Monday, February 1, 2021

Notes on Review of DIRTY HARRY(Clint Eastwood & Don Siegel) in Counter-Currents Publishing

DIRTY HARRY reviewed by Trevor Lynch:

Dirty Harry (1971), directed by Don Siegel and starring Clint Eastwood as San Francisco Police Inspector Harry Callahan, is a classic of Right-wing cinema.

It has some right-wing tropes but ultimately cops out and settles for a conventional scenario and ending. This is true of SUDDEN IMPACT as well. Early in the picture, Callahan takes out a bunch of feral black criminals who try to kidnap a white woman for gang-bang rape, but then the rest of the movie is about a white woman taking revenge on white men as rapists. So, the black rapist angle merely serves to foreshadow the rest of the story which is about revenge against White Male rapists. (Of course, those into subtext could argue that those white rapists are actually stand-ins for black rapists in an 'anti-racist' cultural climate that simply wouldn't allow a black-rapist story.) So, DIRTY HARRY movies tease us with white right-wing sentiments but ultimately opts for what is permissible. None of the Dirty Harry movies had the balls to go where THE BIRTH OF A NATION did.

Along with THE FRENCH CONNECTION and DEATH WISH, it appealed to Liberals at the time because black crime had gotten out of control. And, old-time Liberals had difficulty making sense of the so-called New Left of the 60s with drugs, degeneracy, and sex. My haunch is that the older Jews who made ALL IN THE FAMILY agreed with Meathead on talking points but with Archie Bunker at the gut level. Older Jews were confused by boomer Jews like Abbie Hoffman and the Yippies. And when Altamont and the Manson Murders happened, many older Liberals were shocked. They'd been sympathetic to the Youth Movement, but things fell apart. The fiasco of the 68 Democratic Convention pitted Old Democrats with New Radicals. Richard Nixon couldn't have won so big in 1972 with conservative votes alone. Many Liberals were disheartened by new trends.
Also, there was a divergence between ideology(especially foisted from above as most people don't think for themselves) and instinct(formed by personality, family, and community). Many whites had become 'liberal' largely due to the New Deal and WWII era. They weren't exactly culturally or ideologically on the left but voted for FDR and Truman because they'd been through hard times. And WWII defined American Patriotism as rising to its greatest hour against the far-right regimes of Germany, Italy, and Japan. Therefore, it got seared into their minds: Liberalism = Patriotism.
Still, many of these 'liberals' were ingrained with 'racist' attitudes and Eurocentric worldview. After all, 80% of Americans polled in the 60s were opposed to race-mixing, which means a good number of Liberals opposed it too. It was only when Jews took total control of the gods that attitudes began to fundamentally change. To be sure, there was the Cold War that revitalized the Right against Godless Communism, but (1) Jews soon took control of the Narrative and made the 1950s about bad ole Joe McCarthy going after leftists who prize civil liberties (2) Vietnam War made anti-communism seem cruel and even genocidal (3) capitalism, though anti-communist, could hardly be a bastion of the Right and Traditionalism as consumerism and idolatry at their core tended to upend society, indeed more so than communism could dream of.

Dirty Harry was hugely popular with moviegoers, spawning four sequels and a whole genre of films about tough cops whose hands are tied by the system and are forced to go outside the law in order to protect the public.

Ironically, the most obvious precursor of DIRTY HARRY was HIGH NOON, a work of some controversy at the time. Though considered a classic(and even right-wing by some), it was produced by arch-Jewish-Liberal Stanley Kramer, and its script was by a communist sympathizer. And its hidden message or subtext was a dig at craven America during the Red Scare. It didn't occur to these Jews and Leftists that most Americans supported anti-communism out of conviction, not out of cravenness. Most Americans regarded communists and their spies as the Frank Millers of the World. Sure, there were craven types who named names, but they were fellow communists or leftists who wanted to keep working, like Elia Kazan and Sterling Hayden. In HIGH NOON, the entire town is cowed by the news of Frank Miller's return. (Miller, like Scorpio, has been freed because of the technicality of the law.) The town is meant to be a metaphor for America that is too cowardly to stand up to the likes of Joe McCarthy. Never mind that, at least for a while, many Americans sincerely regarded McCarthy as the sheriff with the guts to take on the communists.

Anyway, the sheriff in HIGH NOON has no recourse but to go it alone as all the individuals and institutions of the town simply refuse to stand by his side for one reason or another. The sheriff goes defacto vigilante. It's like Donald Trump was effectively all alone in the final months though without the character of Will Kane(Gary Cooper). And both HIGH NOON and DIRTY HARRY ends with the lawman tossing away his badge as a sign of contempt for the system. (John Ford's revisionist Western THE MAN WHO SHOT LIBERTY VALANCE also featured a system either too weak, inept, or corrupt to maintain law and order for children and womenfolk. No one dares to take on Liberty Valance who isn't merely an outlaw but a tool of Big Money. James Stewart's character finally musters the courage to take on Liberty Valance but he's no gun-man, and John Wayne's character, as the third man, secretly 'murders' Valance.)

In a way, DIRTY HARRY is like a urban Western, but it seems worse because, whereas the Wild West was understandably a hotbed of outlaws, one would expect civilization to be more orderly. But as DIRTY HARRY shows — MIDNIGHT COWBOY and TAXI DRIVER do also in greater detail — , the problem isn't merely the system of laws and politics but the climate of culture and values. There was always the wild/savage side of man, just like there is the inner-wolf in every dog. Still, prior to the youth-centric Sixties(defined by sex and drugs under the influence of blacks, the most savage of the races, and of Jews, the most radical of the races), the wilder side had been put in its place by forces of authority, tradition, and community.
Those controls fell apart, and the character of Scorpio is like the worst manifestation/embodiment of unmoored youth mentality. While most hippies were not killers or psychos(not even close), they created a cultural petri dish from which some foul fungi grew. Indeed, this is where TAXI DRIVER and DIRTY HARRY are different. Whereas Scorpio represents the figure of both degeneracy and mayhem contra the straitlaced(relatively speaking) Callahan represents order and decency, the character of Travis Bickle exhibits characteristics of both Scorpio and Callahan. Whereas Callahan's arch-foe, Scorpio, is indeed a real killer, there is no proof that Sport(Harvey Keitel) in TAXI DRIVER is a killer. He may have killed someone, but we can't be sure. But even if Sport never killed anyone, he is a soul-destroyer. He's a spoiler of values if not a taker of lives. In contrast, Bickle is sickened by the rot and wants to save the girl, but he does have the instinct of a real killer. He's both ultra-normal and ultra-psycho.

So, there are two issues at stake here. Criminal violence and cultural decadence. DIRTY HARRY would have us believe they make a natural pair. EASY RIDER, of course, begged to differ. In it, the 'decadent' hippie bikers, though peddling in drugs and loose in sexual mores, are certainly not killers whereas the deep-rooted Southerners are. They first kill the civil liberties lawyer played by Jack Nicholson, and later the two bikers are blown to kingdom come.
If indeed cultural decadence = criminal violence, things would be so much simpler. We could lock up all the pimps, pornographers, freaks, drug-dealers, and etc. and crime would screech to a halt. Though cultural decadence surely creates a more hospitable environment for crime, it itself isn't necessarily violent. If anything, decadence is problematic in its defenselessness against violence, i.e. too dazed to register what's really happening in society.
In DIRTY HARRY, the authority seems less decadent(or even weak) than naive in its decency and commitment to the Constitution(and thus could be called almost 'libertarian', and of course, libertarians were the biggest critics of the Patriot Act after 9/11).

