COOGAN'S BLUFF was the first major US film to star Clint Eastwood after his famous trio of Spaghetti westerns with Sergio Leone.Here Eastwood began another productive actor/director partnership with Don Siegel,one of Hollywood's best action directors.The film is predictably at it's strongest when it concentrates on that said action rather than dialogue or plot,which both seem undernourished and slightly mundane.Eastwood's acting style at this stage of his career was often described by some critics as wooden;an unfair description as his portrayal here (and in other vehicles around this period) of a taciturn,monosyllabic tough guy had considerable style and believability,and was usually nothing less than convincing.The best performance though comes from the splendid Lee J.Cobb as a wry,world weary New York Police Lieutentant reluctantly obeying the rules in contrast to the rebellious,no-nonsense style of the Arizona-based Coogan (Eastwood),who wants to return to the open plains without delay with a fugitive prisoner (Don Stroud).This is basically the main crux of the plot,a rather routine and over-familiar story which is not helped by a romantic sub-plot involving probation officer Susan Clark which lacks credibility.Her changes of mood with Coogan are far too sudden (hating him one moment,then virtually adoring him the next) to be plausible,and our belief is further strained in having the cuddly David Doyle (Bosley in CHARLIE'S ANGELS) miscast as a vicious gangster. But Siegel's location and studio work in New York is well observed,all seedy-looking offices and apartments,a contrast to the desert vistas of the opening scenes.There is a dated but edifying look at hippie culture which began to take over the world at this time,with a gloriously kitsch sequence in an outrageously named nightspot (The Pigeon-Toed Orange Peel) with a rather catchy song being played with the same moniker;a stetson-topped Clint walks his way through the revellers decidedly unimpressed!
The film's highlights are two very well-staged action sequences; one a ferocious brawl in the most run-down of pool rooms,and a motorcycle chase through a Park where Eastwood eventually captures Stroud.There is a spectacular final shot of a helicopter taking off from the PANAM building,with Miss Clark again rather curiously bidding a loving farewell to Eastwood,now firmly in control of his desired prey Stroud.COOGAN'S BLUFF somewhat lacks in the depth of later Siegel-Eastwood collaborations,particularly DIRTY HARRY.It later inspired the TV series MCCLOUD,starring Dennis Weaver,though the reworking was only superficial as Weaver's character was rather more affable and mature than Eastwood's depiction here;in this sense,COOGAN'S BLUFF does not suffer in comparison and works as a very watchable and well made action drama.
RATING:6 and a half out of 10.
The film's highlights are two very well-staged action sequences; one a ferocious brawl in the most run-down of pool rooms,and a motorcycle chase through a Park where Eastwood eventually captures Stroud.There is a spectacular final shot of a helicopter taking off from the PANAM building,with Miss Clark again rather curiously bidding a loving farewell to Eastwood,now firmly in control of his desired prey Stroud.COOGAN'S BLUFF somewhat lacks in the depth of later Siegel-Eastwood collaborations,particularly DIRTY HARRY.It later inspired the TV series MCCLOUD,starring Dennis Weaver,though the reworking was only superficial as Weaver's character was rather more affable and mature than Eastwood's depiction here;in this sense,COOGAN'S BLUFF does not suffer in comparison and works as a very watchable and well made action drama.
RATING:6 and a half out of 10.