Coogan's Bluff (1968) User Reviews (122)

"Nobody Calls Me Mister With My Boots Off"

[bkoganbing · 6/10 · 24 July 2009]

Coogan's Bluff marked the first of six films that Clint Eastwood was to do with director Don Siegel, the most famous of them being of course Dirty Harry. The film will also contain no shots of the former location of the legendary Polo Grounds which were at that spot on Manhattan island.

Clint Eastwood's charisma is what carries this film through because he's playing one of the most dislikeable characters he ever essayed on the right side of the law. He's a deputy sheriff from Piute County, Arizona who has his own way of doing things. When we first meet him instead of following sheriff Tom Tully's orders and staying at a roadblock, Eastwood follows a hunch and captures fugitive Indian Rudy Diaz in the inimitable Clint fashion.

That he got the man doesn't cut it with Tully. He sends Clint on assignment to New York to extradite Don Stroud wanted in Arizona. When he gets to New York, Stroud is in Bellevue Psych Ward. There are procedures to get him out says Police Lieutenant Lee J. Cobb, but Clint cuts through them and while Stroud's in custody, he effects an escape.

Seduce them for clues is Eastwood's investigative technique as he works on parole officer Susan Clark and Stroud's girlfriend Tisha Sterling. Tisha proves to be a formidable adversary and bed partner, yes she's both. Tisha's pretty unforgettable as the amoral hippie chick from the era.

Also unforgettable is Betty Field in what proved to be her final big screen role as Stroud's tramp of a mother. Clint doesn't quite have to get down and dirty with her, but I think he would have been up to it if needed.

A lot of attitudes that were later exhibited in Dirty Harry are in Coogan's Bluff. Walt Coogan has the same attitude towards criminals and the rules that prevent him from dealing with them as he'd like.

Some nice location shots of New York, including an unforgettable chase scene through Fort Tryon Park in the upper reaches of Manhattan. Not as good as some of Clint Eastwood's other films, still Coogan's Bluff is a must for his fans.

Thrilling and nice action fare with Eastwood as an Arizona deputy travels to New York to escort an escaped convict

[ma-cortes · 6/10 · 25 February 2017]

Exciting Don Siegel cop thriller plenty of thrills, action , fights and emotion . Brave , tough cop , Clint Eastwood , goes to N.Y in order to transport a killer fugitive , Don Stroud , but the murderer escapes. Then , the killer on the loose through the N.Y.City streets . The deputy sets out in pursuit and to track him down by suffering a dangerous , risked pursuit.

First Siegel-Eastwood teaming and subsequently following : ¨Two mules for Sister Sara¨, ¨The beguiled¨ , ¨Dirty Harry¨ in which Clint also played a cop , and ¨Escape from Alcatraz¨. This one results to be a tense actioner containing some extremely thrilling chase sequences at its final , while Eastwood and Stroud riding motorcycles . The famous and successful TV series MacCloud with Dennis Weaver was based on this movie ; in fact , Herman Miller had written the story for Coogan's Bluff and then later changed a few details to create McCloud . Support cast is frankly well. Don Stroud shines as a violent murderous . Lee J Cobb as chief inspector gives an strong and outstanding performance, as usual . And enjoyable and attractive Susan Clark as a lovely parole officer who falls in love for him . Furthermore , brief but agreeable acting from Tisha Sterling , last film role for veteran Betty Field , James Edwards , Seymour Cassel and David Doyle , previous to Charlie's Angels .

It features a moving and adequate musical score by Lalo Schifrin in his ordinary style of the seventies . It packs an evocative and atmospheric cinematography by Bud Thackery and uncredited Robert Surtees . This tumble and rough motion picture was professionally directed by Donald Siegel (Telephon , The shooter , The Black Windmill , Madigan , The Killers) though has a few gaps and flaws . However , original filmmaker was Alex Segal , who withdrew shortly before production began . Rating : acceptable and passable . The yarn will appeal to Clint fans . Well worth seeing.

The Arizonan in Manhattan

[jotix100 · 7/10 · 28 August 2009]

As the story begins, Coogan, an Arizona policeman, goes after a murderer that is wanted. The man is found on top of a rocky hill trying to shoot the cop that has come for him. Coogan, a no-nonsense laconic man, out smarts the bandit and goes back with the fugitive, but before that he makes a stop to visit a woman whose man is away from home. That sets the tone for the story, Coogan is one of those men that are secure in themselves with no attitude to speak of.

The police chief in charge of Coogan, meanwhile, wants to send him on a mission to New York. He must pick up an escaped man now living in the Big Apple. Coogan, who is still sporting his western attire, sticks out like a sore thumb among the crowds of Manhattan. One thing for sure, he takes no bull crap from anyone, including the taxi driver that thinks he is so smart by going around in circles thinking his out of town passenger will not notice the way he is jacking up the price for the ride.

What Coogan finds is a hostile police environment. Little does he know that to do things in New York, he must rethink what he is accustomed to do in Arizona. His meeting with Chief McElroy doesn't go too well. For starters, the man he has come to get, Ringerman, has been sent to Bellevue for observation. There he finds his man in the company of a girlfriend, Linny Raven, who will prove to be more dangerous than Coogan bargained for. He also finds a kindred soul in Julie, a woman who works with tough cases within the police department. Coogan's stay in New York will be marked by violence, but he is smart enough to deal with the situation and get what he came for.