At any rate, if the main issue of DIRTY HARRY is the problems of urban crime, the problem owed less to hippies and dippies than to blacks. Indeed, many blacks who never took part in the counterculture were nevertheless arch-criminals. Also, Japan has had a pretty decadent culture for awhile, but it's not a crime capital(though it will soon be as it begins to import lots of blacks from Africa). The problem of crime is black, and this is where DIRTY HARRY is least honest. By fixating on a degenerate freak, it creates the false impression that serial killers are the biggest threats to society when the average black street thug was the far bigger problem. While there will always be serial killers, they don't destroy an entire city. Serial killers didn't destroy Newark, Detroit, or Baltimore. Blacks did that. DIRTY HARRY movies focus on freaks, terrorists, or some conspiracy. They hook with scenes of black criminals, but the bulk of the stories deal with fantasies. Sure, psycho-freaks are bad, but they are few and far between.
Consider the Deep State. In another Eastwood film, IN THE LINE OF FIRE, the good decent men of the FBI and other US departments are tormented by some rogue lunatic, but as recent events have shown, the whole Deep State is compromised from top to bottom. It's not the oddball psychos who pose the most problem but the fact that the entire system is entrenched with craven careerists who will do anything for their masters, the Jewish Supremacists of course, to be part of the power-game. John Brennan and Mike Pompeo aren't foam-at-the-mouth clinical-psychos but, in some ways, are more dangerous because of their 'respectability'. So, if IN THE LINE OF FIRE really wanted to get to the heart of the sickness, it would have focused less on some agent-gone-rogue than how the system itself is rigged to serve the rich and powerful, indeed to the point where even those who signed up out of idealism are little more than errand boys for the Jews. (Oliver Stone's NIXON came closest to that.)

Harry Callahan's 'vigilantism' is problematic because he is a cop who is sworn to uphold the law. But then, he's not the top cop but a street cop who takes orders. He's both a figure of authority and figure of rebellion. After 9/11, could we say the system went 'dirty harry' with the Patriot Act? Certain civil liberties were suspended to capture the 'scorpios' of the world, the dreaded terrorists. CIA used torture. The system trampled on the Constitution for the 'greater good' to keep us safe. Was this power-grab 'right-wing' or 'left-wing'? Many so-called 'liberals' lambasted Bush II as a Christo-Fascist who was taking rights from the people. But then, the very same people were utterly silent about Obama's even bigger push for the National Security State and relentless drone strikes to take out the terrorists. (Libs were silent even when Obama aided the terrorists to take down entire regimes deemed as the 'bad guys'.) In a way, Neocons have mastered the rhetoric of Dirty-Harry-ism. "We can't follow the letter of the Constitution because we must protect American lives and save innocents from foreign tyrants, the new scorpios." And under Jewpet Biden, we are now told the state must take extraordinary measures to clamp down on "Domestic Terrorists" who would be anyone who dared to speak truth to Jewish Power. Apparently, we are now all Scorpios. DIRTY HARRY was made by Jewish Don Siegel, and I wonder if he, on some level, sensed that the movie's style of rhetoric could be used to the advantage of Jews. DIRTY HARRY is a dangerous movie, for the right as well for the left, because it asks us not to think but just go with gut emotions(which can easily be manipulated). After the terrorist bombings of buses in London, many conservatives and rightists lauded the governments dirty-harry-like measures to clamp down harder on terrorism, but over the years, it has allowed the state to go after nationalists deemed as 'homegrown terrorists' or 'domestic extremists'.

The BOURNE movies came out during the Bush II presidency, and it had a deep state asset gone rogue(or 'vigilante') to take on the Secret Government. And yet, most people consider the trilogy 'leftist'. It goes to show that moral outrage is often colored by partisan politics. The very people who cheered Bourne against the Deep State were supporting Obama Administration's Deep State against Snowden. It also means vigilantism's ideology depends on the context. After WWII, bands of leftists went about lynching Fascists and collaborators in Italy and France. It was a bloodbath. Blacks in RAGTIME take the law into their own hands, and one could say it is 'right-wing' from a black nationalist perspective, but it's the sort of thing leftists would feel greater sympathy for. The Negro of RAGTIME was inspired by the story of Michael Kohlhass, whose vigilante uprising could hardly be called right-wing given the rebellion was against the aristocracy. Harriet Tubman violated the law to help runaway slaves, and National Review says she was a great hero because she was a Republican and carried guns.

Things are further complicated(or confused) because Scorpio is presented as both a rogue hippie lefty and a 'racist', 'sexist', & 'homophobic' white male. But then, Charles Manson, along with the Hell's Angels, was similarly contradictory as a hippie idol into drugs, sex, & rock-n-roll AND a white radical dreaming of a race war. (Hell's Angels were the darlings of the hippie movement, but they supported the Vietnam War and made made up mostly of druggy deplorables.) To what extent Scorpio's contradictions represent tortured psychosis or calculations on part of the film-makers to avoid controversy is anyone's guess. One thing for sure, in case anyone accused the movie of featuring a counterculture villain, the makers could say, "But, he's a racist!"

Anyway, if vigilantism is breaking the law for the greater good or one's personal sense of justice/vendetta, there's surely a difference when insiders do it and outsiders do it. When James Clapper lied about the surveillance state(and its violations of the US Constitution), was the system going rogue-vigilante for the greater good to keep us safe from terrorists? Or, was it violating the Constitution to amass more power for itself. And when Edward Snowden blew the whistle, was he the good guy for remaining true to the letter of the Constitution or a mush-head who thinks the world can run along libertarian principles? Who is the 'liberal' and who is the 'rightist' in that case? Was Snowden being overly idealistic in his commitment to the law, even to the point of endangering the US to terrorist attacks? Was Clapper and the Deep State justified?

One thing for sure, DIRTY HARRY isn't about a cop who violates the law because the system does so. It's about a cop who takes the law into his own hands because the system adheres to it because the law protects criminals with 'rights'. This is what makes Callahan a more disturbing figure. Now, if he discovered that the system is circumventing the law to favor criminals against decent people, his vigilantism might make more sense in a Machiavellian manner. When the system won't play by the law, why should the conscientious lawman? But DIRTY HARRY, while showing the system to be naive, does show its commitment to the Law. This puts Callahan at a considerable ethical disadvantage.

