Coogan's Bluff Movie
Storyline
TAGLINES
Before "Dirty Harry"... there was Coogan.
Clint Eastwood gives New York 24 hours... to get out of town!
Coogan's an Arizona deputy sheriff, who doesn't get along with his boss and doesn't exactly do things by the book, and also a little arrogant. Fed up with his rugged individualness, his boss sends him to New York to get a man who's waiting to extradited. Upon arriving everybody thinks he's just another bumpkin. When the New York Police Lieutenant tells him that his prisoner is still not ready to be transported, Coogan tries to be patient. But when he decides that he can't wait anymore, he tricks one of the attendants into releasing the prisoner and at the airport someone springs him. Coogan's boss is pleased that he has screwed up so bad, and orders him to return but Coogan feeling responsible or his ego has been bruised stays and tries to find despite being warn by the Lieutenant that he has no authority here.
| Clint Eastwood | Deputy Sheriff Walt Coogan |
| Lee J. Cobb | Det. Lt. McElroy, NYPD |
| Susan Clark | Julie Roth, Probation Officer |
| Tisha Sterling | Linny Raven, Ringerman's Girlfriend |
| Don Stroud | James Ringerman |
| Betty Field | Ellen Ringerman |
| Tom Tully | Sheriff McCrea, Piute County |
| Melodie Johnson | Millie, Coogan's Girlfriend |
| James Edwards | Sgt. Wallace, Stakeout Cop |
| Rudy Diaz | Running Bear |
| David Doyle | Pushie, Tavern Owner |
| Louis Zorich | Taxi Driver |
| Meg Myles | Big Red |
| Marjorie Bennett | Mrs. Fowler, Little Old Lady |
| Seymour Cassel | Joe, Young Hood |
| Don Siegel |
6.50 out of 10 (2240 votes)
Visitor Reviews
Good start to a celebrated collaboration
posted on 02 May 2009COOGAN'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.
What a Waste
posted on 20 Jan 2009Considering 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.
Stranger in a Stranger Land
posted on 25 Dec 2008This is a "fish out of water" story. Clint Eastwood plays a deputy sheriff from rural Arizona. He is a westerner in the sense of the western movies. He is strong, confident about women and does not tolerate obstruction in any form. He has also hacked off his boss so he gets sent to New York City to extradite a prisoner. That's bad enough but this is NYC of the 60s with all of the additional strangeness brought on by that decade.
While there, he finds that picking up the prisoner is not as easy as it should be. He is bogged down by administrative procedures seeming designed to keep anyone from getting anything done. Worse, it keeps him in NYC waiting. He decides to take matters into his own hands and bluffs his way into custody of the prisoner. He is about to head back to Arizona when he gets bushwhacked and the prisoner escapes. Now he has to deal with a hostile NYCPD and track down a prisoner in very unfamiliar surroundings while the local police threaten to arrest him if he interferes any more.
This is a good but dated story. It has action but not as much as most modern movies. The chase scene seems rather tame. Still, it is about the good guy breaking the rules to bring in the bad guy. Dirty Harry would approve
Coogan's fluff.
posted on 24 Nov 2008Before DIRTY HARRY there was Walt Coogan, the boy from Arizona with an attitude problem against the City authorities. Whereas Harry did it the dirty way, Coogan does it the cowboy way. Not much difference in approach but at least Harry had more conviction and style to his madness. After a while Coogan gets on your nerves with his sexist and male-chauvinistic look on life. Apart from that, the script lacked any real conviction.
The Arizonan in Manhattan
posted on 15 Nov 2008As 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.
For Eastwood Fans Only
posted on 09 Nov 2008Eastwood fans will want to see this movie as it marks Clint's transition from a purely Western star (i.e. TV's Rawhide and the no-name spaghetti westerns) to a star able to carry other action roles such as soldiers (Kelley's Heroes, Where Eagles Dare) and, especially, cops (Dirty Harry). And as a transition from star of the old West to cop, Coogan's Bluff does it beautifully: it starts as a Western with a wide panorama shot of the Arizona desert and ends with Clint taking off from the Pan Am building in NYC on a helicopter. Can't get more urban than that. Coogan's Bluff is also Eastwood's first pairing with Don Siegal so there are reasons for Eastwood fans to watch just to fill in the man's history. Plus, if you're a New Yorker of a certain age, you'll enjoy the NYC location shots. BUT . . . as a movie this doesn't cut it principally because none of the characters here is worth caring about. Most importantly, Deputy Sheriff Coogan is no Harry Callaghan. Dirty Harry was a tough cop but he had a moral code and no patience with those who didn't measure up. Coogan, on the other hand, is wholly self-centered. His pursuit of Ringerman is principally motivated by his desire to get the assignment over with and, after he loses the prisoner, to redeem his self-image. He uses (or abuses) every other character for his own purposes. He's no gentleman though I suspect Harry is. One thing for sure -- if Clint weren't in this film it would merit a rating of 2. As it is, even Clint's undeniable charm can't save his character and the story, for what it's worth, is implausible and at times silly. One minor point: how hard up for cash was Lee J. Cobb to play a stereotyped detective in this clunker?
