By Eric M. Blake @hardboiledfilms
“A man’s got to know his limitations.”
As a rule, I tend to assume that if you read beyond my initial “SPOILERS” warning, you’ve already seen the movie. But for this one, I’ll try my best to keep any spoilers vague, simply because 1) Magnum Force includes one of the lesser-known twists of cinematic history, and 2) part of the effect of this film is the mystery of exactly who’s behind the events in question—every single one of them.
So, without further ado—Dirty Harry 2: Magnum Force. (See our review of the original Dirty Harry here).
WHY MAGNUM FORCE IS A CONSERVATIVE FILM:
As is often the case, it’s pretty important to look at why this film was made in the first place.
Positive as the audience response was to the first film, there was at the same time an outcry—most notoriously expressed by Pauline Kael. The late Kael was one of the greats, a monumental icon of film criticism, at least whenever she refrained from getting political.
Infamously, Kael said she couldn’t understand how Nixon could’ve possibly won in 1968 because no one she knew had voted for him.
Ms. Kael belongs on that nauseatingly long list of Lefties over the years who’ve presumed to throw around the word “Fascist” at basically anything they just don’t like. Most annoyingly, many of those people are otherwise quite respectable. For example, Robert McKee wrote in Story, his quintessential guidebook on screenwriting, a pathetic and unexplained remark about how Blazing Saddles “exposed the Western’s fascist heart.” Never mind that Mel Brook’s classic comedy has absolutely nothing to do with Fascism based on its actual definition.
So, let’s get the Fascism cries out of the way.
In Search Of “Fascism!”
I sincerely doubt Keith Olbermann or the AntiFa types will ever give this a fair hearing, but just to be clear: Fascism is an economic system where private industry exists, but answers fully to the central government. Think Hitler telling Volkswagen what cars to make—environmental standards and everything.
It differs from Socialism only in that Socialism cuts out the middle man, the government owning the means of production directly. Fascism tries to have it both ways—yes, there’s business and profits and so on…but the government can, at any time, step in and tell the companies what to do and how to do it.
Basically defined, it’s essentially the midpoint between Capitalism and Socialism. Yes, folks…you’ve been lied to. To all who glorify “the Center”…Fascism IS the Center! It is not—nor has it ever been—“the far/extreme Right”.
(At least, not in the economic Left/Right scale we use in America. The European scale’s “science” concerns seating arrangements in European parliaments, or…something.)
Regardless…the Left doesn’t dare allow the dictionary meaning of “Fascist” to ever enter the conversation—after all…doesn’t the above description pretty much invoke the dreams of the average Democrat politician, right about now? At least, those who don’t cross the line into full-blown Socialism?
And so, the Left has long pushed an alternative definition of Fascism as a “Police state” with the government doing whatever the heck it wants in the name of “security.”
To be clear, Fascism does kinda need a police state in order to enforce government policy over industry. But that’s far from the be-all, end-all of the system. Nevertheless, it’s what everyone thinks of when they hear “Fascism.” And it’s what Pauline Kael meant when she lashed out at Dirty Harry.
Continuing Problems:
Still, amid the condemnation of the vigilantes, the problems of the then-current justice system get pointed out and called out. Rather like Fight Club, the rogues use the wrong means against a very valid problem.
Harry’s old friend and colleague, Charlie, goes off on the injustice in his introduction scene, clearly ready to snap:
“These days, a cop kills a hoodlum on the street, he might as well just dump the body someplace! Because those SNOT-nosed young b———s down at the D.A.’s office will crucify them one way or another. A hood can kill a cop, but let a cop kill a hood?! Am I right?”
From the beginning, it’s pretty clear the public doesn’t like it, either. And so, it’s complicated. These rogue cops aren’t full-blown black-hats. They’ve merely crossed the line in a way that Harry never could:
“A hundred years ago in this city, people did the same thing. History justified the vigilantes; we’re no different. Anyone who threatens the security of the people will be executed. Evil for evil, Harry. Retribution.”
“That’s just fine. But how does murder fit in? Y’know, when police start becoming their own executioners, where’s it gonna end, huh? Pretty soon, you start executing people for jaywalking. And executing people for traffic violations. Then you end up executing your own neighbor because his dog pisses on your lawn.…I hate the g——n system. But until someone comes along with some changes that make sense, I’ll stick with it!”