Don Siegel, a director who worked extensively in B pictures, is in charge of this production. Mr. Siegel, was an astute artist who always delivered, as he does with this 1968 film. He captures the essence of that generation like no one. Mr. Siegel was a master in these types of movies, as he clearly shows here.

Clint Eastwood shows the making of the persona that he will later transfer to most of his work that followed. His Coogan was a man of a few words who believed in getting a job done, as quickly, and as neatly, as possible. His take on this character is what he did best. Lee J. Cobb, one of the great actors of stage, and screen, is at hand to portray Lt. McElroy, a man who knows how things worked in his territory. Also in minor roles, Susan Clark, the great Betty Field who appears as Ringerman's mother in one of the best sequences of the film. Tisha Sterling, Don Stroud and a young Seymour Cassel have some interesting moments.

Lalo Schiffrin jazzy musical score worked well with the film as did the fine cinematography of Bud Thackery that photographed the Manhattan of those years with excellent flair. Don Siegel did a good job with his direction and made a film that is fun and packs some action as well.

"Guess you didn't hear the lady....did you boy?"

[Nic_hse · 16 July 2004]

Coogan's Bluff ranks as one of my favorite Eastwood films. Partly because of the time period & location which the story takes place. It's an excellent period piece. Late 1960's New York city in all it's Glory. I live in NYC and it's was nice to see the Pan Am Building in the backdrop. It's now the Met Life building. The Pan Am building was also the location of the final scene where the helicopter takes off.

The other reason I like this movie is that Eastwood is essentially playing Dirty Harry before Dirty Harry. Coogan is just like Harry Calahan without the 44. magnum. The story is solid but it's the locales and the situations that Coogan finds himself in that sell the movie. Who cares of it's dated? Of course it's dated but that's part of the experience. Actually most movies made more than 20 years ago (or less) are dated. If you look at it in the context of the time it was made then you'll enjoy it. Ignore the negative reviews and check it out.

Not a top tier Eastwood vehicle, but still pretty enjoyable.

[Hey_Sweden · 7/10 · 16 December 2013]

Here Clint Eastwood gets to bring a little of the Western into an urban jungle, playing the title character, an Arizona deputy with his own way of doing things. His sheriff (Tom Tully) is tired of him, but assigns him the task of extraditing a criminal named Ringerman (Don Stroud), who's being held in NYC. Disgusted with the amount of red tape that he's obliged to wade through, Coogan obtains Ringerman through false pretenses - and then the young mans' associates get the drop on him, and Ringerman escapes. However, Coogan isn't about to let a little wounded pride get to him, as he continues to frustrate police lieutenant McElroy (Lee J. Cobb) with his methods of tracking a wanted man.

Clint is a lot of fun to watch, showing off that natural screen presence that made him a star. He makes the most out of what many people agree to be a predecessor to his iconic screen role of Dirty Harry. The movie itself, produced & directed by Clints' frequent collaborator Don Siegel, works as a "fish out of water" type of story in which different approaches to law enforcement clash, and where the environment has a pivotal part to play. Use of various NYC locations is great, and Lalo Schifrins' music score is excellent. The climactic motorcycle chase is reasonably exciting, but the most striking scene of all has to be when Coogan tails Ringermans' lady friend Linny Raven (Tisha Sterling) to a nightclub. Among the images on the big screen there is a shot from "Tarantula", in which Clint had a small uncredited role.

There's a great sexual chemistry between Clint and well-meaning probation officer Julie Roth (sexy Susan Clark); he also works well with Sterling, who's a delight as a cheery hippie chick. Stroud unfortunately doesn't get a lot to do, the way that the story is written, but the supporting cast, led by the always solid Cobb, includes familiar faces such as Betty Field, James Edwards, David Doyle, Louis Zorich, Seymour Cassel, Albert Popwell (who would go on to appear in four of the "Dirty Harry" movies), and Conrad Bain.

A well paced and consistently entertaining movie, "Coogan's Bluff" later evolved into the 'McCloud' TV series with Dennis Weaver.

Seven out of 10.

'McCloud' With Some Sleaze

[ccthemovieman-1 · 6/10 · 10 May 2006]

In this breakout year when films could dump most of their restrictions, this inspiration for the hit television series McCloud, dumped a couple and went the low road on a few things.

The language still was pretty tame but it had a big-time sleazy atmosphere with a bunch of unlikeable characters. Susan Clark played a lot of these kind of roles in the late '60s to about 1980. Clint Eastwood and Don Stroud are the male leads and Eastwood fits the mold as a tough Arizona lawman going to New York City to bring back an escaped convict. This kind of set of the stage, I think, for his Dirty Harry series which began a couple of years after this.

The story moves well and has some good action scenes, but, man, you can tell it is the late '60s and no longer the "classic era" in Hollywood with the nudity and no one with any moral standards.

Good start to a celebrated collaboration

[BJJManchester · 7/10 · 1 February 2008]

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.

