As 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.
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.