The Enforcer (1976/I)

User Rating:

6.6/10   

Director:

James Fargo

Writers:

Harry Julian Fink (characters) and
Rita M. Fink (characters) ...

Release Date:

22 December 1976 (USA)

Genre:

Action | Crime | Thriller

Tagline:

The "dirtiest" Harry of them all!

Plot:

Dirty Harry must foil a terrorist organization made up of disgruntled Vietnam veterans. But this time, he's teamed with a rookie female partner that he's not too excited to be working with.

Plot Keywords:

Terrorist | Police | Alcatraz | Vietnam Veteran | Policewoman

Cast

Clint Eastwood	...	Insp. 'Dirty' Harry Callahan
Tyne Daly	...	Insp. Kate Moore
Harry Guardino	...	Lt. Al Bressler
Bradford Dillman	...	Capt. McKay
John Mitchum	...	Insp. Frank DiGiorgio
DeVeren Bookwalter	...	Bobby Maxwell
John Crawford	...	The Mayor
Samantha Doane	...	Wanda
Robert F. Hoy	...	Buchinski (as Robert Hoy)
Jocelyn Jones	...	Miki Waleska
M.G. Kelly	...	Father John
Nick Pellegrino	...	Martin
Albert Popwell	...	'Big' Ed Mustapha
Rudy Ramos	...	Mendez
Bill Ackridge	...	Andy

Also Known As:

Moving Target (USA) (original script title)

Runtime:

96 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Certification:

Australia:M (TV rating) | Spain:18 | Iceland:16 | Singapore:PG (cut) | Finland:K-18 (1977) (cut) | Netherlands:12 | Singapore:M18 (re-rating) | USA:R (certificate #24716) | France:Unrated | Germany:16 (re-rating) (2008) | West Germany:18 (original rating) | Australia:MA (Cable TV rating) | Brazil:14 | Canada:18A | Australia:R | Norway:18 | Sweden:15 (cut) | UK:18 | South Korea:18 | Norway:16 (1977) (cut) | Norway:15 (DVD rating) | New Zealand:PG (DVD rating)

Filming Locations:

23rd & Capp Streets, Mission District, San Francisco, California, USA

Company:

Warner Bros. Pictures

Trivia:

During the firearms heist (known as Hamilton Firearms in the film) in a warehouse dock, the firearms heisted are real-life infantry weapons in service with the United States armed forces. The firearms include M16A1 assault rifles, Armalite AR18 assault rifles (the AR18 was not adopted as a standard service assault rifle - it was later adopted by the Provisional IRA in Northern Ireland - the villain Tex is seen firing an AR18 during the Alcatraz shootout), and the M72 anti-tank missile, known as the Light Anti-Tank Weapon; in the film, the M72 was called the LAW Rocket. Both the M16A1 and the M72 were used in the Vietnam War.

Goofs:

Crew or equipment visible: When Harry chases Henry Lee on the roofs we can briefly see one person (very likely one of the crew) standing on another roof on the background. When Harry reaches the same point the person is gone.

Quotes:

[about Kate Moore]
Harry Callahan: She wants to play lumberjack, she's going to have to learn to handle her end of the log.

Movie Connections:

Referenced in "20 to 1: Memorable Movie Characters (#3.11)" (2006)

What can Dirty Harry not take on?

For me the sequels to "Dirty Harry" never came close topping the original, but I thoroughly enjoyed and think highly of them anyway... well maybe with the exception of "The Dead Pool". Each one seemed to add its own distinguishable touch to the typical formula. The third film (and probably the cheapest, as it looks like it) of the series 'The Enforcer' seemed to have that swinging and carefree vibe of the times, with the biting reality and stark realisations (heavily implemented in the first two) taking a backseat for forceful (if crass) humour. However the violence is still gritty, mean, explosive and openly displayed. Director James Fargo ('Forced Vengeance', 'Every Which Way But Loose', 'Caravans' and 'A Game for Vultures') has appeared in some of Eastwood's early films as assistant director, and here he paces it well-enough and let's the foundation play out more like an expansive low-key action fling filled with the constant buddy routines (as Harry is paired up with a young green-horn female detective fidgety played by Tyne Daly. Who does bring an authentic and potent side to her role) that are credibly developed, long-winded build-ups finishing off with brute force and the quick-witted response. Harry also has got a catch-phrase… just 'marvellous'.

Eastwood laconically pulls it off with dominant ease and certain authority of truly delving into this character (as now there's more to that monomaniacal search for one's own justice), as his hands out punishment (against a bunch of terrorists who call themselves 'The People's Revolutionary') and has time to let fly what he really thinks. Copping the cynical barbs are amusing support performances by Harry Guardino, John Crawford and Bradford Dillman. The bad guys here aren't overly memorable, but the DeVeren Bookwalter bestows a steely glance and has a quietly dangerous psychotic air to him. Showing up again, but in another different character is the wonderful Albert Popwell.

I never tire of the San Francisco locations (where most of the films are shot), and the camera superbly details the on-screen action and striking background features. What I like about the ending of these earlier 'Dirty Harry' films, was how they weren't afraid to end on such an powerful note involving something represented visually to express the mindset, as the camera slowly zooms out and the harrowing score cues in. On the point about the music. I would say I was a little put off by the racy and bouncy jazz score arrangement of composer Jerry Fielding (who by-the-way has done some magnificent scores for films of Sam Peckinpah, Michael Winner and Clint Eastwood) just didn't have the stinging, sombre and self-reflecting quality of Lalo Schifrin's efforts. That's not to say it was bad or felt out of place, because it didn't with the feel that this one opted for. But a darker or more subtle take could've done it wonders since Fielding has chalked up some jarringly bold pieces in other films.

The script has some political context (home-grown terrorism, political correctness and equal-gender opportunity), but always stays true to the story than trying to undermine or overdo it. While it should be predictable, it does keep one step ahead and offers a surprise or two.

An up-to-par sequel.