Episode 13: You Have The Right To Remain a Punk.

Welcome back once again to the Clint Eastwood article jamboree…

‘Jamboree’ may be too strong a proclamation of enthusiasm. As fun as this series has been to tackle over the past 3 years, its definitely a series of ups and downs in tone, emotion, and quality. No one can ever say though that Clints work isn’t consistently entertaining, regardless of the quality. But like all great performers, you take a few blows along the way.

I cannot think of a better way than that to introduce us to todays article, which tackles a body of Clints Cop work that has nothing to do with the iconic Harry Callahan. Some of those films have been tackled but were deemed fit for other categories and articles (also a matter of what I had time and or access to watch at any given moment). The 4 films we will be looking at today are easily the most forgettable (with the possible exception of one), and they tend to be further down the slide bar on a google search of Clints filmography. Nevertheless, these films do show a varied approach that proves at the very least interesting to explore. In the end, no matter how strong the films or its possible fans can be, they lack the dynamic and watchable San Francisco rule breaking renegade.

So go for a ride along with Clint as we tackle an Organ Donor mystery, an Mad Max- esque finale, Clint in the Big Apple, and a moment with groin punches to dummies.

BLOOD WORK
1.5 OUTTA 4 Organs
*Spoilers*

The very late 90’s and very early 2000’s are weird time in Clints filmography, and none is more noticeable than Blood Work. Directed by Clint and with a screenplay by Brian Helgeland, the film follows Clint as a retired FBI agent tracking down serial killer who killed the invividual whose organs were donated to Clint. It’s a premise that certainly makes for an interesting trailer, but lacks any gusto to back up its initial pitch. The film heavily relies on melancholy and regret that tries much to hard to be as gritty as Fincher film. *Spoilers for a 2002 film* When the killer is revealed to be Jeff Daniels, it honestly has the odor of, “We need a John Doe reveal.” The films primary merit is really just spending time with Clints playing a cop going around the red tape or his interactions with Anjelica Huston as his doctor. All of Clints talents behind and in front of the camera are there, but the story and the plodding along do not measure up.

THE GAUNTLET
2.5 OUTTA 4 Buses

Efficiently directed in 1977 by Clint regular, Don Siegel, THE GAUNTLET is most decidedly a Dirty Harry rip off, and part of the reason that is rated as high as it is. The film follows Clint as a balls to the wall blitzed on booze Phoenix cop who is sent to Las Vegas to extradite a prostitute (Played by former flame Sondra Locke) and get her back to Phoenix to testify in a trial. The film falls down a rabbit hole of twists and turns that are fair but certainly convenient the “Everyone is against Clint” structure. The films saving grace and reason for placement in a history book is this insane finale. In it, Clint and Sondra hijack a city bus equipped with armor that looks like it was stolen from a George Miller film. The remained of the film is a fun for its time and still so action packed scene that is great to watch on a technical level alone. Its a testament to Siegels abilities as a director to make even one of his most mediocre outings and entertaining splash.

COOGANS BLUFF
2 outta 4 Fishes outta Water
If you listened to the Henry Jarvis solo episode of Reel Nerds Podcast, you have already heard his funny glib review of Coogans Bluff. Sadly, I will not be as hilarious as Henry in my analysis… or frankly ever in life period. Anyway, COOGANS BLUFF is actually the earliest of Clints outings as a COP, pre- dating Callahan. In a small way, it’s interesting to see what he takes into Harry and what he leaves behind in the Big Apple. The film follows Clint as ANOTHER Arizona officer who has to extradite a criminal. The twist: He’s gotta get him from New York City. It is a clear “Small Town Country Values in Big City Craziness” story that HEAVILY relies on Clints charm and approach to not grow stale in any way. Also directed by Don Siegel, the films novelty wears down slowly but surely and the outter elements step up to the challenge for the most part. Credit is due though for finding what works and doesnt work for Clint playing a cop, as pre-Callahan can indeed be spotted amidst the sea of aged situational humor.

TIGHTROPE
3 OUTTA 4 Dummies Getting Beat The Fuck Up

TIGHTROPE is an fascinating beast in Clints filmography. I’ll get this out of the way: the film does not hold up entirely well. Its foundation of a troubled New Orleans cop investigating sex crimes while tackling his own twisted desires and attempts to understand from a female point of view are most certainly of their time and do not hold up. If you watch the film in context of a 1984 world, its an underrated film in Clints body of work. The film walks it’s namsake fairly well, only dipping into the insane a few times. Eastwood reportedly directed most of the film while letting initial director (and writer) Richard Tuggle retain credit. That being the case, its interesting to see Clint move toward this feminine understanding, even if it holds zero water by todays standards. It is a film that is psychologically fascinating, and as a cop film manages to be a truly compelling and creepy detective story that thankfully ignores the Callahan Mold.

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Alrighty folks, the Ride Along is over. Next time, we will be doing one more Clint Catch up before we finally Saddle Up for Western Territory.