Great early Eastwood!
posted on 26 Mar 2008POSSIBLE SPOILERS! While this is a period piece, that is one thing that makes it GREAT! It saves the 1968 New York hip scene on film!Great supporting cast, Lee; J. Cobb, Don Stroud, and Susan Clark is HAWT! Tisha Sterling, the hippie chick, is PERFECT! While this movie inspired the Dennis Weaver as "McCloud" on TV, I wonder if this movie inspired "Crocodile Dundee" as well?Great poolroom fight! And how do you like that crazy song in the dance club, "Pigeon-Toed Orange Peel"?At July, 2006, this is only rated 6.5 I think that some of the lower ratings may be due to the fact that it may offend some feminist sensibilities. And it is not particularly politically correct to chain an American Indian to a post while you go inside enjoy a lady.Hard to believe that this film is almost forty years old!
Arizona Lawman In The Big Bad Apple Early Eastwood Crime Thriller
posted on 19 Feb 2008Coogan is a country sheriff from Arizona sent to New York City to escort a bail-jumper back home. The suspect escapes however, and Coogan is forced to track him down in wildly unfamiliar territory, with the local cops breathing down his neck ...The first of Eastwood and Siegel's five films together (if you don't count Play Misty For Me) is a solid thriller, with an interesting fish-out-of-water premise, good characterisation and flashy action scenes. It's also the only film I can think of in quintessential California Man Eastwood's large filmography which takes place in New York, and the locations are all interesting, notably Fort Tryon Park in Upper Manhattan for the memorable chase finale on Triumph motorbikes. The cast are all good; Eastwood looks perfectly out of place as a modern cowboy with old-fashioned sensibilities in a hip'n'trendy urban jungle and isn't afraid to shock us, as in the scene where he beats up Sterling (who is two feet smaller than him, not to mention a girl). Clark - who's not that well known but was in a whole bunch of interesting seventies flicks - is the refreshingly normal centre of the film, and looks amazing with her dark brown hair and bright green eyes. And Cobb steals the show as the world-weary Lieutenant McElroy, somehow loud and prickly but also subtle and amusing at the same time. Like their subsequent masterpiece, Dirty Harry, this movie is also an engaging time-capsule of pothead days, particularly in the Pigeon-Toed Orange Peel nightclub happening sequence, which is aided by Lalo Schifrin's terrific jazzy score, his first of eight for Eastwood. This is perhaps a minor picture in Clint's excellent back catalogue, but it's well-made throughout and solid entertainment.
Solid Eastern-Western, if you will about Arizona lawman tracking escaped killer in New York
posted on 17 Feb 2008Leo K Jacob (i.e. Lee J. Cobb) plays
frustrated New York Det. who tries
to get Coogan (AZ lawman) to stay in
line and help him track fugative. Good
supporting role for Susan Clark (before
she married knucklehead Alex Karras).
Good performances all the way around.
Clint in the City
posted on 12 Jan 2008The second Don Siegel movie from 1968 about a cop in NYC hunting the killer who stole his gun. (Paging Dr. Freud.) This one has some of the same cast as Madigan, but it's more set-bound and has a T.V. movie feel. Not to mention the instantly dated hippie scenes. (Plus, it's hard to feel much menace when one of the principal heavies is played by David Doyle!) It's odd to think that Clint didn't always enjoy a solid reputation as an actor, because he's easily better than anyone else here.
And note the motorcycle chase through the Cloisters that foreshadows Black Rain.
Groovy baby!