See, that’s the difference. Harry Callahan is never conceited enough to try to go above the law. After all, as he repeatedly notes:
For Bonus Points:
The mobster who gets off on a technicality at the start of the film is described as a labor leader/organizer who had a reformer whacked.
Harry’s new partner, Smith—established in dialogue as the immediate successor of Gonzales from the first film—is a black man. Harry notes Gonzales is teaching college now.
Finally, I’m sure when Harry, flooring it against the rogues, knocks a Volkswagen Bus off the road, it’s purely a terribly coincidental accident.
WHY MAGNUM FORCE IS A GREAT FILM:
John Millius once more brings his talent to the screen. And this time, it’s in something of a murder mystery—for Harry and, to an arguably greater extent, for the audience. In fact, until we hear his voice, we may wonder if the vigilante cop whose face we don’t see—who guns down the mobster—is Dirty Harry. Even after we realize it isn’t, we may still wonder if Harry will find himself supporting these guys, maybe even joining them, assuming he hasn’t already.
That’s especially the case if we missed the “orders vs. law” subtlety of the first film.
At any rate, after looking over the initial killings, we do see Harry “in action”—taking down plane hijackers via a clever sting operation showcasing some classic Clint Eastwood playfulness.
“Excuse me, Captain. I-I know this may sounds silly, but—can you fly?”
“Nope. Never had a lesson.”
At any rate, the sequence makes it clear that unorthodox and “cowboy” as Callahan may be, he sticks to the straight and narrow.
And so, the mystery is on: Who is, or are, the rogue/rogues? Are they even cops? Could it possibly be an impersonator?
Is it Charlie McCoy—Harry’s old friend, clearly on edge and ranting about the all-too-real injustices cops face?
Or what about the rookies Harry meets at the gun range, who admire him and establish a nice chemistry with him over their love of Magnums? Harry’s eager to take them under his wing, especially when he gets back on Homicide. Still, he can’t help wondering:
To the film’s considerable credit, there’s enough of a variety of dramatic possibilities to keep you guessing until all is revealed.
Clint Eastwood As Inspector Harry Callahan:
Callahan’s still got it—a steady hand with his gun and a ready smile with the ladies, such as a certain Asian lass who lives downstairs from him:
Amid this, there are some nice moments of vulnerability, reminiscing about his late wife and struggling with concerns over his old friend and how far Charlie might’ve gone.
But of course, there’s also the cool intensity we know and love Clint for, particularly as Callahan piecing together, with Smith and a forensics expert, the possibility that it was either a cop or a darned good mimic.
The Rest Of The Magnum Force Cast:
Felton Perry plays Det. Early Smith, Harry’s partner—a rookie, straight-and-narrow, and a bit green and wet behind the ears at first, which Harry teases him about. But he proves his worth when they take down some racist punks holding up a market. Afterward, he’s clearly freer about himself—establishing his own humor and banter with Harry.
Mitch Ryan plays Charlie, bringing a sympathetic quality to the man, who’s nonetheless clearly unhinged and this close to snapping if he isn’t careful.
David Soul, Tim Matheson, Kip Niven, and Robert Urich play the four rookies—eager, tough, charming, and cold when they have to be.
That magnificently crusty and gravel-voiced Hal Holbrook plays Lt. Briggs—Harry’s foil, introduced as an implied distant chaperone to our hero, having demoted Harry to stakeout duties. Even now, he’s warning him about stirring up public outcries of “police brutality.” And even when Harry’s allowed back on Homicide, investigating the killings, there’s still a tension bordering on hostility over exactly how to approach the case.
By The Way…
Like an idiot, I forgot this little tidbit when talking about the first movie: The original “ideal” choice by the filmmakers to play Harry Callahan was John Wayne. Needless to say, The Duke turned it down, feeling he was getting a bit too old for such an unrelentingly action-filled role. Mind you, awesome as it would’ve been, I somehow doubt we’d have gotten much of a series, considering how much longer Wayne had to live.
Once again, the series seemingly links itself musically to the Blaxploitation movement, with a somewhat “funky” score, even including bongos.
People often misquote the original Dirty Harry “feel lucky” speech, saying, “Do you feel lucky?” The “you” version actually comes from the end of the opening credits of this movie.
Buy the movie here. And stay Cultured, my friends.
Any recommendations for films to make the series? Read the rules here, and let us know!