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I noticed on the website just now that there are photos and stills of this scene as well,so they definitely filmed it
These are possibly part of the scene I think :
Also I have found a still from this deleted scene,so it also must have been filmed :
The Clothing Store Robbery
Before arriving at the scene of the Ricca murder, Harry and Early are driving around the city. As Early talks, Harry notices a group of teens carrying a large bundle of clothes that appear to be brand-new. They approach the group, but are not greeted very warmly. As Early tries to question the suspects, Harry pulls one aside into an alley. When Harry returns with the suspect, he is much more willing to admit the clothes are stolen.
Here's some 16mm footage that was found after 37 years in a can with old production shorts from Magnum Force. It has no sound...
The full version is below with "Three salty looking dudes"...
"It's a "Rev. Final" draft dated 11/17/70, with "Frank Sinatra" penciled in as Harry and "James Caan" as "Travis" (the killer). It's safe to say that it's virtually unrecognizable as the Dirty Harry we know. It has a few elements in common with it: a sniper loose in a big city, a jumper scene, a rooftop shootout, a scene where Harry is run from phone to phone, the sniper getting arrested and released because of inadmissible evidence, Harry shadowing the sniper, who gets himself beaten up and blames Harry, and an ending with the sniper dead and Harry alive. Even in these parts, most of the details are entirely different from what we have in Siegel's film ... and not much else is even remotely similar. I suspect most of it stems from the fevered brain of Milius (incredible ballistic minutiae, beginning with an opening scene that has Harry lecturing a class of police cadets on "stopping power," demonstrating by firing various guns at a row of watermelons). One very striking difference is the identity of the killer's victims ... they aren't innocent people, like the young women and the boy in Dirty Harry, but powerful criminals, the kind the police can't touch, as in Magnum Force. It seems that the seeds of what would eventually become the sequel to Dirty Harry were sown here.
Appended to this script, in the copy I have, is an outline captioned "FINK SCRIPT" and this (confirming what Siegel related about the various versions) is extremely close to the way the final script developed, except that the ending takes place at the airport, where the killer, Harry and Chico shoot it out after the killer has killed one of the police snipers stationed there and "[shot] down a helicopter."
As to the ending of the Milius script, it takes place in a slaughterhouse, where the killer is employed, and ends not with gunplay (Travis disarmed Harry and eventually threw away his own gun), but with Harry and Travis dueling on a catwalk, Harry wielding a knife and Travis a 2 by 4. Harry "stabs [Travis] in the solar plexis" and "he topples over the railing and falls forty feet down the sluice onto a pile of bones," while Harry, who "is seriously hurt but, it should be clear, will not die," "topples off the catwalk" into a pen of sheep:After a moment, he collects himself and sits down in a feed trough, overcome by a new surge of exhaustion. The sheep surround him."
So, it's fair to say that had Sinatra made Dirty Harry, it would have been an entirely different movie. Thankfully Eastwood and Don Siegel came on board and turned it into the monster hit that we all know and love today.
Aaah fair play,i wasn't totally sure about the bearded cop scene,glad you cleared that up.
I still don't see Sinatra or Mitchum as Harry,especially with the very physical script above against a young James Caan.
Interesting info though @bondsum ,thanks again !
(I cant see the footage you posted on this stupid work PC,but I will have a look at home tonight .)
Funnily enough, I can see Sinatra playing the tough guy cop, as we'd already glimpsed something similar in Tony Rome (1967), The Detective (1968) and Lady in Cement (1968). Even casting Robert Mitchum is probably the nearest thing to not having Eastwood in the role. Of course, I don't believe that the movie would have been the huge hit it was if either of these two actors had been cast in place of Eastwood.
If you haven't seen either Tony Rome movies, there worth seeking out. His best is probably The Detective, written by the same author who wrote Die Hard...
But I will keep a sharper eye open now.
Sounds like a perfect Clint film to me,and I like Bradley Cooper too,so this will be a win win !!
The real full-story can be found here if you're interested...
https://nytimes.com/2014/06/15/magazine/the-sinaloa-cartels-90-year-old-drug-mule.html?mtrref=www.google.com&gwh=D6219CF3885C7F9E13BF144EACAAC894&gwt=pay
Can forgive that score, as the film itself is quite entertaining (as is the first Tony Rome film…Tony Rome). Watched both of them last year, and preferred Lady in Cement, actually.