In current reality, the system is obviously on the side of BLM thugs and Antifa terrorists. Judges and lawyers, especially the Jewish kind, ignore the Constitution & ethical principles and take part in Lawfare to coddle thugs and louts favored by Jews while throwing the book at the likes of James Field whose crime was manslaughter than murder(and only because he was surrounded by people threatening his life). Under this scenario, one can understand an Oath-Keeper sheriff who takes the law into his own hands because the system is so corrupt and rigged in favor of certain groups over others. But that is NOT the ethical dilemma in DIRTY HARRY, in which, as far as we can tell, the system is committed to adhering to the law. A far more effective right-wing movie would have focused less on the fantasy of the gun — how many cops carry magnum 44's? — and more on the power of the law, i.e. what can conservatives, libertarians, patriots, and normal decent folks do to gain control of the law and use it for sane and sound policies based on truth and are fair to all? After all, while guns can kill bad guys, it is the power of the pen that decides the laws. If the current laws aren't working, it's because they are either unenforced or defective. If the former, they need to be enforced; if the latter, they should be changed. But too often, the Right falls for the fantasy of the gun, which can only be the last resort. Besides, guns don't win hearts and minds. Mao said, "Political Power grows out of the barrel of the gun", but he wasn't calling for militarism. It was just an admission of the brutal reality of power built on war and victory. Why did so many people want to follow Mao? Because Mao brandished a big gun? No, the Chinese Communists were effective in using words and propaganda to win hearts and minds in times of crises. So, while guns are crucial in any war, the art of propaganda decides how many people with guns are on your side. While American Right stockpiles guns, the Jews and globalists got the pens, cameras, mikes, and big tech. No wonder so many white Americans, who should be right-wing given their identity and interests, are soul-owned by anti-white enemies that control the pens and cameras. (THE ONION FIELD is more useful to the Right than DIRTY HARRY is. It shows what mastery of the law can do.) Also, in ZODIAC, it's the brainy guy who comes closest to solving the puzzle.

John Simon, in his review of PATTON(compiled in MOVIES INTO FILM), took issue with how the movie was promoted as a heroic tale of a general who was a counterculture rebel in his own right. Apparently, the ad campaign pandered to Youth and liberals. (The screenplay was by Francis Ford Coppola who claimed to be a Liberal.) Yet, Simon noted that if the general was a rebel, it was in the name of more war-mongering, more militarism, more mayhem, and more blood & glory. (I wonder if Uncle Victor in HAROLD AND MAUDE was a parody of Patton.) Patton may have taken war into his own hands, but it was to better serve the agenda of beating the Nazis. And after the war, he itched for another, this time against the commies. Callahan is like Patton in that he's part of the system but believes the system isn't tough enough to go all the way, later echoed by Rambo who's sure the gung-ho Americans would have won in Vietnam but for the backstabbing politicians. Thus, he's a rebel only because the Power isn't powerful enough for him. It's like an overseer berating the master for not allowing him to whip the slaves even more.

Also, like Will Kane of HIGH NOON, Callahan might even be called something of a fool. Why does Will Kane stick around to fight Frank Miller and the baddies when the whole town doesn't care? Why risk his own life to defend the honor of townsfolk who won't stand by his side? Likewise, why does Callahan care? After all, the good people of San Fran elected those officials who, in Callahan's eyes, aren't doing enough. So, if the voters of the city want those politicians and the 'liberal politics', the sane thing for Callahan is to walk away from the city not worth saving. And yet, both Kane and Callahan decide to fight. Why? In the end, it may come down more to sense of personal pride and vendetta than anything else. It's sort of what Jon Voight's criminal character says at the end of RUNAWAY TRAIN to the cop: "It's you and me."

DIRTY HARRY is, of course, a fantasy despite its New Hollywood credentials of heightened realism. It was discussed in the company of such films as THE FRENCH CONNECTION, but there were as many differences as similarities. Gene Hackman was very much an archetypal New Hollywood actor. He lacked the classic features of a movie star and looked very much like a hard-nosed New York cop on the beat, and that's what counted. Also, he's far from perfect. He cuts corners and often plays it dirty unlike Harry Callahan who, despite his reputation, is essentially a clean and even flawless cop. Popeye Doyle(Hackman) is trigger-happy and ultimately responsible for two dead cops due to 'friendly fire'. In contrast, Callahan is like an angel of death who never misses his target. And there isn't an hint of corruption or personal fault in him. Even his 'racism' is the ironic wink-wink kind, mere tough guy demeanor, whereas Popeye Doyle really loves to stick it to blacks. This makes him heroic and mythic but hardly believable.
More interesting are the compromised characters in TOUCH OF EVIL, PRINCE OF THE CITY, and INSOMNIA. The fat cop in Orson Welles' film is corrupt, but that's what makes him so good. He's so much a part of the swamp that he knows where the swamp creatures swim. His keen instincts cannot be divorced from his cynicism. He knows the heart of the crook too well because he himself has a crooked heart. He's one of the best precisely because he's one of the worst. He has some admirable qualities, but Welles regarded him as a tragic and evil character because, when the figure of authority violates the law, the foundation itself is corrupted. After all, what is the main difference between the cop and the crook? They both have guns and use violence, but the cop plays by the rules whereas the crook has no use for rules. But what happens when cops themselves ignore the rules? The cop in INSOMNIA is compromised but also virtuous in his own way. He's done shady things but sometimes to do what, in his mind, was the right thing. But using a lie to send a bad guy to prison means he had to cover up that lie to save his own skin, and then, the question arises, to what extent is the coverup(amidst new scandals) to keep the bad guy in prison or to save his own ass? Also, once cops can get away with doing their own thing, who's to say they'll always do so for reasons of virtue than vice? How many cops are saints like Harry Callahan?

In PRINCE OF THE CITY(the best film about police work), Danny Ciello(Treat Williams) gives his rationale as to why he and his partners break the rules: They can catch more criminals. And yet, what do these cops do with the money they take from the crooks? They keep some of it for themselves. Once adherence to rules begin to break down, there's no guarantee where it will lead. The characters in PRINCE OF THE CITY are recognizably human, whereas Harry Callahan is simply an Ideal. No wonder Pauline Kael called him something like a saint cop. Callahan breaks the rules only for the most laudable reasons and his gun always miraculously tags only the bad guys. Thus, DIRTY HARRY is a New Hollywood movie with Old Hollywood tropes. It's no wonder John Wayne was first approached for the role. A classic Western hero in the urban jungle. But then, that's not entirely accurate either as John Wayne and old Hollywood stars were recognizably human whereas Harry Callahan is nearly superhuman at times, especially the moment he jumps onto the school bus from a bridge. In some ways, he owes more to the nihilism of the Man with No Name of the Spaghetti Westerns than classic Westerns. For this reason, some have argued that DIRTY HARRY is about the hero and villain being two sides of the same coin, but that's pushing it. That's more like TO LIVE AND DIE IN L.A. Despite Callahan's knack for violence at opportune moments, he's totally a Good Guy whereas there isn't a single redeemable quality about Scorpio.

Liberalism holds that society can be ruled by impersonal laws, not men. Thus any film giving a favorable view of vigilantism—in which laws break down and individuals take justice into their own hands—is anti-liberal.