"You better drop that blade, or you won't believe what happens next, even while it's happening."

[emperor_bender · 7/10 · 24 August 2009]

While Dirty Harry watches over the streets of San Francisco, Coogan watches over Texas...I mean Arizona.

Clint Eastwood plays Coogan, a man who is sent to New York to bring back prisoner James Ringerman (Don Stroud) to Arizona, his jurisdiction (although many assume at first he is from Texas due to the fact he nearly dresses like a cowboy). However, after confronting Lt. McElroy, Coogan finds out that he can't just take Ringerman as is, that he must go through a long process. Coogan, being a no-nonsense cop with his own rules, decides to make his own way to get Ringerman. Along the way he must get through Linny (James' girl; played by Susan Clark), Julie (Linny's probation officer; played by Tisha Sterling), Pushie (Ringerman's buddy; played by David Doyle), McElroy, and even Ringerman's mom (played by Betty Field).

There were numerous chase/fight/confrontation scenes, however even with all that and Clint Eastwood and the expert directing of Don Siegel, the movie still falls slightly short. That doesn't mean it isn't entertaining however.

7/10

An Arizonan cop in New York

[Tweekums · 7/10 · 30 November 2008]

While this early Clint Eastwood cop drama has been overshadowed by the later Dirty Harry it is worth watching as it literally shows his transition from a cowboy to a cop.

In the opening scene he is pursuing a fugitive through the Arizona desert in a scene that could be from a Western if he'd been on a horse rather than in a Jeep. We soon learn that he isn't the sort of police officer who believe the rules apply to him when he stops off for an assignation with a married woman while leaving his prisoner handcuffed to the porch. His boss is less than impressed and promises to give Coogan every boring job that comes along.

In the next scene we see Coogan on a helicopter flying in to New York; he has been sent there to extradite Ringerman, a murderer, back to Arizona. Unfortunately for him he is told that he can't have his prisoner till he has been released from the prison hospital. Coogan isn't so keen to wait so bluffs his way into the hospital to avoid waiting. This wasn't a good idea as his prisoner's girlfriend arranges his escape which leads to Coogan ending up in hospital being threatened with arrest if he continues looking for Ringerman. Of course he ignores these instructions and continues to search for him in a fairly unconventional manner.

This film is quite fun, having much more humour than the later Dirty Harry films. He is constantly having to correct people who assume he is from Texas just because he wears a cowboy hat and boots. While there is a bit of violence it isn't too gory, some people might find the way he interrogates Ringerman's girlfriend by throwing her around the room then sleeping with her a bit chauvinistic for this day and age... although I suspect it was for many people back then, certainly the police psychologist he gets involved with doesn't approve of his more physical approach to law enforcement. That is the main thing some viewers might be offended by, there is little or possibly no swearing and the sex scenes are very tame, in fact the only nudity is a few topless "hippie chicks" in a night club.

Although this is obviously a Clint Eastwood film the rest of the cast aren't bad either, in particular Lee J. Cobb as a New York police lieutenant. We also get to see some parts of New York not used that much in films. I'd definitely recommend this to anybody who is a fan of Clint Eastwood or of '60s/'70s cop films.

in part a prototype for Dirty Harry, and in other ways not, a good if not great Siegel/Eastwood collaboration

[Quinoa1984 · 7/10 · 2 June 2007]

Coogan's just got into New York from Arizona- not Texas, mind you, as it's the running gag of sorts- and is out to get a prisoner to transfer. He captured him once before, and it took him eight days to do so. He doesn't have time for bureaucratic resistance, and goes right to Bellevue to hoist him out via a clever bluff. But he gets double-crossed by the prisoner's fellow hippie-cronies, who knock him out right at the heliport. Now he's on a one-track mind: catch him at any cost. This is the premise of Don Siegel's first directed film featuring his five-time star Clint Eastwood, and it's a film of the moment and one that speaks to what's to come: Eastwood as a tough-as-nails vigilante who won't take crap from the local brass and wont be nice in trying to round up his subject via questioning or getting in fights with nefarious Manhattanites. But it's a little odder still to see Eastwood as Coogan play a ladies man, who is charming if only in the 'hey baby, my look will melt you like butter' way. There's even a sub-plot, definitely the least interesting and only necessary as a bit of means to get to the rest of the story, where Coogan gets emotionally (though not at all physically) involved with Julie Roth (Susan Clark), a probation officer with a good conscience and slightly skewed views on relationships.

The story itself is strongest not when Coogan is straying from the central goal, to get his man at any cost. Unlike future Siegel/Eastwood endeavors, this one doesn't have much by way of Eastwood in personality terms. He's sort of two-note, either lean and gritty, either dealing with cops or criminals, or a smooth-talking guy who spends his time off the case trying to get some tail. So when he does stick to the main goal, Siegel is able to get some strong and fun scenes out of the script. I liked when he went to visit the criminals mother, to get any leads, and is careful not to step over the lines and still had to deal with this hard-bitten woman who will stand up for her wicked son no matter what. Or, as cheesy as it is- though not in the careful and deductive Siegel style- the scene where Coogan has to maneuver his way through a hippie club, with strobe lights et all, hardly the thing one would ever think of seeing Eastwood (in a cowboy hat and boots no less) walking through.