posted on 13 Oct 2007Coogans Bluff, though widely forgotten when compared to the 'dollars' trilogy or the Dirty Harry movies, is one of Clint Eastwoods best projects and boasts what I feel is his best on-screen performance.Arizona Deputy Sheriff Coogan is dispatched to New York to extradite a New York Junkie to face trial for his Crimes in the West. As soon as he touches down atop of the Pan-Am building, he realises the alien environment he finds himself in and in stark contrast to the bleak and desolate Arizona desert in which we first meet him. Coogan on the other hand is just as alien to the native New Yorkers he encounters. He arrives at the district Police Station to pick up his fugitive and take him home, but His task is not as cut and dried as he had hoped when he meets bad tempered but good natured veteran Cop McElroy (Lee J Cobb) who tells Coogan that his prisoner James Ringerman (played menacingly by Don Stroud), has already taken a 'trip' of a different nature and is in the Prison Ward at Belview Hospital.Coogan's set back means that he has to stay in New York longer than he had planned (or hoped). but compensation takes the form of parole officer Julie Roth (Susan Clark). After Wining & Dining her, goes back to her place. His intended night of passion never gets off the ground as she is interrupted by a business call. After his first night in New York, Coogan is determined that it is to be his last and 'Bluffs' his way in to the Prison Ward at Belview in the hopes of engineering Ringerman's release into his custody. he not only encounters Ringerman but also his spaced out girlfriend Linny Raven. His impulsive ruse pays off, and he and his prisoner head off to the Pan-Am building and their awaiting Arizona bound flight. However, Raven has arranged a welcoming party for Coogan and after the 'oldest trick in the book' type of ambush, Coogan is lying unconscious on the airport floor, and Ringerman is once again at large.Ringerman now has the upper hand, knowing that Coogan's desert tracking skills are useless in the Concrete Jungle of 1968 New York but undeterred, Coogan sets about making his enquiries despite a stern warning not to interfere by McElroy. He is arrested for impersonating a police officer and McElroy takes the liberty of arranging Coogan's prompt and immediate return to Arizona. Coogan's plans remain unchanged and he will not leave New York alone. He resumes his relationship with Roth, and while she's out of the room takes a snoop at her parole files and finds the parole record of Raven. His nosiness reaps rewards, and his leg-work takes him to the physcodelic Pigeon Toed Orange Peel Club, where he once again encounters Raven. He ruthlessly seduces her in the hopes that his lovemaking will make her betray Ringermans whereabouts, but Raven is as manipulative as she is beautiful and she leads Coogan to a pool hall and yet another ambush. This time Coogan gives his attackers as good as he gets, yet still manages to get the ass whippin' of a lifetime. He escapes the pool hall just in time before McElroy and his squad break down the door. Coogan returns to Raven's Apartment only this time he persuades her by using 'less romantic' methods.Fearing for her life, she finally leads Coogan straight to Ringerman and the final confrontation.Eastwood's performance as the fish out of water cop is magnificent and is a great bridge between Clint the cowboy and Clint the modern day action hero as it is essentially an amalgamation of the two. The script calls for Clint to be ruthless, violent and menacing as all his previous roles had, but this movie showed a different side to Eastwood, hitherto unseen since his rise to stardom half a decade before. Coogans Bluff required Eastwood to be Romantic, and charming and witty, in fact the character of Coogan is blessed with a wry almost dead-pan dark sense of humour displayed in some of his classic one liners.Taxi Driver: that'll be $2.95 including the luggage. Coogan: Here's 3 dollars including the tip.or reprising this encounter with a hotel owner.Hotel Owner: That'll be £7 Coogan: The sign says 5 Hotel Owner: 7 without luggage (Coogan shows his briefcase) That ain't luggage. Coogan: There's a cab drive in this town that'll give you an argument.Siegel's Direction is as always impeccable and the fight at Pushy's Pool Hall, is one of the best choreographed action sequences ever put to film.Eastwood is also seen performing (some) of his own stunts as is evident during the motorcycle chase when you see his face in close-up. Lalo Schifrin, (a very busy man in 1968), gives us one of his best scores and his 'pidgeon toed orange peel' song epitomised the period perfectly.This film also gives us a good look at New York and to use a Clint Cliché, shows us the good, the bad and the darn right ugly of what the Big Apple has (or in many cases did) have to offer. and shows us New York when it was an evolving city, when the 50's and Early 60's style of Car design, clothing fashions and moral attitudes were slowly being replaced by their more basic and simple counterparts of the 70's.10 out of 10 if not for Clint's witty dialogue alone
Perfect Action Movie
posted on 28 Sep 2007From 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.
Not "Dirty Harry". This was the basis for "McCloud"
posted on 29 Aug 2007This was the basis for "McCloud", one of the staples of the NBC Sunday Night Mystery Movie. The TV shows comprising the Sunday Night Mystery Movie[1] included:McCloud Columbo McMillan & WifeBanacek's pilot aired during the timeslot of the SMM but was moved to Wednesday night, creating a three-hour slot of drama in Lucas Tanner (David Hartman), Banacek, and Petrocelli.Later, in an attempt to add some new chemistry, and something most people don't (and these aren't in the Epguides.com, largely because they didn't have long runs):Hec Ramsey The Snoop SistersThe Peacemakers, which was shown on USA Channel Summer Fall 2003, was similar to Hec Ramsey in the sense it was turn of the century, learning to use some of the new crime-fighting techniques; e.g., fingerprints. In The Peacemakers, however, it's an assistant promoting the new methods.[1] The opening had a camera shot in the dark, and as though the viewer was looking up from the ground - a man was walking closer with a flashlight slowly waving from side-to-side.
