxic Avenger and a thousand other franchises. I
guess is the freshness of something new, after that we only get repetition with
slight changes which is just like listening to Iron Maiden, a classic band which
I love, but to be honest their albums all sound the same trying to recover the
old glory of The Number of The Beast, Piece of Mind & Powerslave.
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