But that is the real problem with Liberalism. By the way, the emphasis on the Law has more to do with Libertarianism and its cult of 'Muh Constitution'. Liberalism failed in the late 60s and early 70s not because it upheld the law at all costs but because it undermined the (the rule of) Law with its sentimentalism, especially in relation to the Negro Problem. So, increasingly, the law was not applied to bad black behavior. And already by then, so-called 'liberal' Jews were manipulating the Law on the basis of "Is it good for Jews?"
Getting rid of racial discrimination was Liberal Constitutionalism, but Affirmative Action was not. Increasingly, so-called Liberals circumvented the Law to get whatever they wanted. Rule of Law became a game of Rule of Lawyers(backed with the Jewish-run media). However one may feel about abortion, Roe V. Wade was flimsy on Constitutional grounds, and of late, 'gay marriage' has NO standing in the Constitution whatever, but it became 'law of the land'.

So, it's wrong to characterize what goes by 'Liberalism' as a diehard commitment to the Law. Indeed, things wouldn't have gotten so bad IF so-called Liberals stuck by the Rule of Law.
Under Liberalism, Jewish crooks just got slap on the wrist. Today, while the FBI investigates signs "It's Okay to be White", Jews get to promote Jewish Supremacism at massive AIPAC rallies. Look how Jussie Smollett got off scot-free despite his 'hate hoax'.
So, the big irony of DIRTY HARRY is that the so-called Liberals(led by Jews of course) actually took the law into their own hands and rigged everything for their benefit. According to DIRTY HARRY, the mushy Liberals are sticklers to the law(despite the danger to the public) while Callahan is willing to bend the law to get things done. Actually, Liberals have been more like Callahan. Jews and Liberals play fast and loose with the rules to get whatever they want. They were for Free Speech when it served their purposes, but now, they are for controlling speech because 'hate speech' is the Scorpio of our age. We are all 'domestic terrorists' for daring to name the Jew or far less.

Harry Callahan is another one of Eastwood’s taciturn Aryan heroes, a physically imposing and highly capable alpha male who becomes a protector of public order.

Given the connotations, there was precious little that was 'Aryan' about Eastwood. He's too deadpan and too American to be 'Aryan' with its implications of the Nietzschean Ubermensch. While John Wayne and Clint Eastwood usually played the alpha type, they weren't hung-up on their superiority and got along swell with the rest of mankind. And even in HIGH PLAINS DRIFTER where Eastwood plays a low-and-dirty anti-hero, it's purely a personal vendetta whereas an 'Aryan' hero has a higher vision.
Charlton Heston, in contrast, had something of the 'Aryan' thing going despite having played perhaps the two most famous Jewish characters in cinema: Moses and Ben-Hur. Heston was always brazen, intense, radiant. Despite his height, Eastwood always seemed to be slouching; in contrast, Heston stands tall even when sitting, as if self-conscious of his Arno-Breker-like monumental status.

Like most of Eastwood’s classics, the world of Dirty Harry is divided into sheep, the wolves who prey on them, and the sheepdogs who protect the flock, to borrow a scheme from American Sniper. However, despite their opposed roles, wolves and sheepdogs have more in common with each other than they do with sheep, and the flock starts bleating nervously when the dogs bare their fangs at the wolves.

But is Scorpio really a wolf? He's more like a rat or weasel. A wolf is at least a proud and fearsome predator. Scorpio is like a parasite or scavenger. Wolves bring down animals much bigger than themselves. Scorpio goes after easy targets.
AMERICAN SNIPER is pretty good but deeply confused(or maybe genuinely complex). Many saw it as a patriotic movie, but the 'hero' seems a rather mindless gun-nut who's only good for shooting people halfway across the globe. The most admirable character is the guy who thinks for himself and begins to question his role in the Middle East. Sadly, he gets shot. Interestingly enough, the 'hero' of the movie is a sniper, not unlike Scorpio. Sniping is perhaps the least heroic of all military roles, especially when one is a part of an invasive force and must seriously consider shooting women and children who are resisting the Occupation.

He is a widower. His wife was killed by a drunk driver. He does not appear to have children. His work is his life now.

One thing I like about Eastwood's role as Man with No Name and Harry Callahan is the near-celibacy. Also true of Charles Bronson. (Supposedly, there's a scene with Eastwood and a woman in bed in THE GOOD, THE BAD, AND THE UGLY but it was cut out.) I never cared for James Bond jumping in the sack with every bimbo and don't care for the hanky-panky in Eastwood's EIGER SANCTION. Women and action movies don't mix. Put men and women together in romance movies.

Dirty Harry didn’t just pioneer the loose cannon cop genre, it also established the convention of pairing these white alpha males with non-white sidekicks.

Hardly. There was the Lone Ranger and Tonto. And Robert Culp and Bill Cosby on I SPY. And Bruce Lee as Kato as sidekick to the Green Hornet. And it goes as far back as THE LAST OF THE MOHICANS where the white man has a trusty Indian by his side.

But a white alpha male mentoring another white man as a guardian of society would make Don Siegel hallucinate the sound marching feet.

Did Siegel decide on the Mexican sidekick? I think he just directed, though the original script seems to be by a Jew named Harry Fink.

However, if Harry hates honkies, he can’t be a white racist. And if his name is Callahan, that makes him a self-hating Mick. In truth, Harry is merely what today we call politically incorrect.

Of course, the guy was just joking as to why Harry is called 'dirty'. All he meant is Harry is a tough cop and shows no favor to anyone. It's like the opening of FULL METAL JACKET where gunnery sergeant Hartman hollers "Because I am hard, you will not like me. But the more you hate me, the more you will learn. I am hard but I am fair. There is no racial bigotry here. I do not look down on niggers, kikes, wops or greasers. Here you are all equally worthless."

Harry has more than just a touch of sadism, which is brought out in the movie’s most quoted scene.

I don't think the scene with Buckwheat is sadistic. And it's even less so at the end with Scorpio. It would have been sadistic IF Buckwheat was taunted by Callahan for no reason. In contrast, Callahan is trying to defuse the situation(and putting his own life at great risk because, had the Negro been better at math, he would have realized the whitey done emptied his gun in the melee). Buckwheat, eyeing the shotgun near him, is tempted to grab it and blow away the whitey's mothafuc*in' ass. But after hearing Callahan's lecture, a crude version of Professor Kingsfield's in THE PAPER CHASE — "you lie there with a skull full of Negro Mush, which I can blow clean off" — , Buckwheat makes the wise choice.
If there's a hint of sadism about the scene, it's AFTER the Negro decides to give up the gun. Buckwheat, being ever so curious, just 'gots to know, sheeeeeeeiiiiit', whereupon Callahan gleefully pulls the trigger knowing the gun's empty. The empty guns means Callahan was playing a game of San Fran roulette. If indeed Buckwheat had grabbed for the gun, he could have blown away the 'honkey-ass mofo'.

In the final encounter with Scorpio, it's not sadistic at all. If anything, Callahan is giving the punk one last chance to live. If Callahan really had a sadistic streak, he wouldn't have said anything and just shot Scorpio piecemeal by piecemeal: a hand, a heel, a knee, the balls, etc.

You wonder how many times he has done this. He enjoys killing scum.

