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Reviewed by Glenn Erickson
Called ‘fascist’ by liberal reviewers, Dirty Harry fell like a gauntlet before a complacent
film establishment, who were shocked by its total abandonment of standard movie attitudes toward
crime. A definitely right-wing look at an America that conservatives were certain was crumbling
into anarchy, the movie that started as a script called Dead Right took the old liberal
standard High Noon and turned it on its head: America was no longer worthy of the loyalty
of its public servants, the police.
Synopsis:
Detective Harry Callahan (Clint Eastwood) is a dedicated cop given the ‘Dirty’
nickname because he always gets the s— assignments. A working-class hero disgusted by the
sexual degeneracy that The Summer of Love has brought to his city, he bristles with
undisguised contempt at spineless city officials who are soft on crime and criminals, and
who object to his cowboy methods of dealing with criminals: shoot first, and threaten later.
Callahan meets his match with The Scorpio Killer (Andy Robinson), who commits horrible crimes
while taunting Harry personally. When he kidnaps a teenager and buries her alive, with
only a few hours’ supply of oxygen, only Harry seems to place her life as a high priority,
and he’s willing to suspend every law to rescue her and nab the atrocious Scorpio.
Dirty Harry is the original conservative backlash movie, that shocked pundits all across the
political spectrum, even as it was just accepted as another violent thriller by the general public.
America in late 1970 was perceived as being under attack by revolutionary bombers, antiwar protesters,
drug-crazed addicts, hippie perverts, and sexual deviants, the responsibilty for which right-wingers
placed firmly at the feet of Liberalism, period. It was then that conservatives first charged
Liberalism with the crime of being disloyal to those ‘true American values’, which they felt
were under attack from all sides.
To make this right-wing fantasy float, the writers cobbled together a villain who personifies
every criminal evil imaginable, a combination of the Zodiac Killer (a real public enemy),
Charles Manson, and that shaggy insolent kid who’s taking your daughter out on dates and doing
God-Knows-What with her. Andy Robinson embodies a public menace so kill-worthy, he might as well
be one of the giant ants from Them! Mister Rogers would stand in line to send this guy
to the gas chamber. The writers make sure he gives off all the right negative vibes: he’s longhaired,
sexually ambivalent (or perhaps just whiney-psycho), and wears a Peace symbol for a belt buckle.
Up against a world that can create this monster, Clint Eastwood’s Harry commands such respect that
audiences laughed as he
tortured suspects and taunted wounded prisoners. Many less enlightened Police officers since this
film have taken Harry’s attitude to heart; at its core, Dirty Harry is a license to intimidate
and threaten. Audiences also booed the ridiculously exaggerated mayor and D.A., who repeatedly
release Scorpio and other murderous scum, when in reality there’d be all kinds of offenses to hold
them on. Dirty Harry demonizes the liberal authorities, who are seen as cowardly bureaucrats
more interested in punishing Harry than neutralizing a killer. The mayor and police chief roles
are filled by actors John Vernon and John Larch, who normally play slimy villains.
High Noon presented a town populated by hypocrites who didn’t deserve their upright Marshall,
who wouldn’t back him up when he was in trouble. Conservatives were rankled when a disgusted Gary
Cooper threw his badge into the dust at the end. Dirty Harry takes the position that the
courts and laws (and the Constitution and Bill of Rights) are designed to help the creeps who menace
society. The only right thing to do is to use vigilante tactics. That is a fascist movie,
because reality is exaggerated in favor of Harry’s extreme point of view, and Clint Eastwood’s
charisma is used to sell it. Nobody’s good enough for Harry, not the politicos, nor the ordinary
people in the poor neighborhoods he’s supposed to be protecting. The argument is that you either are
in favor of allowing the cops to operate completely without restraint, or you’re against the
American Flag.
