The Enforcer (1976/I)

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)
Dirty Harry III - Der Unerbittliche (Austria) (West Germany) [de]
L'inspecteur ne renonce jamais (Canada: French title) (France) [fr]
Cielo di piombo ispettore Callaghan (Italy) [it]
Den hårda jakten (Finland: Swedish title) [sv]
Dirty Harry renser ud (Denmark) [da]
Enforcer - hårding (Sweden) [sv]
Hårdingen (Sweden) [sv]
Harry - O Implacável (Portugal) [pt]
Harry l'executor (Spain: Catalan title) [ca]
Harry, el ejecutor (Spain) [es]
Murskaaja (Finland) [fi]
O epitheoritis Callahan xanaktypa (Greece) [el]
Sem Medo da Morte (Brazil) [pt]
Sin miedo a la muerte (Argentina) (cable TV title) [es]

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:

The two militant organizations depicted in the film - the People's Revolutionary Strike Force and Uhuru - were modeled after two real-life militant groups, the Symbionese Liberation Army (which kidnapped Patricia Hearst) and the Black Panther Party.

Goofs:

Revealing mistakes: When Callahan aims the water cannon at the baddie in the tower, the water cannon just about gets to the left hand side of the tower and the baddie dives off the right hand side, screaming.

Quotes:

Capt McKay: $14,379.
Harry Callahan: How can that be?
Capt McKay: You want an itemized account? You took out two front doors, one front window, 12 feet of counter. Plus damages to the stock, plus one city vehicle totaled. Not to mention three hostages in the hospital, all of whom will probably sue the city.
Harry Callahan: For what?
Capt McKay: Excessive use of force. For your information, Callahan, the minority community has just about had it with this kind of police work.
Harry Callahan: By the "minority community", I suppose you're talking about the hoods.

Movie Connections:

Featured in Dirty Harry: The Original (2001) (V)

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.