And as it is meant to be a cool action thriller, there's a tight fight scene in a billiards, and a very excitingly executed motorcycle chase through the polo-grounds. It's not anything I'd rank as being great, as it's repetitive as a means to cover up some more inventive ideas at the screenwriters' disposal (yes, he's from Arizona, not Texas, the exception being Coogan's ability to be sneaky when apprehending a suspect as it pops up late in the film after an intriguing beginning), plus with the dull romantic side-bar. But there's enough scenes where it's quintessential Eastwood, of him being simple and direct and to-the-point as a cop on a mission can be, and even Lee J Cobb turning in a good turn as an even hard-ass NY cop who plays totally by the books (with the exception of the end, which is a little unclear). A good Eastwood vehicle with some impressive locations and very good Schifrin score, though don't expect it to be a ground-breaker like a Dirty Harry or as unconventional as the Beguiled.

What?! That's David Doyle!!! That can't be David Doyle!

[planktonrules · 3/10 · 13 September 2011]

Clint Eastwood plays a tough cop from Arizona who's been sent to New York City to bring a prisoner (Don Stroud) back to face charges. However, when he arrives, the prisoner is in the infirmary and he must wait a short time to get him. When he finally does take the guy to the airport, he's jumped and beaten by David Doyle!!! Yes, THAT David Doyle!! The one from "Bridget Loves Bernie", "Charlie's Angels" and "Rugrats" (he played the voice of Grandpa). Of all the actors who you could imagine pummeling Clint Eastwood, about the only one LESS likely might be Paul Rubens or Billy Barty!! This alone is reason to see the film!

Well, Eastwood is not about to just return to Arizona empty handed and spends the rest of the movie searching throughout New York for the escaped scum-bag. And so, the cowboy-hatted Eastwood does the whole 'fish out of water' thing until he ultimately gets his man. Does it all seem a bit familiar? Well, apparently this film was the inspiration for the series "McCloud" just a couple years later.

While it's fun watching Eastwood, I really felt the whole 'New York is crazy' aspect of the movie was WAY overdone. Sure, New York City of 1968 wasn't exactly Heaven on Earth, but come on! The worst example is the insane probation officer (Susan Clark) who allows a degenerate to fondle her breast repeatedly--right there in the police station!! I wonder how many OTHER probation officers do this sort of thing? How about ZERO--especially since this is happening right in front of everyone AND she then scolds Eastwood when he stops this probationer!!! This entire scene made no sense whatsoever and apparently it was to illustrate what a sick place this city is. Yeah, right!! I think it just illustrated bad writing. And then, following this, Eastwood and Clark then become very chummy--perhaps he's assuming she'll let him do what the probationer was doing! Later, Clint walks into a super-freaky dance club--full of naked painted ladies, gay men, a FLYING naked lady and drugs. Once again, it all just seems way, way overdone. We GET that New York is a strange place--stop with the sledgehammer symbolism! I did not particularly like this film. I wanted to...but the writing was just dumb. It's not that I don't like Eastwood--he was great in almost all his other films and actually was fine here. But here, he's just saddled with cartoony supporting characters. No one in New York City makes any sense--none! How can you take a Dirty Harry-like character and STILL screw up the film?! Too much emphasis on the weird and confusing--particularly Clark's character who only gets more strange and confusing as the film progresses. In fact, I might be willing to nominate her for the worst supporting female character of the 1960s for this performance (this isn't hyperbole--I'm serious. She was THAT bad). Cool action, a neat character and a decent basic story idea just aren't enough to overcome bad writing and dumb characters.

Extremely overrated. My advice is to skip this one and go right to "Dirty Harry". Your brain will thank you for this.

Perfect Action Movie

[Scooter0123 · 10/10 · 2 January 2005]

From the opening scenes to the end it's never boring, and often hilarious. Lee J. Cobb turns in a wonderfully wry performance, the young Susan Clark is hot as Julie the probation officer, and Tom Tully is perfect as the tough, no-nonsense Sheriff McCrea. Add to that the sights and sounds of the city in the late 1960's and the feel for the atmosphere of the times, and it's a wonderful way to spend an afternoon. I define the quality of a movie by how it makes me feel. And this one always makes me feel good. Watching Eastwood work as Deputy Sheriff Walt Coogan, with that cool Eastwood demeanor makes you realize just how hokey Dennis Weaver played the McCloud character in the TV series - while 'Coogan' inspired the series, the series certainly didn't outshine it. This one is a fun romp, and like all in the genre, not to be taken too seriously. Highly recommended.

Cool it cowboy there's plenty here for both of us

[sol-kay · 7/10 · 29 May 2010]

***SPOILERS*** After running down escaped from the reservation, for murdering his wife, convict Running Bear, Rudy Diaz, and then having a romp in the bathtub with his girlfriend the buxom Millie, Melodie Johnson, Shefiff's Detuty Coogen, Clint Eastwood, gets the bad news from his boss Sheriff McCrea, Tom Tully, that he's to travel to the Big Apple-New York City-to pick up and bring back to Arizona fugitive drug dealer Jim "Jimbo" Ringerman, Don Stroud,to stand trial in Phoenix for jumping bail and dealing drugs. And that all happens before the real action in the movie starts!

