Most Hollywood actors are lucky if they have one real iconic character on their list of loans on the screen, let alone two. We may be talking about Harrison Ford (Jan Solo and Indiana Onesons), Sylvester Stallone (Rocky and Rambo), or Keanu Reeves (Neo and Johnon Wick), but probably at the top of the heap is Clint Eastwood with the man without a name and "dirty" Harry. Not only did he leave such an unforgettable impression in both roles, but those characters also became almost synonymous with their genres. Can you really imagine the western without thinking that Clint carries its poncho and chew on Cher. In Sergio Leone's "Dollar Trilogy" (Or police officers with police officers without painting a barrel of hand cannons in "dirty Harry")? Indeed, you can even point out the moment in the cinema when the two most famous characters of Eastwood merged, and that film is underestimated western called "Bluff of Coogan's Bluff".

Directed by Don Siegel, Neo-Western is the first of the five films the veteran director has made with Eastwood. Siegel had a long and solid career working in a genre ticket and was perhaps best known for gluing the "1956 invasion of body kidnappers" before his collaborations with Hollywood's latest heavy man. Both Siegel and Eastwood were not nonsense, honest and modestWhat made them a great pairing, as the latter was trying to be based on the international fame she gained starred in Leone Spaghetti Westers.

"Hang 'Em High", a pale imitation of Ted Post on the "Dollar" films, made him first in cinemas, but "Koagan's bluff" was far more secure in his identity, successfully combining western elements with a modern police thriller. Originally conceived as Herman Miller and Jackec Laird's TV series (both working on the West Show on "Eastwood in front of Mega-Slava" "Rawhide") it is a great vehicle for the special brand of Lakonic Badaseri's starvet. Posted at a time when more sleek West as the "Wild Cup" and "Once, in West Time" gave the classic form of the genre sad sendingKoagan's "bluff" feels almost like a rebuke against revisionism. The Wild West may have already faded in modernity to that point, but Siegel and Eastwood have taken traditional Western values ​​in the heart of the late 60s Manhattan and were ready to fuel some heads old.

Clint Eastwood Starsevils in "Koagan Bluff" like Walt Kragan, a double sheriff's deputy sheriff of Piut County, Arizona. He can drive a jeep instead of driving a horse, but he is, in many ways, restoring the old limit. Unusual and ultra-macho, he has no qualifications to beat the suspects before taking them and not sweating, turning around with a bullet if it means getting his man. He is also a bit of a lotario, and celebrates his last arrest with a little Noki, while his prisoner is mixed out. His approach to roughness disturbs his boss, who still sends him to New York to bring back Jamesiyes Ringeran (Don Strud), a killer who escaped to the city to avoid justice.

After he was on the field in Manhattan, Koagan could not look much more out of the place of the gray streets of the urban jungle. Not that it is important for Walt; Like Paul Hogan's "Crocodile Dundee" nearly 20 years later, his nonsense methods in the country do more than a match for something the city should throw at it. Walking around in his cowboy boots, a wire door and the huge Stetson, he checks at the Phlebag Hotel and immediately clashes with Nyujork's Lieutenant Colonel McLero, who is played with a grossly pleasing Lee. Cob.

Kojan's task is complicated when McLero reveals that Ringeran is currently in hospital after LSD overdose and will not be released without the Supreme Court approval. The red strip and additional documentation are not the way they do things in Arizona, and Koagan is not in the mood to stick around. Instead, he torments hospital orders to hand over Ringeran ("bluff" in the title), but gambling goes bad in bad when the prisoner's friends reinforce the lawn and help the killer escape. We are now entering the territory known to the Fans of "Dirty Harry": Despite McLroy's warning that he does not bring jurisdiction in Newouperk, Koagan goes rampage through the hippie community in the city to find his goal and take him home with all the necessary means.

"Bluff of Coogan" is a time capsule set at a time when flower power and counterculture movement still had intensity, as the 1960s were approaching. In that sense, Eastwood's Coogan is a very representative of the man: Ringeran can be a violent criminal who deserves to bring him to justice, but the cowboy lawyer's contempt for Newsorque, smoking Bohemian underground culture is a very look at the stage of the stage. In short, Koagan rejoices at all, beating up the hippy types and sleeping with Ringerman's girlfriend to get information about his place. Just not cool, man!

It is fascinating to see how it strengthens the personality of Eastwood in the "dollar trilogy" joins something that approaches the dirty level of Harry's discomfort during the film. The Roaming Gun Transition to a non-bold legislator has already begun in the previous actor's film, "Hang 'Em High", when his character suffered a Marshal badge to help him search for revenge. This time around, the sheriff's badge of Koagan's shirt positions him on the side of the law, but his approach to preserving it is not so far from the man without a name. By the end of the film (when things become really violent), it becomes a kind of gruesome revenge that regularly sets Harry Callahan and his very big gun.

Coogan's "Bluff" is a relatively light heart, but paved the way for the "dirty Harry" three years later, and there are other similarities out of the presence of Eastwood. The pretty unfortunate hippie-criminal of Don Stroud in the latest film (long sniper sniper of Andy Robinson with a peace sign). In this regard, both films seem to show the movement of counterculture as something deviant and threatening to traditional American values. Interestingly, the last scene of "Koagan Bluff" is even a mirror from the "dirty Harry" starting moments, with a woman on the skyscraper roof - though in a far darker context. It is almost like, with the "initial" (their second collaboration) between, Siegel and Eastwood they could not wait to continue from where they left. The result will set the template for the next two decades of thrillers of Hollywood police officers.