But throughout the movie, we sense he prefers it easy than hard. When pushed to the edge, he can get riled up and kill with a cold heart, but he doesn't enjoy the thrills of police work. The thrill-maniac is the guy in TO LIVE AND DIE IN L.A. who lives for the adrenaline of chasing and being chased.

The plot of Dirty Harry is a standard neo-noir police thriller.

Lots of things have been called 'noir', but DIRTY HARRY doesn't really count as one. There is an obvious bad guy in DIRTY HARRY, and the basic focus is between good cop Harry and bad freako Scorpio. Thus, it's more like a Western than a noir. CHINATOWN is noir, a genre where the dark, corrupt, and venal are part of the mundane. Seedy corruption could be in the heart of your next door neighbor who could be plotting with your very wife to have you murdered, and you, dark soul that you are, either deserve it or have something up your sleeve as well. Good and Evil are too clearly demarcated in DIRTY HARRY for it to be noir.

Scorpio is a Dostoyevskyian criminal Untermensch. He’s physically weak, unmasculine, and cowardly, palpably seething with resentment. He screams like a pig, blubbers like a child, and develops a severe limp after Harry stabs then shoots him in the leg.

Andy Robinson did a terrific job, and the reason why the first DIRTY HARRY is the only classic owes to the villainy. Still, Scorpio is a cartoon, more Batman-and-Joker than Dostoevsky.

(Scorpio) pays a black thug $200 to beat him to a pulp, then blames it on Callahan. This sequence is a viscerally powerful critique of modern liberal slave morality which rewards and weaponizes victimhood, creating an incentive to fabricate police brutality and hate crimes.

Is the current liberalism about 'slave morality'? Slave Morality, as I understand it, preaches to the masses to submit to their allotted roles without complaint. To be a Dalit or Untouchable is Slave Morality in the Hindu Context. Jesus preached love and brotherhood, and He sympathized with the poor & the powerless and told them to be meek & humble, and if this is Slave Morality, it was advantageous to the Powerful because the meek accepted their lowly state in This World in exchange for Eternity in the Kingdom of Heaven. If Christian Slave Morality is so dangerous to the elites and the powerful, why did they support the churches?
What is often called 'Slave Morality' is actually the Slave Rebellion Morality, quite a different thing. Slave Morality is about people accepting their slave roles in society. In contrast, Slave Rebellion Morality is about slaves throwing off their shackles and demanding their freedom or demanding their share of the power.
It's when Serfs are okay with being Serfs that they are part of Slave Morality. When Serfs want to be free, they are part of Slave Rebellion Morality, and it is what distinguished the West from the Rest where the great masses internalized Slave Morality and mostly bowed down before the Master Class.

Who do we respect more? Slaves who remain meekly as slaves or slaves who fight back and want to be free and masters of their own destiny? If anything, White People now need Slave Rebellion Morality more than ever because a Neo-Slave-Morality has come to define white mass psychology. So many whites are happy-sappy to cuck before Jews, blacks, and homos as racial, moral, and even spiritual superiors. Instead of joining the White Slave Rebellion against the Jewgromo Plantation, too many whites are happy to be like Mitt Romney, the total cuck, or Donald Trump, who talks big but when, push comes to shove, takes it up the arse from his Jewish Masters.

And even though Scorpio exploits the talk of 'rights', those rights are the ONLY things that stand between us and the powerful. Jews got media, academia, law firms, courts, deep state, banks, big tech, and just about everything to crush us. Jews aim to take away our gun rights and speech rights. Are we into 'slave morality' for championing those rights or pointing to how whites are being victimized by Jews? Only if you're willing to submit to the Great Reset. If you want to resist, you're into Slave Rebellion Morality.

Also, the Master Morality is no better than Slave Morality. It should be obvious by now that the Master Class was never what it claimed to be. Most heirs to the throne were spoiled namby pamby brats. While those who gained power for themselves proved their will-power and mettle, their total obsession with domination blinded them to finer things. And just look at the so-called 'best and the brightest'. What a bunch of nasty Jews and craven cuck goyim.
Also, any system of Master Class surrounds itself with the Toady Class. The powerful don't want to be challenged, and so, they want pliable flunkies than honest and courageous people. Who did Bill Buckley choose? Rich Lowry. Who did Hilton Kramer choose? Roger Kimball. Second-rate toadies. This is the problem facing Russia. Vladimir Putin had what it took to maneuver himself to top position, but he chose too many flunkies, the kind of people who will always follow the strong horse without convictions of their own.

Now, one can argue that the current PC is a kind of 'slave morality' in that the liberated non-slaves still cling to their slave-identity, indeed as if past victimhood eternally defines who they are. So, blacks act like they're still slaves, and Jews constantly invoke the Holocaust, as if they're all a bunch of Anne Franks forever and ever. But this is clearly not the kind of 'slave morality' as preached by Jesus who told people to accept their miserable lot in life without complaint and look to Heaven for salvation.
If Jews and blacks were into genuine 'slave morality', they would be forgiving and resigned to the fallen state of the world. But, they are really driven by a fiery will-to-power to dominate, amass power, and be worshiped by others. They act like slave rebels who'd come into positions of the New Master Class, but they still yap about victimhood. But then, American History is about a people who built a new nation and became masters of the world but still invoke 1776 about how freedom-loving folks rebelled against British Tyranny. This kind of 'slavery morality' is merely a moral shield for the Will to Power. Ruthless Jews tell the 'slave' story to justify their master status over us. In a way, it's clever thinking. People naturally love power but also want to feel justified. "Our power was gained against tyranny" surely goes a long way to justify the new tyranny.

Harry has been living the zone of what Carl Schmitt called the “Ernstfall,” the emergency situation in which the reigning liberal norms are not capable of pursuing justice. Faced with the choice of law or justice, Harry chooses justice. It is the first step down the path to the vigilante—or the superhero.

Of course, the danger of tossing the Law is a people could end up with Adolf Hitler. Hitler did take on bad Jewish behavior and did bring some measure of justice to the German people with his restoration of territories, economy, and pride. But without independent due process of the law and rights of dissent, the New Boss can do whatever he wishes, and what if he's pathological beneath the respectable exterior? When individuals promising justice(in exchange for absolute power) replace the legal functioning of institutions, the cure can turn out to be worse than the disease. This aspect of DIRTY HARRY was called 'fascist', but the communists made the same promise: "The Liberal Bourgeois order is full of BS and only serves the rich. For true justice, give us communists the power to destroy the exploitative class and you shall have justice. Real justice than empty liberal-bourgeois promises." The result was Leninism, Stalinism, and Maoism.

Whatever the current system in the West is, it is not liberal. It is Uberall, or Jewish Globalism Uber Alles. The White Right would be in much better shape if indeed the West was truly liberal and allowed free speech and open discourse for all under the protection of the law. But Jewish dirty harrys have decided to go rogue to destroy the 'scorpios' of the 'far-right' and of course BDS. Ricky Vaughn the 'domestic terrorist' is now in prison because of a prank meme. It's the time to be screaming about 'rights'.

