Don Siegel released two films in 1968, films bookending the changes that were happening in Hollywood, the first film representing the ending of one era and the second beginning of another. Both films are police dramas based in New York City and both films involved law officers who are troublesome renegades to their superiors. They also have some similar casting with actors, Susan Clark and Don Stroud, in both films, yet in “Madigan” starring Richard Widmark and Henry Fonda, we are saying goodbye to Hollywood’s old guard, while with “Coogan’s Bluff” we are welcoming the future in the cool, silent gaze of Clint Eastwood. Director Don Siegel himself was kind of turning a corner in his own career going from a “B” film director to the “A” list along with what would turn out to be the start of a fruitful and professional relationship with Eastwood.
Siegel teamed up for the first time with Eastwood who just completed his first starring role in an American film, “Hang em’ High” and was now looking to move on to his next project, “Coogan’s Bluff,” based on a screenplay by Henry Miller, Dean Riesner and Howard Rodman. The film is a fish out of water story, a culture clash of East meets West, city slickers meet small town country boy. Call it what you will but when the boy is Clint Eastwood the shit is going to fly. Continue reading →
This article is part of the ROGER CORMAN BLOGATHON hosted by Forgotten Classics of Yesteryear. Click here to check out more Corman reviews!
If you were a young teenage movie lover in the late 1950’s or in the early 1960’s Roger Corman was most likely a major influence on your movie going habits whether you knew it or not. Rock and Roll films, teen rebellion, gangsters, monsters, Sci-Fi, Corman did them all pumping them out, three, four or more films a year. Corman, along with A.I.P., practically created the teenage movie market. My own first Roger Corman film on the big screen was “The Masque of Red Death” with Vincent Price, Hazel Court and then Beatle Paul McCartney’s girlfriend, Jane Asher. On TV, I caught up with some of his early 1950’s flicks like “Attack of the Crab Monsters,” “Five Guns West,” “A Bucket of Blood,” “I, Mobster” and “Machine Gun Kelly.” Corman directed four gangster films in his career, the third being 1967’s “St. Valentine’s Day Massacre” with a way over the top performance by Jason Robards Jr. as Al Capone. But this was only a warm-up for 1970’s “Bloody Mama” with Shelley Winters whose performance as the machine gun totting Ma Barker made Robards Al Capone seem meek and timid.
1970 was the beginning of a new era in American film whose flame was lit just three years earlier in 1967. The restrictive production code was gone replaced by a rating system that allowed for more “adult” stories to be put on the screen. This translated into varying degrees of sophisticated filmmaking and wild abandon exploitation film depending on who was behind the camera. Corman always one to exploit, obviously was in the second grouping. After pushing the limits of the dying production code in such mid to late 60’s films like “The Wild Angels” and “The Trip,” Corman in 1970 was ready to go all the way. Continue reading →