When Coogen arrives in NYC to pick up and expiated Ringerman back to Arizona he's told by the two three, or 23rd, police precincts though talking Let McElroy, Lee J. Cobb, that "Jimbo" is unavailable and in Beleuve Hospital suffering from withdrawals from a bad LSD trip. Having to wait for Ringerman to be realest into his custody Coogen soon gets to know pretty police psychiatrist Julie, Susan Clark, who's just crazy about his straight forward attitude, in telling it like it is, as well as Coogen's cowboy boots and hat. It's when Coogen got a bit restless in waiting for Jimbo Ringerman to be released from Beleuve that he made a very serious mistake. Coogen tried to illegally check Ringerman out, on a bluff attempt, without proper papers. That lead Coogen to get clobbered and his gun taken away from him by Ringermen's New York fiends lead by the pot smoking hippie Linny Raven, Tislda Sterling.

Now in trouble from all sides from his boss Sheriff McCrea back in Arizona and the NYPD in New York City Coogen is determined to track down, cowboy style, and bring to justice Ringerman even if he has to tear down the entire city of New York to do it! Checking out Ringerman's old stomping grounds in the East Village Coogen finds Raven who instead of leading him to her boyfriend, and drug supplier, Jimbo Ringerman lead him straight into an ambush at a pool-hall where Jimbo's friends are waiting for him and ready to use Coogen's head as batting practice for their cue sticks. Realizing that he's been set up by Raven Coogen, after dispatching Ringermen's hoods, takes off for her in the village and persuades Raven, by threatening to punch her pretty face in, to lead him to her boyfriend Jimbo who's hiding out somewhere in upper Manhattan.

***SPOILERS*** It's when Ringerman sees that the jig is up and he's about to be arrested by a hot and angry Coogen is when the long awaited action starts in the movie: A series of exciting chase scenes, on foot and on motorcycles, Ringerman getting caught and punched out by Coogen and finally, in him having no authority as a law enforcer in NYC, Coogen performing his civic duty by turning over to the NYPD a battered and barley conscious Ringerman via a citizens arrest! In the end Coogen not only got to get his man, Jimbo Ringerman, but also see the breathtaking sights of the Big Apple as well which included fresh faced blue eyed and sexy police psychiatrist Julie, no last name given in the film credits, who just couldn't let go of the big guy no matter how shabbily he, by checking out of her apartment after she slaved for over three hours cooking him her famous spaghetti dinner, treated her!

Utterly boring and shockingly liked...the hardest review I've ever written

[Robert_duder · 3/10 · 4 September 2010]

I've said it before and I'll say it again...I adore Clint Eastwood. I am more than a fan of all his work, I idolize the man. This love came late in my life when I stumbled on The Good, The Bad and The Ugly so I am just now watching all of his classic and not so classic films. As much as I love him there is no doubt he has had downs with his ups. I've also disagreed with fellow reviewers before...I thought the so called 'classic' Where Eagles Dare was one of the most boring films I ever sat through. Some of the things said about Coogan's Bluff literally blew my mind. Any comparison to Dirty Harry is just about obscure as they come. This film doesn't even touch Dirty Harry. Eastwood's Coogan is nothing short of a near 'wussy' compared to Harry. Calling this a 'solid action thriller' is the most ludicrous three words I can think of for a film that I very nearly turned off, let alone stayed awake through. Action in tiny implements finally breaks out in the last half hour but even that isn't interesting enough because you've become so bored by the story and characters. Some reviewers did say the 'fish out of water' jokes get old quick but I didn't even see enough of that. The concept of the typical cowboy coming to big city is completely lost on this story.

Clint Eastwood has had one of the most diverse and remarkable careers in Hollywood. His screen presence is legendary and his westerns are without a doubt the finest pieces of genre ever made. His character 'Coogan' is determined and full of spunk, there is no doubt about that. But the womanizing is ridiculous and done in such a campy and silly way. When he finally gets down to truly catching his bad guy he already seems so soft and the last thing in the universe Eastwood should ever be is soft. Coogan is probably his worst character ever created. Susan Clark gives one of the more redeemable performances as tough on the outside cop Julie and the main object of Eastwood's desire. She is a strong female character until Coogan opens up the sexual can of worms and then she swoons like a 12 year old at a Justin Beiber concert. Tisha Sterling plays another Coogan conquest only this time he seduces her to find his man. Sterling is good in her role however I think she really pushes the envelope of over acting. The one big comparison I can make from Coogan's Bluff to Dirty Harry is that Coogan's criminal played by Don Stroud reminds me in many ways of Dirty Harry's Scorpio (played later by Andrew Robinson.) Only Stroud's criminal is not nearly as maniacal or interesting and has zero chemistry between him and Eastwood.