Looking back, the 60s and 70s went badly not because of Liberalism's strict adherence to the Law but its selective application that increasingly favored Jews, blacks, and certain other groups over all others. The problem ultimately wasn't with hippies, a passing fashion. Or with serial killers, who will always be with us. The real problem was blacks whose rage Jews exploited to use against whites. But when Jews let out the panther to attack whitey, it also bit him in the ass. So, movies like DEATH WISH were both Hollywood's exploitation of white fears for profits and expression of Jewish disappointment that blacks dared to attack the Jew as well as Whitey.

The Dirty Harry Sequels: Deconstructing a Hero:

 The best way to appreciate Dirty Harry is to compare it to its four terrible sequels.

Sequels are reliably terrible. Still, DIRTY HARRY sequels weren’t as disgraceful as ROCKY and RAMBO sequels, among many others.

Sequels can be interesting IF a singular director has ample imagination to expand the material. No wonder FOR A FEW DOLLARS MORE and THE GOOD, THE BAD, AND THE UGLY are even better than the first A FISTFUL OF DOLLARS. Such sequels are unified by an ‘auteur’ vision.

Sequels can work if the material is formulaic to begin with. The success of 007 and Zatoichi movies owes to this. The fan base essentially wanted the same old or the same new. It’s like ordering from one's favorite pizzeria over and over.

Sequels are justified when the original movie is incomplete or open to further development, as with THE GODFATHER PART 2 and THE NEW LAND(which follows THE EMIGRANTS). As Part 1 traced the rise of Michael Corleone, part 2 could focus on his consolidation of power. And there was more in the family saga, as well as the story of Vito Corleon's origins.

Though George Lucas ultimately botched STAR WARS, the sequels were part of his original big concept. Still, it was meant to be a closed system(like Richard Wagner's Ring Cycle) than open-ended, which is why the Disney Reboot was so ill-conceived; it was driven by money(and the ideological agenda to de-Aryanize the material). STAR TREK was conceived as a open system for TV and could go on and on. STAR WARS was meant to unfold like a fairy tale, with ‘Once Upon a Time’ beginning and ‘Happily Ever After’ ending.

Another way sequels can be interesting if if the material is open to new interpretations and variations. This was true of the ALIEN franchise, at least prior to PROMETHEUS. First-rate talents were recruited to give new spins on the core premise.

Unfortunately, the only rationale for most sequels is More Money(like with JAWS and HALLOWEEN). Usually, the director of the remarkable original isn’t interested IF he has any integrity. He did the first movie out of conviction and doesn’t want to compromise himself and cheapen the material for quick profit. So, sequels are usually done by second-raters. Also, the power of certain movies owes to their urgency & topicality. DIRTY HARRY was the right(ist) movie for the right time. Later, it just became a nostalgia act.

DIRTY HARRY should have been a stand-alone movie. It ended like HIGH NOON, and who’d want a sequel to HIGH NOON? Sequels followed THE MAGNIFICENT SEVEN, and they were a bad idea.
Some stories say everything that needs to be said and MORE would simply be superfluous. This was true of ROCKY where the local palooka loses the fight but earns self-respect. Anything more would spoil the magic. (Sadly, the audience didn’t agree and kept rewarding Stallone for Rocky sequels while neglecting his attempts to do something different.)

DIRTY HARRY also has nothing more to say as it ended. Harry Callahan’s flinging the badge has double meaning. The system isn’t capable of dealing with criminals, and he wants nothing more to do with it. But, there’s also the sense that his way is unacceptable. It isn’t the Wild West anymore, and if every cop could just go around with a Magnum and blow away bad guys out of personal vendetta, cops would be the new outlaw class. So, Callahan is caught between a rock and hard place. The system is too soft, but then, he doesn’t want to be a mad killer cop. He did it against Scorpio whom he especially came to loathe, but it was so out-of-control. So, unwilling to serve a weak system and unwilling to be a monster, he walks away. It is a pessimistic happy ending. The killer is dead, but Callahan's heart is too.

There is a dark integrity to Callahan's methods — he risks his job and reputation to mete out true justice —, but it vanishes with the sequels because he’s back to doing the same thing with apparent approval of officialdom. As such, the sequels undermine the social critique of the original. If indeed the system cannot tolerate a man like Callahan, why is he allowed to remain on the job even as he piles up body counts in ever more spectacular ways? Hmm, maybe the system can use a man like Harry after all. In the original, we shared Callahan’s frustration when the system obstructed his actions, but in the sequels the System vs Callahan is just a wink-wink horseplay where he’s routinely reprimanded but let loose to fire off his cannon in every direction. Also, whereas Callahan was a beleaguered individual in the first film, he’s a celebrated institution in the sequels. Even the obligatory reprimands are part of the legend, elevating than degrading him. It’s like Godzilla was a terrifying monster in the first movie but a beloved national symbol in the sequels.

Dirty Harry was decried as “fascist” for making a hero of a vigilante cop who was also characterized as a racist, although the movie pulled its punches on this particular matter by making Harry an equal opportunity hater and partnering him with one Chico Gonzalez.

There are ‘racists’ and then there are ‘racists’. People love the soft bigot for three reasons: (1) Being less 'sensitive', he might blurt out the inconvenient truth — Mike Royko the famous Chicago columnist often played on this (2) bigotry is often funny, e.g. Dumb Polack Jokes and Jewish Jokes (3) there is the chance for redemption, like when the Negro in PHILADELPHIA comes to feel for the homo dying of AIDS. (And of course, Oscar Schindler goes from a war profiteer who dallies with Nazi stalwarts to a savior of Jews. Apparently, soft bigots can be turned, and this Damascus Moment is inspiring.) People don’t like hard bigots like the KKK guy on Howard Stern Show. They come across as too grim and extreme. But they love soft bigots who function like the hooker with the heart of gold in fiction. 

Soft bigots like Archie Bunker, George Jefferson, and Fred G. Sanford were always funny, even endearing. Despite their outward bigotry, they had a heart and, when push came to shove, could be expected to be on the side of sentiment. And sometimes, Archie Bunker was closer to the truth than overly idealistic and naive Meathead. Dirty Harry was a soft bigot, a role Eastwood reprised in GRAN TORINO.

At the end of Dirty Harry, Callahan looks like he is quitting the police force and going rogue.

No, it looks like he’s calling it quits for good. There’s no indication that he’s going rogue. He’s just walking away. System is soft, thugs are brazen, and he’s sick & tired of being a tough guy against rough guys in a system gone too soft. He’s not planning to be Judge Dredd.

It turns out that the culprits are four good-looking white motorcycle cops played by David Soul, Robert Urich, Tim Matheson, and Kip Niven. Of course the “real” Harry Callahan would have been mentoring young men like this, not trying to arrest them.

