Harry el ejecutor

This is often considered to be the weakest of the Dirty Harry series, but it does still manage to deliver action and violence. Having just completed The Outlaw Josey Wales, Clint Eastwood had plans to direct The Enforcer himself, but instead gave James Fargo a chance in the director's chair. Fargo had worked as an assistant director on many of Clint's previous films, as well as on Steven Spielberg's Duel and The Sugarland Express. Fargo was blown away at the opportunity, but kind of hesitant to take on the job because the movie was quickly rushed into production.

Fargo's account of the story really pay off in this third entry of the franchise: an entertaining rooftop chase, a shootout at the famous Alcatraz prison, and more character development of Harry Callahan. This time, he is reluctantly teamed with an eager beaver police Inspector Kate Moore (Tyne Daly) to nab a gang of ruthless militants terrorizing the city. The characters really shine through, we see a final portrayal of Harry's comic-relief, but tough-as-nails former partner Frank DiGorgio (played by John Mitchum) and the smarmy, no-nonsense Captain McKay (Bradford Dillman), who Harry strongly dislikes. Harry Guardino also reprises his role as Lt. Bressler from the first film, but his character isn't given much to do than serve as yes-man for McKay and trading zingers with Harry from his office. The script actually adds a lot of humor which was mostly absent from the first two films, including a man who fakes a heart attack in a restaurant to get a free meal and ambulance ride and a random scene where Callahan stumbles upon a porno movie crew shooting a stag film inside an apartment.

All in all, this is still an entertaining sequel, even if it does play like a TV movie with some healthy doses of R-rated violence and (surprisingly full-frontal) nudity.

This movie continues the tradition of Clint Eastwood making great movies. The Enforcer is not the best of the Dirty Harry films, but it isn't the worst of them either. (The Dead Pool is). Don't get me wrong, they are all great flicks and I enjoy all of them but there is a best to worst order to these movies. The Enforcer is filled with Harry's dry humor and tough talking dialogue. 1976 San Francisco is filmed beautifully and provides a great background as in all the Dirty Harrys. The music is suitably funky. A bit dated, but funky. Tyne Daly does a good job as Harry's spunky new partner. Tyne Daly wasn't bad lookin' in 1976 either. I'm sure Tyne misses those days. Bottom Line: Must have this movie to complete the Dirty Harry collection. It's a good tough-cop movie on it's own but I suggest getting all these films. Get the box set on DVD.

It has moments, but compared to previous Harrys it is a little flabby and comedic in parts, it doesn't have the grit of the first two, acting is a bit forced and doesn't flow, kind of feels more like a TV movie, also the music didn't have the same dirty funk vibe of last.

So it sounds line a mess? Not at all, it's still a good watch and Eastlwood keeps it' special, without him it would have been a turkey & it simply doesn't command like the first two, but fans of the series still lap it up.

Second sequel to Dirty Harry has Harry (Clint Eastwood) trying to stop a terrorist group. But due to departmental quotas, Harry's been forced to take on a female cop (Tyne Daly) as his new partner. This doesn't sit well with everyone's favorite politically incorrect cop. But the new partner proves herself and the two surprisingly work well together. I loved the chemistry between Eastwood and Daly. This is my favorite of all the sequels in this series. It has a lot of humor, a good pace, and solid action. It also has the best script outside of the first movie. This was a good series. If you're new to Dirty Harry, definitely watch them in order because the '80s ones, while not bad, don't have the same appeal as the first three.

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.