I don't watch a ton of pre-80's films so maybe expectations are far lower for older films. I mean one reviewer called this "A good, exciting action picture" and my jaw literally hit the floor. I was so near bored during this picture it blows my mind. Yes there is one well done motorcycle chase scene and it did nothing to raise the merit of this film. I have to say now and probably again before this review is over how shocked I was by how boring this film truly was. I'm not someone who needs constant action by any means but the characters were so poorly done and the story was so thin that it could have been over in fifteen minutes and there lies the problem. There is so much silly filler in this film when there is just no reason for it. Legendary director and Clint Eastwood's mentor Don Siegel helms the film and I'm just amazed at how little he does with the plot. And considering you've got a Cowboy deputy coming to the most famous big city in the world (New York) there is little to no using the backdrop of New York like he did with San Francisco in Dirty Harry. I have to shun Coogan's Bluff from my Eastwood collection and go watch some true Eastwood classics to get my love for him back because this one simply bored me to death. I encourage every one of you reading this to go watch it right now...and try and tell me what a rip roaring action thriller this is. Sorry Mr. Eastwood...I love you deeply but Coogan's Bluff stinks. 3/10

A smart career move for Clint

[jimu63 · 21 August 2002]

Clint Eastwood has always been one of the most career-savvy superstars of all time. Looking over his filmography, since his career breakthrough it is obvious he has never done a film strictly for the money and has solid reasons behind every film he has made. Even his worst films have a purpose: "The Rookie," for instance, which most people would agree is a career low, was obviously made to satisfy the brass at Warner Bros. by delivering a modern-day Dirty Harry clone so he would be left alone to work on his Academy Award-winning classic "Unforgiven," which came out two years later. So it is with "Coogan's Bluff," which most viewers would probably dismiss as second-rate Eastwood, but in reality served as a savvy bridge from Westerns (the type of genre he was primarily known for at the time) into more modern day roles.

As directed by his mentor Don Siegel, "Coogan's Bluff" actually opens in the Arizona desert, which strongly resembles the background of his spaghetti westerns. Indeed, the first character we see is a loincloth-attired man, who appears to be Indian, so the audience is tricked into thinking they're watching a western. Then, we see a jeep driving down a dirt road, with a stetson-wearing Clint at the wheel. He is Dept. Sheriff Coogan, and there we see our first view of Clint as a modern lawman. It isn't long before he's in New York City, chasing down an escaped extradited criminal (Don Stroud), romancing a beautiful parole officer (Susan Clark) and butting heads with a strong-willed police captain (Lee J.Cobb, a terrific, yet sadly forgotten character actor of the day). Therefore, in a matter of fifteen minutes, Siegel cleverly introduces Eastwood as a contemporary figure, a transition that will be complete when he returns to modern times three years later in his most famous role, "Dirty Harry" Callahan.

But "Coogan's Bluff" is an enjoyable film on its own terms. Eastwood at times is very funny here--his retort to an unethical cab driver is priceless--and the film moves along at a brisk pace. Just don't expect action galore or a high body count. Clint doesn't kill anybody here; there's no broad conspiracy or mystery to solve; his job is simply to find the prisoner and take him home. In fact, the film is at its best when its dealing with Coogan as a fish-out-of-water, dealing with various New York thieves, crooks, drug dealers, hippies, and the aforementioned cab driver. There is, however, a well-choreographed fight scene in a bar and an exciting motorcycle chase for a climax, but that's as much action as there is. It's also pretty short for an Eastwood film: where most of his films run over two hours, this one clocks in at a brisk 94 minutes, next to "Joe Kidd" and "The Dead Pool," one of his shortest adventures.

So there you have it, a "minor" effort that served a "major" purpose in what has become an important Hollywood career. *** (out of *****)

not without significance

[christopher-underwood · 7/10 · 10 September 2017]

Likable, if less known than some of Eastwood's films, it is not without significance. This movie neatly segues from the Leone westerns to Dirty Harry. Indeed this is where Eastwood and Siegel first pair up and the seeds of the subsequent violent thrillers are clearly visible. It is also significant in that being a 1968 film we get a depiction of sexual politics that still resonates today. There is an early scene where Tisha Sterling is talking to her 'client' or probationer played by Don Stroud and the slimy kid touches, strokes and finally takes a hold of one of her breasts. Eastwood's 'country boy' from Arizona, looking more like a cowboy than a cop takes exception and knocks Stroud away. Tisha's character, who seemed to accept the sexual attention, is upset that her 'client' is now upset. Even more odd, as we now look back, Eastwood then picks up his case, takes her by the arm and announces he's taking her to lunch, and more as it subsequently turns out. Within the storyline of a film of this period it doesn't seem all that strange, no more it was, but looked at now from the era of a new morality, quite astonishing. The story moves well, Siegel has an eye for composition and can choreograph a bar room fight or a chase as good as anyone. The final motorbike chase is set on the slopes of an autumnal Fort Tryon Park and looks very good. Also good looking and very well shot is a hippy gig with back projections, coloured lights, near naked boys and girls and painted faces. Well worth a watch.

The Man With No Name goes to the big city

[lastliberal · 7/10 · 16 June 2007]

The raw violence in this film wasn't anything spectacular, but it was a foreshadowing of what was to come in the future.

This film started a 10 year relationship between Eastwood and director Don Siegel. They would go on to do four more films, including Dirty Harry.