No, Callahan would never have mentored them to be vigilantes. He is above all an individual, something of a loner. He did it his way in DIRTY HARRY because HE felt it was right. He resents having his decisions(based on experience) blocked by some paper pusher, but neither does he want to be a ringleader forcing his agenda on others. Callahan is a case of pulp existentialism. He doesn’t claim to know the truth or the way for all times and all places. Rather, based on experience and intuition, he believes his way is best for himself in a town he knows like the back of his hand. But, he doesn’t believe his way should be The Way for the system or for others. Pauline Kael mentioned Ayn Rand in her review of DIRTY HARRY, and there is indeed something similar between Harry Callahan and Howard Roark. Roark believes his way is right for himself. He doesn’t want to be told what to do, but then, he would never tell others to do it his way. Everyone has to know himself and find his own right way.

The scenario of MAGNUM FORCE is a dark reflection of the system in the original. Whether too-soft-and-liberal or too-authoritarian-and-hardline, both systems are about some paper-pushing bureaucrat turning theory into practice with automatons who only know how to follow orders. So, if cops in DIRTY HARRY are expected to mindlessly follow the ‘liberal’ line, the cops in MAGNUM FORCE are trained to follow authoritarian dictates. Callahan sees both ways as mindless and faceless, an abandonment of individuality in total submission to the system.
Also, if the evil mastermind in MAGNUM FORCE is secretly building up a new police corp., he isn’t really going rogue but crypto-statist. And who knows how this power may be used in the future if it becomes the New Way? After all, conservatives assumed that the US military and US police are bastions of conservatism, but the US military is now the warring force of globo-homo and miscegenation(and war drums are sounded by progs and libby-dibs). And US police stand idly by while Antifa thugs attack American patriots and move into action to arrest the patriots who dare to fight back.

So, in a way, the concerns raised by MAGNUM FORCE are relevant. While the Holbrook character may be building up a new authoritarian police force to fight crime, once instituted who is to tell how it will be used? After 9/11, we were told the Patriot Act was to defend us from terrorists, but under Obama the US was working with Alqaeda, and worse, we are now told that half the nation are potential ‘domestic terrorists’. Patriot Act is now being turned on Americans as the enemies of the state.

Today, the libby-dibs wanna go ‘rogue’ with the Constitution and are cheering suppression of free speech by invoking ‘hate speech’ and thought criminals. Supposedly, we are so evil that lawyers and journalists must stop upholding age-old principles and use whatever means to shut us down.

And according to TIME mag, it was so inspiring for a cabal of Jewish oligarchs and elites to use extra-legal means to rig the election in favor of Joe Biden because Donald Trump is unfit for their idea of ‘democracy’. Whether it’s called going rogue or going gangster, it can be turned against you… like Germany’s use of poison gas in WWI. When the wind shifted, the gas came right back.

Clean Harry argues (1) that vigilantism is a slippery slope that will lead to shooting people over parking tickets, which is absurd, and (2) that the system may be broken, but it is the only one we’ve got, and we can’t let go of it, which is Republican

Harry’s argument isn’t really about vigilantism per se. Brigg(Holbrook) isn’t just an angry official lashing out at thugs and crooks in a city going down the sewer. He’s trying to institutionalize what is considered ‘vigilantism’ into a new system of law and order. He’s trying to create a deep state within the police system. But if such power becomes reality, there’s no guarantee it will be used only to fight thugs and criminals. It can be politicized. Vigilantes tend to be individuals than institutions. 60s radicals of the Long March through the institutions proved that what was once ‘radical’ and ‘seditious’ could become the New Normal and Obligatory Officialdom. The rogue can become the new vogue.

Over the years, the militarization of the police has taken place. Also, Charlottesville taught us about how the system can use an authoritarian police force to violate the rights of free speech and free assembly. The police didn’t stand by the Constitution but took orders from Jewish and black bosses to use magnum force against the Alt Rightists, pushing them into crowds of Antifa and other scum.

The current order of lawfare and militarized police force don’t shoot people for parking tickets, but James Field in sitting in jail for 500 yrs for what was, at most, manslaughter.
In our time, the question isn’t “Is the legal system too soft?” or “Is the legal system too tough?” but “Why is the legal system so soft on some people, esp. Jews, homos, & blacks, while so tough on others, especially white conservatives, populists, and nationalists?” If you’re a Jewish gangster who stole billions and support Zionist terrorism, you get pardoned and walk freely. But if you’re a white patriot, the banks deny you service, you get fired, and you can be dragged to prison for fighting back against Antifa.

Magnum Force was directed by Ted Post. I didn’t need to visit Wikipedia to know that he made his career in television.

Ted Post was a decent journeyman director who worked with big stars.

On its release in 1978, “Go Tell the Spartans” received respectful reviews in major newspapers and a few raves. Stanley Kauffmann of The New Republic called it “the best film I’ve seen about the Vietnam War.” But appearing in theaters at virtually the same time as the better-financed and better-publicized Vietnam films “Coming Home” and “The Deer Hunter,” it failed at the box office.
“Spartans” began receiving a second look when the influential film quarterly Cineaste published an article in 1983 comparing it favorably to “The Deer Hunter,” “Coming Home” and Francis Ford Coppola’s 1979 epic, “Apocalypse Now.” The article, by the film historian Rob Edelman, helped spur the movie’s re-release in 1987.
Upon the re-release, the film historian Burt Cadullo wrote, “It’s time that this film received the recognition it deserves,” but “Spartans” still performed poorly in theaters.

The allegedly clever line that Harry repeats is, “A man’s got to know his limitations,” which is a far cry from, “Do you feel lucky?”

Most Dirty Harry lines mean little on their own. They have meaning within the context; they work like jokes, and the final line in MAGNUM FORCE does work in timing and delivery. It’s like Blondie’s line THE GOOD, THE BAD, AND THE UGLY.

It’s why some of the most famous movie lines are actually pretty dull or lame minus the context, like song lyrics without the music. Take the line “I’ll be back” in THE TERMINATOR. On its own, it’s hardly Shakespeare, but in that scene where the killer robot crashes the car through the station and lumbers down the hall with rifles, it’s classic.
Lines in a play must rely on the power of words alone, whereas words in movies often serve as mere counterpoint to the spectacle. Like John Wayne’s “That’ll be the day” that, on its own, is dull but takes on various meanings within the context ranging from comic to tragic.

Harry is paired with a female rookie (Tyne Daly), .. But her lack of experience gets her killed while rescuing the mayor. Thus The Enforcer actually amounts to a powerful critique of affirmative action and the political flakes who push it.

This is simply not true and you’re projecting your ideological bias onto the scene. The movie shows her to be quite capable, a fast learner. Also, her death isn’t the result of lack of experience(and if it were, it could be remedied with MORE experience) but of risking her own life to save Harry’s. When she yelled, “Look out”, Callahan’s back was turned to the killer who could have blown him away. Her warning saved his life, and she took the bullets meant for him. Thus, it is Callahan who owes her one. Also, she’s professional enough to tell Callahan to go save the mayor than concern himself with her. So, she dies with honor.

Harry suspects that Jennifer is the real killer, but since Mick has the murder weapon on him, Harry pins the other murders on him and lets Jennifer walk away. It is a bizarre ending. It is not really an endorsement of vigilantism, however, because Harry doesn’t actually know why Jennifer is killing these people. It is just a bizarre lapse of responsibility.

How could Callahan not know when she spelled it all out?

