Strip clubs are seen three times in the movie, twice from outside and once inside as a very small part of the story (no dialogue). The outside of the clubs have sexually worded advertisements such as “Nude College Co-Eds.” There are also posters of nude, but covered women on the outside.
People discuss how to distinguish rape. This is brief but graphic.
Breasts are seen through a window briefly two or three times. It is quick, but easy to notice as it is nearly the center of the screen. Nudity begins at minute marker 00:27:10 and is mixed in with dialogue.
Breasts and pubic regions are seen through a window. This is brief but easy to notice. There is also implied homosexuality in this scene as the nude woman is joined in her apartment by two other women (fully clothed) previously seen making out in the street on their way to her apartment. This nudity begins around minute marker 00:38:00.
A man says that a young girl has nice breasts using vulgar/explicit language.
A naked woman is shown on all fours on a bed before the scene transitions to the inside of a strip club. Inside the strip club, at least two naked women are shown dancing. Breasts and buttocks can be seen. This scene begins at approximate minute marker of 1:15:00.

A young woman is being pulled out of a well. We see her breasts and her pubic region. We later learn that she was raped. Occurs at minute 73


Film review:Translated by www.rabudo-ru.com


1971. Farewell to the radical 1960s, American society is once again on the verge of disintegration. The turbulent social movements and radical thoughts have disappeared. In the air, among the values retained by the protest movements of youth subculture, homosexuality, women and blacks, the conservatism led by Nixon has risen again. A glorious era has passed, followed by the worst and craziest era. Martin Luther King, Kennedy and Malcolm X were assassinated one after another, and people began to doubt whether the law and government were useful; When the police began to ruthlessly suppress those students and homosexuals, people began to doubt the justice of the law and the government and whether their power was uncontrollable.

In California, where radical ideas are entrenched, a new era seems to be coming. Those young film enthusiasts baptized by the new wave of Europe finally broke out of their cocoons, western films, black films and other types of films finally disappeared, color wide screen, live shooting and methodological acting skills gradually became the mainstream of Hollywood, and the era called “New Hollywood” by the field of film history finally came. This worst and craziest era needs a new type carrier and type characters to bear all the pains and madness of this era; The crazy sand territory of cowboys has been swallowed up by excessive civilization. Criminals hide in the underground world of the city, which is only one aspect of the story; In the context of the sharp rise of urban crime rate, the incompetent police figure who used to be on the edge of the story has finally become the focus of the times. And “Dirty Harry” is one of the best.

The birth of a new policeman

“Do you know why they call me Dirty Harry? Because every dirty job falls on me.” Harry is the most notorious policeman in San Francisco. At the beginning of the film, he was punished by his superiors for pre emptively shooting a rapist. Don’t think that the city’s high sounding judicial and government institutions don’t need him: This is a city stained by crime and perverted sex. Robbery is like a regular meal. You can regularly patronize the shops and banks on both sides of the street and peep at any house, and you can find the infinite spread of desire behind the curtains. Where the law cannot penetrate, violence seems to be the only way to solve things; Although his colleagues in the police station are so hostile to Harry, Harry is still a despicable tool to keep their hands clean.

Harry, starring Clint Eastwood, is the most famous figure created by the Hollywood conservative. In terms of the character pedigree of film history, the film directed by Don Siegel inherits the western film starring Eastwood and directed by Sergio Leone. In that series of films, Eastwood played a silent and moral cowboy; When the western film gradually lost its market, don Siegel cleverly transplanted this character into the modern urban cement jungle. As a result, the desert town has become an urban high-rise building, the alley duel has evolved into a street fight, cowboys no longer ride horses, and cars lead them through the corners of the city. Even the end of the film pays tribute to the famous western film high noon: Gary Cooper threw his badge into the garbage because he was betrayed by the villagers, while Eastwood and don Siegel obviously went further, The hypocritical judicial justice and cynical government were left behind.

Director Siegel once considered John Wayne, Frank Sinatra or Marlon Brando to play this role, but obviously, Clint Eastwood is the best choice. Cruel without losing cool, old without losing elegance. Every wrinkle on Eastwood’s face seems to tell the loneliness and anger of the lone ranger. Wearing a greyne suit and holding a 44 magnum pistol, Harry has become the idol of a whole generation. It not only triggered four sequels, but also aroused countless imitators, which laid the narrative style and character image of the new police film genre.

The most classic scene in the film takes place on the street of Pine Street in San Francisco. At that time, Harry was eating there and the bank across the street was robbed. When the police couldn’t arrive in time, Harry had to act alone again; Violence has once again become the only solution to crisis events. After the fire fighting, the traffic was blocked, and the frightened pedestrians fled one after another. The alarm bell sounded like sirens, and the hit fire prevention devices watered the hot streets of San Francisco like fountains. In a long shot, Harry walks slowly towards the only surviving criminal. In the subjective lens of the criminal, Harry’s 44 magnum is magnified like a fetish, and Harry says his classic lines:

“I know what you’re thinking. ‘did this man shoot six or five?’ to be honest, I forgot to count because I was so excited. But what I’m holding is a 44mm revolver, the most powerful pistol in the world. It can blow your head. You should ask yourself, ‘am I lucky today?’ what do you think, residue?”

In this famous scene, the sense of realism created by real shooting and long lens seems to turn into a surrealist totem in an instant. In the subjective lens, Harry’s words slowly and gnashing his teeth make the lens have a suffocating sense of terror, and 44 magnum is no longer just a pistol, but a symbol of Harry’s angry erection.