An Arizonan cop in New York
posted on 03 Jul 2007While 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.
The Man With No Name goes to the big city
posted on 19 Apr 2007The 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.
Fair entry for Eastwood.
posted on 04 Apr 2007Everyone who talks about COOGAN'S BLUFF likes to talk about Dan Siegel and the comparisons to MADIGAN. A young Eastwood straight out of the spaghetti westerns is a great bonus as well. COOGAN'S BLUFF is far from spectacular. Actually it's goofy. And unfortunately with age, it has become grainy as well. Nevertheless, the movie is enjoyable and has an excellent chase scene at the end.An Arizona deputy flies to New York to extradite a prisoner. All he gets are problems.COOGAN'S BLUFF is actually more about the east versus west and the city versus country. The fact that everyone calls the Arizona man a Texan is one small but good example. It adds to the humor but it also shows what Eastwood is good at for an actor. And although some parts are unnecessary, COOGAN'S BLUFF is still a fairly good movie, even if it is only watched in schools.
Not Dirty Harry, But Good
posted on 01 Jan 2007With less violence and the addition of a comical bent, "Coogan's Bluff" became the inspiration for the long running TV series "McCloud" starring Dennis Weaver. For director Don Siegal, it was, like the same year's "Madigan," another early examination of the maverick police officer that would reach its zenith with 1971's "Dirty Harry." For Eastwood, it's an interesting blend of the genre for which he was best known at the time--the western--and of the urban crime thrillers with which he would achieve superstardom. This one isn't as exciting as "Dirty Harry," and the fish out of water theme (ala "Mr. Deeds Goes to Town") helps to excuse some of the more unpleasant aspects of the character's law and order at any cost mentality, but "Coogan's Bluff" has an abundance of smart-a** humor to make it memorable. Eastwood is very effectively cast, and it is to his credit that he was willing to play such an unlikable and offensive SOB at this relatively early stage of his big-screen career. (Can you imagine Gregory Peck in this role?)
It took me by surprise!
posted on 01 Jul 2009Walt Coogan (Clint Eastwood) an Arizona deputy sheriff is sent to New York to collect a prisoner (Don Stroud). After learning that it might take a while before he can get his prisoner he decides to take it in own hands to bring him back, but while doing so he is jumped at the airport and the prisoner escapes. So now it's personal and he uses his western methods to recapture his man, but the city cops don't share his ways.Before they teamed up for the classic cop film "Dirty Harry" (1971) - Don Siegel directed Clint Eastwood in an earlier and under-appreciated cop drama "Coogen's Bluff". I came across this film only knowing that it starred Eastwood and that's about it. But to my surprise it had more to it than Eastwood's strong persona, but it was engaging and clever entertainment by director Don Siegel. What it generates is a violent and hard-hitting police story that has superb attention to detail and is particularly well crafted. There's so many things going for it that you may or may not notice all the small hints that the film possesses on the clash of two different cultures (city vs. western) and the protagonist being dragged into the wicked and dirty side of the hippie drug circuit. This is when he learns that he is out of his league and that he has to adapt to this city way off life to get his man, sometimes with dire consequences because he grows slowly attached to it. Add in some psychedelic overtones and a spaced out feel to evoke the carefree era. The whole setup is naturally staged and doesn't feel forced. Siegel seems to have a knack of creating a gritty mood, but also capturing the life of the unique surroundings, from the Arizona deserts (excellent opening sequence) to the harsh city life. This was helped by fluid camera-work with its high shots and smooth pans that are well staged. The location photography and dashing settings are two of the strong points of this production. Another is the rousing score that mixes some western tang into the equation. Throw in edgy and sharp dialogue, with also scathing humour and an abundance of Texas gags against our protagonist. Siegel's paces the film perfectly and generates tension in some well-designed action scenes, one being the bike chase scene through the park. Though, this film isn't overtly filled with just action and violence. It's an amusing watch with a set-up that has more to it! Eastwood gives an iconic cool-as-ice performance as the Texas, ah I mean Arizona deputy sheriff who adapts his hunting techniques for the big city and who's quick with a sharp reply. Lee J. Cobb is good as the arrogant Det. Lt. McElroy, NYPD who has no time for Coogan or his antics. Susan Clark plays Julie Roth a probation officer and possibly Coogan's love interest. A superb Don Stroud weaselly plays James Ringerman the criminal who Coogan's after and Tisha Sterling plays Ringerman's hippie girlfriend. There's also a small role by a feisty Betty Field as Mrs. Ellen Ringerman.Actually, it's hard to find one thing that I didn't actually like about the film. Highly recommended!