“Read me my rights? And where was all this concern for my rights when I was being beaten and mauled? And where were my sister’s rights when she was being brutalized? There is a thing called justice Callahan, and is it justice that they should all just walk away?”

 There have been three major arguments against vigilantes.

1. Even if the aggrieved go after the real villains, there is no due process. Thus, justice itself becomes criminal.

2. Even if the guilty are caught and punished, the vigilantes may go overboard in vengeful sadism and resort to cruel & unusual punishment. Like torture and horrible lynching. While prog-types condemn the lynching of blacks in the South(deemed ‘racist’ and cruel even when blacks were guilty), they seem to delight in their own torture-porn revenge fantasies. There was a nasty piece of work called HARD CANDY(though its pedo-gate vibes might appeal to the pizzagate crowd). Blacks and progs loved DJANGO UNCHAINED where a black guy and a German take the law into their own hand against slave masters and ‘racists’. Blacks reveled in the bloodbath, and there was a movie recently called MA where a fat black woman takes revenge on white kids. And a movie called INVISIBLE MAN had a white woman allying with a noble black man(LOL) to kill an evil white male. And blockbuster GIRL WITH THE DRAGON ASS TATTOO movies are vigilante movies as anti-Nazi fantasies. In a way, many Nazi-hunter movies are vigilante in nature. Jews go rogue to catch Nazi criminals and bring them to justice.

Atom Egoyan’s trashy and sleazy —how he has fallen as an artist — REMEMBER, like BOYS FROM BRAZIL, is about a 'Jew' who goes rogue to hunt down Nazis. (Actually, it has a twist ending, but you get the point.)

GIRL WITH THE DRAGON TATTOO might be called leftist, but are the revenge fantasies of Jews and blacks leftist or rightist? If they are about pursuit of justice, they could be called leftist, but if the rage is driven by tribal animus, they’d be rightist. Leftism is about Us over Them, whereas Rightism is about Us vs. Them.

The vigilantism in Clint Eastwood's THE UNFORGIVEN is closer to leftism because the men are motivated, at least ostensibly, by a sense of injustice over what was done to a woman. But the revenge fantasy of something like SWEEET SWEETBACK’S BLACK ASS SONG seems driven by racial animus, thus it could be called black-tribalist(if not exactly rightist).

Vigilantism becomes further confused when crime itself is regarded as a form of crude justice.
Some vigilantes are surely law-and-order types who venture outside the law to get the criminal. And yet, in going outside the law, they are nominally criminals themselves. But, what about those who turn to crime itself as righteous rebellion against society? Thus, crime itself becomes a kind of vigilantism. Black mentality works this way. They commit crime on the self-serving premise that they are OWED by a ‘racist’ society. A strain of leftism, especially in vogue in France in the 60s, encouraged acts of crime as revolutionary acts of justice.

3. The biggest problem of vigilantism is catching, tormenting, and/or killing the wrong person. If the system of due process can sometimes convict and execute the wrong person, a vigilante gang has a far bigger chance of hanging the wrong horse thief. Frontier justice was problematic for this reason, and movies like OX-BOW INCIDENT illustrated the danger of vigilantism. Three men are hanged but they turn out to be innocent of the crime. And in Henry King's THE BRAVADOS(starring Gregory Peck), the hero catches up to the villains and kills them… only to discover out he killed the wrong men. The men are bad alright but not guilty of the crime that obsesses Peck's character.

MAGNUM FORCE is actually consistent with the theme of DIRTY HARRY. Callahan is quintessentially American. He has a frontier mentality and believes in manhood and violence. But he’s all about freedom and standing on his own two feet. He will never sacrifice freedom and individuality in the name of Order. He’s not the enemy of freedom and liberty. He’s the enemy of naivete and political opportunism. Some legislators just don’t know the reality, and some politicians are more interested in public opinion polls. So, he feels he must go the extra mile to do what’s right on occasion. Still, he’s a defender of freedom, thus very much a John-Wayne-like character. John Wayne characters believe in toughness and violence but would never give up freedom and liberty. In THE SEARCHERS, he goes his own way and does it his way.

In contrast, the crypto-fascist cops in MAGNUM FORCE are about Order uber Freedom. They are committed to rooting out crime but their agenda goes much further. They have no use for freedom or liberty. They are about conformity, not individuality. They take orders from above and do as told, and they speak like clones. They are like Stepford Cops. Harry is somewhat like Gary Cooper's character in MEET JOHN DOE. 'John Doe' wants something better but doesn't want to be a tool of an power-mad organization that seeking to impose its will over the populace. It's part of the American Ethos of individualism and freedom, though it may have been more myth than reality where the real power was concerned. After all, while Jews were certainly for individuality, they were also for tribal-communal-unity. Jews feared German collectivism far more than Anglo-American individualism because collective unity leads to amassing of real power and could be used effectively against Jews.

And in a way, they were prescient of the national security state that really took hold after 9/11, what with Bush II saying, “If you’re not with us, you’re against us.” And Jewpet Biden intends to broaden the War on Terror… this time against ‘deplorables’. Of course, the insane Jewish power plays it both-ways-schizo. It will sometimes rile up BLM & Antifa mobs and call for ‘defunding the police’ in the name of combating ‘systemic racism’. This throws a bone to the radicals and black voters. But when Jews feel threatened by white populists, they will totally be for law-and-order and turn DC into an armed camp and hail the police as heroes.

This was the danger of National Socialism. True, there was a need for stability and order from the chaos and degeneration of Weimar Period, but should people have surrendered their freedom and individuality to radical authoritarianism? Could they be sure that the New Power would limit itself to national restoration? Hitler couldn’t stop once the goals of national renewal were met. He had bigger expansionist ideas that led to war, and by that time, Germans couldn’t do anything about it because they’d given up all their rights and freedom to the Fuhrer.

So, in that sense, DIRTY HARRY isn't really fascist. Upon release, it was a retro-Western in contemporary setting. It was about anger and violence, but it was never about surrendering individual freedom for order. If anything, it is a message of ultra-individualist rebellion against Liberal Statism premised on naivete and cynicism. Unlike fascism, it wasn’t calling for more statism as the solution but more individual freedom to deal with criminals.

So, Callahan of MAGNUM FORCE is very consistent with the incarnation in the first film.

Incidentally, Jews called Trump ‘fascist’ for asking the military to do something about BLM riots, but after the Capitol building was occupied for a couple of hours, Jews and Democrats went ‘full-fascist’ and turned the whole city into a military zone. So, as usual, it all comes down to “Is it good for Jews?” 

Jews are in heaven in the US. Just think. Jewish Capitalists use ‘commies’ to attack ‘nazis'(the deplorables), but the ‘nazis’ defend the capitalists from the ‘commies’. ROTFL. Jewish oligarchs use Antifa against Deplorables, but Deplorables gripe about ‘socialists’ who supposedly threaten the capitalism of the oligarchic class of Jews... who use Antifa against the Deplorables. Why, it’s like a man using dog A to attack dog B but dog B defending the man from dog A. Total Clown Show. If Deplorables had any sense, they would be for socialism of the national kind.

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