Zodiac scorpion

A ferocious and violent detective needs to match a more ferocious and violent killer to build a story with enough impact and subversion; The construction of one myth needs the support of another myth. When don Siegel aimed 44 magnum at the camera, he magnified another sniper rifle to virtual focus at the beginning of the film. The killer was standing on the famous high-rise Bank of America building in San Francisco, and the sight swept across the whole picture of the city he looked down on. It was almost an ability to take or take personal life, This is the serial killer “scorpion” in this film. His prototype is the zodiac killer who has caused a great shadow in the hearts of Americans. In the late 1960s, the zodiac killers became popular in the San Francisco Bay area. The mysteries they committed became myths that could not be deconstructed and threatened all the core values of the United States.

Like Harry, the zodiac killer also has many image legends. But Andy Robinson’s interpretation of Dirty Harry is the most crazy and subversive one. Its authenticity makes Robinson himself receive harassing calls and letters after the release of this film. In the new film “the zodiac killer” directed by David Finch, there is also a lens showing “Dirty Harry”, which pays tribute to the classic characters created by Robinson from another side.

Scorpion and Harry are almost complementary characters. These are two lonely madmen who are equally bloodthirsty and use all means to achieve their goals. However, compared with the cold-blooded Harry created by Eastwood, Robinson’s “scorpion” is always on the edge of madness. However, the most ironic thing is that although the film does not explain the life experience of “scorpion”, judging from his long flowing hair and the word “peace” on his exaggerated belt buckle, it is obvious that this character was once a leftist radical in the 1960s; Perhaps he was once a “flower boy” who loved peace and opposed war, but now he has become a serial killer by all means. The most terrible thing about this film is that it does not try to explain why “scorpion” wants to kill, kidnap and torture people. This is a person with no psychological depth. His terrorist acts seem to come entirely from an instinctive pleasure of violence, rather than some dark past that often appears in stale thrillers. But the most conservative point of this film also lies in this. The sudden change of the spirit of the times makes it so easy for people to imagine this character as a caricature of all evils.

If Harry and scorpion are a pair of mirror images against each other, what they reflect together is the incompetence of law in this era and the ultimate loss of common values. When the unenforceability of the law makes Harry timid and even can only replace justice with personal violence, “scorpion” is a full opportunist. He is not only a scorner and destroyer of the law, but also a fence rider who is good at protecting all his rights with “neutral” law. No matter how well known his evil is and how heinous he is, he can always find his living space in the gap of the law, and from time to time tit for tat, biting Harry hard. The famous scene of gymnasium torture in the film is a comprehensive presentation of the film’s moral ambiguity. When the extremely angry Harry can’t suppress the impulse to kill the “scorpion” and inflict physical torture on him, the always powerful “scorpion” roars that he needs a lawyer, and Harry has no power and no evidence to carry out his “lynching”. Therefore, when Dirty Harry came out in the early 1970s, although almost all elite film critics were condemning Harry’s “fascism”, ordinary people and even the police were cheering Harry. The divergence of American social values is inadvertently reflected through this film.

Style milestone

The birth of a new type of film depends not only on one or two attractive and interpretive characters, but also on a new style and atmosphere. The greatest contribution of Dirty Harry is that it is a milestone in the transition of Hollywood crime films from studio setting to live shooting. What’s more valuable is that although Dirty Harry is as fond of capturing the night scene of the city as the previous crime films, and although Eastwood’s long montage running on the streets of San Francisco at night is the most praised paragraph in the film, it proves that the daily environment of the city during the day can also create excellent Even a psychedelic picture of crime. This tendency loomed in the classic black film “killer” remake by director don Siegel. When classic black film directors such as Robert Siodmak are used to creating a fatalistic feeling with high contrast black-and-white photography and expressionistic scene design, the new generation of directors of Don Siegel tend to use more planar color photography. When the black movie emphasizes the separation of the city night and day, and tells the story of the worm infestation in the neon night, Don Siegel’s movies are more modern: crime is around us, and our seemingly calm life will always be broken by a sudden * violent incident in a moment. In the long lens of Don Siegel, this stagnation of daily life has even become a poetic reflection.

It is worth mentioning that Dirty Harry is not so much a personal work of Don Siegel as the crystallization of his cooperation with Eastwood. Although Eastwood’s directorial debut is recognized as “fog chasing souls” released in the same year as “Dirty Harry”, according to Eastwood himself, he first directed the microphone in “Dirty Harry”. At that time, don Siegel was unable to participate in the shooting because of a cold, so Eastwood became a director. The scene of rescuing the suicides in high-rise buildings in the film came from him. The play also shows Eastwood’s excellent directing talent. He must shoot through different stands in the narrow space of high-rise buildings, and several stands need to be hung in the air with cranes. He not only directs the actors how to grasp the feeling of life and death, but also presents neon lights symbolizing sin and desire in the distance of the lens. And all this, Eastwood has done very well.

Director don Siegel once discussed with Eastwood whether to shoot what is now regarded as a classic stadium duel. Because according to the movie viewing standard at that time, this is a scene of extreme violence and may cause great harm to the star image. But Eastwood flatly refused. Siegel sincerely praised Eastwood as “the most fascinated person with anti heroes” he had ever seen. It is the cooperation between the two geniuses that makes us see the scene that still looks very shocking today: in the open stadium, the fierce gas lamp shines on the lonely Harry and “scorpion”, and the heartbreaking roar of “scorpion” causes an empty echo in the stadium; Then, the camera slowly pulls up and away until the whole stadium is closed in the eyes. Harry and “scorpion” become the only two small points in this space. At this time, it seems that all the violence pouring out is diluted by a compassionate God’s perspective, and all human struggles and cruelty have been strangely sublimated in this spectacle lens.

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