- This must've been a rather edgy project for Clint to have taken on. It paid off very well, though. I like how you think you're gonna get a straightforward detective story at first, and then you find out the hero and the killer frequent the same places and share similar habits. Block's character and the reasons that drew him into that world in the first place are neither over nor understated in the film. They're developed in just the right way, and thematically, there's just enough to latch on to, as a viewer. "There's a darkness inside all of us. Some act it out. Some try to control it. Most of us walk a tightrope between the two." That line sums it all up, of course. The contrast between the seedy underworld and Block's pleasant family life is a good representation of that idea.
- I loved the camera work and the look of the film. Those numerous handheld tracking shots, combined with the moody color palette and lighting, were highly immersive. The way the shots were framed was very satisfying. A moment that stuck in my mind is when the first victim is found, and IIRC, there are about two or three shots which follow the same pattern: Block, or another police officer, is standing in front of the camera, facing away from it, and then moves away, revealing the body of the dead woman lying on the bed. Another great shot was when Clint finds the tie tied to the statue, and then touches the tie he's wearing. He is in the foreground of the shot, to the right, with the two cops in the background, to the left. There are probably several other examples of good cinematography but I'd have to see the film again to remember them.
- The editing is terrific. Economical and stylish. Each scene has plenty of room to breathe in the beginning and the middle, and then, at the end, it makes its main point and gets out of the way as soon as possible. I liked that brief first glimpse of the killer wearing the mask in the tub, as well as that cut from Block about to answer the phone to his approaching the crime scene of the latest victim. Another great little moment was when one of the victim's roommates screams while facing the camera, and the film cuts to Block, not because he was there with her at the same time, but because we have skipped ahead in time and he's checking the crime scene. Nice way of visually establishing the psychological connection between Block and the killer.
- Good location work, and I like how the city doesn't feel anonymous.
- Good score, as well. One theme that stuck with me was the one that plays when Block goes home after his daughter's attack, and starts tearing the place apart in a fit of rage. It features a prominent string section. I see the film didn't get a proper soundtrack release, though, so it's likely unavailable.
- Alison Eastwood is pretty great in her role. Very natural. Runs in the family?
- So is Geneviève Bujold.
- Those psychological scenes --the dream, the montage in the brewery-- are very stylish. The latter one is maybe a tad too much but I appreciated how it conveys Block's mental state in a more subjective way.
- Using clowns for suspense. It never gets old.
- Pretty gruesome death, that of the babysitter. But it's just enough to shock the viewer and raise the stakes of the story. Any more gore than that and it would've been too much.
- I loved that part in which the daughters are hiding in the closet and you can only hear what's happening out there. Dog barking, punch, gunfire. Superb way of making you share their fear and uncertainty.
- I like seeing Clint Eastwood run. In the chase scenes in his movies, somehow, you feel the physical exertion and the feet hitting the pavement more viscerally than in other films. Those smooth transitions between shots of Block and the killer running remind me of the foot chase in Sudden Impact, a year before.
- Nice, minimalistic ending. Beryl tries to touch Block's face once again, and this time, unlike before, he welcomes it. The demons have been vanquished. We're done, roll credits.
- In the cast list are such characters as Surtees, Carfagno and Valdes, all in reference to the film's crew members.
I saw Tightrope when it first came out at the theatres @mattjoes. It's one that I haven't revisited since, but I do remember it being quite good but not up to the standards I expected from the great man himself. Funnily enough I gave his next movie City Heat a skip at the theatres but saw both Pale Rider and Heartbreak Ridge in the theatre upon release.
That wouldn't surprise me,with it being just a year after Sudden Impact i'm sure people would be thinking its another Harry film.
I have! It came in a DVD-set with the two Rome films. The Detective was interesting too, although I preferred the lighter tone of TR/Lady in Cement. I'm going to rewatch all three during the summer. :-)
I’m jealous as hell x did u get an autograph or anything ?
Got any good stories @talos7?
That’s true, I keep forgetting that extras have to be a professional as the main cast.
You had small talk wz Clint ?!
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In the seventies and eighties, when he wasn't directing them himself, Eastwood's films were often helmed by people like James Fargo and Buddy Van Horn, who had been second unit directors or stunt coordinators in his previous films. People he was acquainted and comfortable with. Seems he usually wanted to be the one calling the shots in his movies. Be the auteur, whether directing or not.
Some good screen captures, I bought the film on Bluray a few months ago. Still need to watch Tightrope and the other Dirty Harry films, though the transfer of Tightrope does look impressive.