You can contrast Eastwood's cool Coogan with the hokey McCloud that followed with Dennis Weaver.

It's Harry Callhan with out a gun, so it is interesting from a historical perspective in the Eastwood acting career.

It is also interesting to see the culture of the time being the Woodstock era.

starts brilliant , but decays towards the end

[sheepinator8 · 7/10 · 24 June 2006]

the film wastes no time,with a short explosion of character from Clint, who then dives strait into the plot, which started out to be extremely promising and had great potential. Coogan goes to new york to transport a fugitive back to Arizona. it is interesting to see coogan so out of place in new york, as he is mocked for looking like a cowboy. The simple task gets messy, as the criminal escapes. the films tempo continues to rise with the bickering arguments between coogan and the new york police department.

Coogan's character is like dirty harry but with an attitude and with a hint of James bond, as he finds himself bumping into several women during his efforts to find the escaped fugitive. coogan's smooth playful attitude towards women is a very entertaining addition to the plot and his character, but then everything starts to go mindlessly down hill.

coogans initially clever character implications are thrown out the window, as he decides to fall for the woman who but him in hospital and who is the criminals girlfriend, for puzzling reasons, and then he is led blatantly into a trap by the girl, who for some stupid reason he trusted???? I guess this can be vaguely explained by how coogan trusted people back in Arizona, and therefore thinks he can in new york.

The rest of the film is quite absurd, but entertaining, with a motorbike chase scene but the what should have been relaxed ending as the coogan and the criminal share a cigarette's after their battle together was ruined by a stupid woman's eccentric waving to coogan.

Clint Eastwood and Don Siegel in their first venture together

[DeuceWild_77 · 7/10 · 4 November 2017]

The first of five collaborations between star Clint Eastwood and director Don Siegel (six, if you consider "Play Misty For Me" which was directed and starred by Clint, but featuring a cameo from Don), "Coogan's Bluff", besides being a witty action vehicle with Clint playing the macho cop who follows his own rules, a kind of 'warm-up' for their future "Dirty Harry", it was the weakest of their movies together.

This movie was conceived as a vanity project for the now established heartthrob & action star, after his success playing "The Man With No Name" for Sergio Leone in the "Dollars Trilogy" which slowly became a major hit in America and "Hang 'Em High", his first high profile American film.

"Coogan's Bluff" proved that the camera loves Clint and that he had the presence and charisma to carry on a film as the "name above the title" lead star, but as much as this is considered a cult-classic now, it lacks the edge, the social commentary, the 'grittiness' and the effectiveness of their later masterpieces such as "Dirty Harry", "The Beguiled" or "Escape from Alcatraz".

The movie is competent directed, Don knew how to do it, but that late 60's hippie subculture and psychedelic vibes were completely dated even by 10 years after the movie was made and fully obsolete now by today's standards. The screenplay is full of flamboyant characters and weird situations with a comedic tone in it, and every woman that appears on- screen is either throwing herself at Clint's arms or having sex with him 5 minutes later.

The supporting cast gave life to their colorful written characters, but besides the great veteran Lee J. Cobb, who delivered the goods in a scene-stealer performance, they were merely pawns in Clint's Chess game: Tisha Sterling, Susan Clark & Melodie Johnson were attractive to look at and Don Stroud was over-the-top 'cartoonish' as the junkie addicted to LSD. A young Seymour Cassel and future "Dirty Harry" co-star, Albert Popwell pops up in tiny roles.

In short, every Clint Eastwood film is a watchable one, especially directed by Don Siegel, but this one lacks a tight plot & assertive direction, it feels a bit redundant sometimes. Despite its flaws, it still works as a hour and a half of pure cinematographic escapism for a lazy Sunday afternoon at the movies.

Eastwood as an antihero cowboy cop in mid-60's Manhattan

[Wuchakk · 7/10 · 11 October 2021]

A rural Arizona deputy sheriff (Clint Eastwood) comes to the Big Apple to extradite a prisoner (Don Stroud) while tangling with the chief detective (Lee J. Cobb) and flirting with a probation officer (Susan Clark). Tisha Sterling plays the thug's drug-addicted girlfriend.

Directed by Don Siegel, "Coogan's Bluff" (1968) is a crime drama/thriller with bits of droll amusement (e.g. New Yorkers constantly making references to Texas, Wyatt, the O. K. Corral and the like). It inspired the TV series McCloud, which aired from 1970-1977; and also was the prototype for Siegel & Eastwood's "Dirty Harry" (1971). The two teamed-up for three other films: "Two Mules for Sister Sara" (1970), "The Beguiled" (1971) and "Escape from Alcatraz" (1977).

This was the blueprint for Clint's post-Leone cop character, which dominated crime cinema for the next 25-30 years (and arguably longer), including winners like "Thunderbolt and Lightfoot" (1974) and "The Gauntlet" (1977). "Coogan's Bluff" may not be as compelling as some of these later movies, and it's certainly dated by comparison (an interesting period piece to view mid-60's Manhattan), but it is entertaining despite the unpalatable depictions of the seedy side of Gotham.

