COOGAN'S BLUFF

Being an outsider in an unknown location is both a scary and exciting thing to do. Well, on the one hand, the saying, 'Ignorance is bliss', does spring to mind. On the other hand, 'Don't do anything I wouldn't do' does feel more appropriate somehow. Now this concept is illustrated perfectly in the following 93-minute film released in 1968. It was directed by Don Siegel and stars Clint Eastwood, Don Stroud, and Lee J. Cobb.


Coogan's Bluff


THE STORY:
Walt Coogan (Clint Eastwood), a deputy sheriff from Arizona, is sent to New York City to extradite the convicted killer, James Ringerman (Don Stroud), back into his state's custody. But do you think this simple task is easy for him to accomplish? No, I am afraid not.

To begin with, Coogan is delayed when Detective Lieutenant McElroy (Lee J. Cobb) notifies him that Ringerman is currently at Bellevue Hospital, and due to substance abuse, cannot be moved until the doctors say he’s fit enough to travel. Therefore, Coogan bides his time in New York by instigating a somewhat flirtatious encounter with the probation officer, Julie Roth (Susan Clark), before becoming so frustrated that he then decides to take matters into his own hands.

However, Coogan is unable to properly get a hold of Ringeman, only taking him as far as the airport. Regrettably, it is at this location that Ringerman’s aide, Pushie (David Doyle), knocks Coogan unconscious, and they both manage to get away scot-free.

Undeterred by this, Coogan tries to find out where Ringerman is staying by confronting Ringerman's mother (Betty Field), who implies he is with his hippy girlfriend, Linny (Tisha Sterling).

But this piece of information comes to no avail, as the NYPD is pissed off with Coogan for 'messing things up', and Julie is annoyed with him as Coogan obtains Linny's address rather shrewdly from her home files.

Then again, I suppose that is why what next transpires is a real rooting, tooting set of circumstances. As sex is implied - crooks try to hide - Coogan has a plan - and the cops get their man.

Yeeee-Hawwww-Babbbbbieeee!

THE REVIEW:
'Coogns Bluff' is one of those classic pieces of late 1960’s cinema that has it all: Clint Eastwood, cops, robbers, hippies, violence, implied sex, and a rather scary-looking mother. In many ways, I like to think of this film as a ‘transitional vehicle’ for Clint, as it cinematically plucked him out of the western genre that he frequented back in the mid-sixties, before it plonked him down firmly in the modern world (Well, modern of the 1960’s).

With the benefit of hindsight, it's as though Coogan was a blueprint for Clint’s next ‘cop project’ – Dirty Harry – since it allowed him to feel his way within this 'new' crime-ridden genre. This was also Clint's first time working with the director of his next ‘cop project’, Don Sigel, whom he continued to work with from that moment onwards, such as in the film, 'Escape From Alcatraz'.

Personally speaking, I feel that Don's lean direction aids this film, as his simplistic and artistic choices enhance its rather simplistic linear storyline. Well, with all due respect, ‘Coogan's Bluff’ is a straightforward story presented in a straightforward fashion, and for me, that is what makes it what it is - class cinema through and through.

There are no special effects or elaborate plot twists. All in all, this is a simple hunter versus hunted scenario, with a little bit of added 60s style and attitude thrown in for good measure. Plus, for those of you who like juxtaposing styles, it does present a nice perspective on the 'hippy' versus 'rustic' versus 'urban' culture. Well, Clint is the 'rustic' lawman who goes to the 'urban' city to get his hands on a 'hippy' felon!

Boy-oh-boy, that is something that I did not think I would write today! That said, I did think that I would want to insert the following video clip for your viewing pleasure...

Great, isn't it? As it illustrates, more or less, what I mean by the juxtaposition of styles, as well as the way that the film has a very simplistic nature to it.

Class film. Always worth a watch for the nostalgia alone.

THE RATING: B+