Speaking of the sordid elements, this was 'cutting edge' at the time and nigh shocking to those not living in the Big City. Eastwood's character, Coogan, will do whatever it takes to bring his man in, even something immoral with a 17 year-old teenager. While he's confident and has several admirable traits, there's also a darker, unpredictable edge.

There's been some confusion about the eponymous bluff. Although the movie mentions the landmark promontory in upper Manhattan in a deleted scene, it literally refers to Coogan's bluffing his way into the hospital ward to apprehend his prisoner and get out of town, which sets up the events of the rest of the picture. If there's any doubt the lieutenant detective (Cobb) plainly references his bluff.

In addition to Susan Clark and Tisha Sterling, the female cast includes Melodie Johnson (Millie in the first act) and Meg Myles (Big Red).

The film is trim at 1 hour, 33 minutes, and was shot in the Mojave Desert, Manhattan and Universal Studios.

GRADE: B.

What a Waste

[ashew · 3/10 · 23 May 2006]

Considering the talent involved, there is no excuse for a movie this bad. Great director, but did nothing worth talking about on this movie. Lalo doing the music, yet nothing memorable. Clint as a lecherous, slimy, rule-breaking deputy sheriff was PAINFUL to watch. Susan Clark has zero sex appeal and is given the most inane role to work with. I guess the bulk of the problem, however, lies with the script. The story is boring and pointless, the attempts at humor are beyond lame (good actors might have been able to make them work, but this cast fails miserably), and the majority of the characters are one-dimensional cardboard cutouts. Dreadful movie. The one bright, shining aspect of the movie, though, has got to be veteran screen legend, Lee J. Cobb. What a pleasure he is in this movie. Pay attention to the lines he has to deliver, then pay close attention to the WAY he delivers them. What sets mediocre actors apart from the great ones has much to do with interpretation of the lines. Mr. Cobb's line readings are the only interesting thing about this movie. His performance alone is the sole reason I give this movie a 3 rating. There are far superior Eastwood movies, so I would strongly suggest not wasting valuable time on this garbage. But, if it is on TV for free, then enjoy the sparkling bits of screen time Mr. Cobb provides.

Great Fun! and a whole lot more.

[muswellmovies · 8/10 · 8 July 2010]

It would be easy to dismiss this movie as lightweight entertainment however this is a much more interesting film if for no other reason than it is the first pairing of Siegel and Eastwood one of the most interesting partnerships in cinema that between 1968 and 1971 produced four good movies and at least one classic, "Dirty Harry". In this film Clint forged a bridge between his cowboy persona and the contemporary characters that he went on to play. While it was released to theatres the frame compositions look better in 4;3 TV ratio suggesting that like another Siegel film, "The Killers" this was produced with TV in mind and released to cinemas when the quality of the piece became apparent. I think this might explain why it has taken so long for a 1.85 transfer to be released and why the quality of the DVD is so poor, full frame prints look fine. Also the use of what looks like pre-standing sets gives it a low budget TV feel. With "Play Misty for me" Clint became a director and Siegel appeared as an actor thus the partnership was ended, the pupil became the master. Clints style as a director owes much to Siegel and he still has the economy which was a hallmark of Siegels work. Another partnership that began in this film was with actor Albert Popwell who went on to appear with Clint in the first four Dirty Harry movies,portraying a different role in each film. So as an Eastwood or a Siegel fan this is a must see pivotal movie and contains much of their trade mark craft even on a low budget. Don Stroud is as ever a bonus as is Susan Clark.

Shades Of Dirty Harry as Eastwood Plays A Cop For The First Time

[slightlymad22 · 6/10 · 8 March 2017]

Coogans Bluff (1968)

Plot In A Paragraph: Coogan (Eastwood) an Arizona deputy, goes to New York City to escort a fugitive back into custody.

Before Hang Em High had been released, Eastwood had set to work on this movie, a project which saw him reunite with Universal Studios after an offer of $1 million, more than doubling his previous salary.

The thing I like most about this movie was it's tag line "Clint Eastwood gives New York 24 hours to get out of town"

Outside of saying it's the first time Clint worked with Don Siegel, there is not much to say here, it's a pretty generic fish out of water cop movie. We do get a decent motorbike chase at the end, with Clint visibly doing his own stunts. His character seemed a bit like James Bond early on, in that he handcuffs a prisoner to a porch so he can go and have sex with a woman. Once again we get early shades of Dirty Harry in Clint's character, as Coogan does not have much respect for his superiors or the rules and prefers to go it alone. Future Dirty Harry actor Albert Popwell has a small role here too.

Coogan's Bluff continued the trend of each Eastwood movie grossing less than the last, with a $3 million domestic gross.

Snore.

[Cobbler · 4/10 · 24 April 2001]

I had high hopes for this flick, seeing how Don Siegel directed three of my all-time faves (...Body Snatchers, Charley Varrick, and Dirty Harry.) Coogan's Bluff turned out to be a real disapointment, with a mediocre, lazy script (the "fish out of water" jokes grew lame very quickly), a washed-out, ugly look, and a really unconvincing romance (Clint mixes it up with "Webster" mom Susan Clark.) The awesome motorcycle chase at the end of the flick around the Cloisters did little to redeem the film. 4/10. (P.S. I'm not a big fan of hippies, either.)