Coogans Bluff Movie In Hindi Hd Free Download

Coogan's Bluff Movie In Hindi Hd Free Download

Coogan, an Arizona cop, is sent to New York to collect a prisoner. Everyone in New York assumes Coogan is from Texas, much to his annoyance. To add to Coogan's problems the prisoner isn't ready, so he decides to cut a few corners. In the process the prisoner escapes, and Coogan is ordered home. Too proud to return home empty handed, Coogan sets out into the big city to recapture his prisoner.
Coogan's an Arizona deputy sheriff, who doesn't get along with his boss and doesn't exactly do things by the book, and also a little arrogant. Fed up with his rugged individualness, his boss sends him to New York to get a man who's waiting to extradited. Upon arriving everybody thinks he's just another bumpkin. When the New York Police Lieutenant tells him that his prisoner is still not ready to be transported, Coogan tries to be patient. But when he decides that he can't wait anymore, he tricks one of the attendants into releasing the prisoner and at the airport someone springs him. Coogan's boss is pleased that he has screwed up so bad, and orders him to return but Coogan feeling responsible or his ego has been bruised stays and tries to find despite being warn by the Lieutenant that he has no authority here.
For a pre-Dirty Harry tune-up, this one didn&#39;t really get the job done to my mind. Clint Eastwood is one of my favorites, but he didn&#39;t have much personality here, meaning he was pretty one dimensional in his approach to the title character. Not even that signature scowl of his that made the Man With No Name so much fun to watch. If I didn&#39;t know better, I would have thought he was still developing his craft at this point in his career, but he already had the spaghetti Western films to his credit by this time. Maybe it was the switch in genre that derailed his concentration; I just didn&#39;t find a lot to like about Coogan.<br/><br/>Not to mention that the film is severely dated. Back in the Sixties, folks like Tom Wolfe OD&#39;d on book titles like &#39;The Kandy-Kolored Tangerine-Flake Streamline Baby&#39;, while Tommy James and the Shondells were belting out stuff like &#39;Crimson and Clover&#39;. So when Coogan and Linny Raven (Tisha Sterling) walked into The Pigeon Toed Orange Peel, it was all I could do to suppress a long groan. Could we possibly have endured an era like that and survived? Don&#39;t worry, a decade from now I&#39;ll have something similar to say about the Lady Gaga generation.<br/><br/>Story wise, this one was on a level with your basic TV cop movie, and they&#39;re a dime a dozen. The pool room brawl dealt a couple minutes of energy, but did you notice - for all the beating Coogan took to the head and face, he didn&#39;t have a mark on him the next day. There was also a fairly big disconnect for me whenever the transition was made from the bright lights of the big city to the Hudson River countryside in a matter of seconds, as in the motorcycle chase scene near the end. That just wouldn&#39;t have been realistic for anyone starting out in mid-town, no matter how fast you can gear up your bike.<br/><br/>The most impressive thing in the whole movie for me, seriously, was the final scene when the helicopter took off from the top of the Pan-Am building and you had that dizzying panoramic sweep of the city below. It&#39;s too bad it took an hour and a half to get there, as an opener that scene might have given the flick an entirely different flavor.
Coogan&#39;s just got into New York from Arizona- not Texas, mind you, as it&#39;s the running gag of sorts- and is out to get a prisoner to transfer. He captured him once before, and it took him eight days to do so. He doesn&#39;t have time for bureaucratic resistance, and goes right to Bellevue to hoist him out via a clever bluff. But he gets double-crossed by the prisoner&#39;s fellow hippie-cronies, who knock him out right at the heliport. Now he&#39;s on a one-track mind: catch him at any cost. This is the premise of Don Siegel&#39;s first directed film featuring his five-time star Clint Eastwood, and it&#39;s a film of the moment and one that speaks to what&#39;s to come: Eastwood as a tough-as-nails vigilante who won&#39;t take crap from the local brass and wont be nice in trying to round up his subject via questioning or getting in fights with nefarious Manhattanites. But it&#39;s a little odder still to see Eastwood as Coogan play a ladies man, who is charming if only in the &#39;hey baby, my look will melt you like butter&#39; way. There&#39;s even a sub-plot, definitely the least interesting and only necessary as a bit of means to get to the rest of the story, where Coogan gets emotionally (though not at all physically) involved with Julie Roth (Susan Clark), a probation officer with a good conscience and slightly skewed views on relationships.<br/><br/>The story itself is strongest not when Coogan is straying from the central goal, to get his man at any cost. Unlike future Siegel/Eastwood endeavors, this one doesn&#39;t have much by way of Eastwood in personality terms. He&#39;s sort of two-note, either lean and gritty, either dealing with cops or criminals, or a smooth-talking guy who spends his time off the case trying to get some tail. So when he does stick to the main goal, Siegel is able to get some strong and fun scenes out of the script. I liked when he went to visit the criminals mother, to get any leads, and is careful not to step over the lines and still had to deal with this hard-bitten woman who will stand up for her wicked son no matter what. Or, as cheesy as it is- though not in the careful and deductive Siegel style- the scene where Coogan has to maneuver his way through a hippie club, with strobe lights et all, hardly the thing one would ever think of seeing Eastwood (in a cowboy hat and boots no less) walking through.<br/><br/>And as it is meant to be a cool action thriller, there&#39;s a tight fight scene in a billiards, and a very excitingly executed motorcycle chase through the polo-grounds. It&#39;s not anything I&#39;d rank as being great, as it&#39;s repetitive as a means to cover up some more inventive ideas at the screenwriters&#39; disposal (yes, he&#39;s from Arizona, not Texas, the exception being Coogan&#39;s ability to be sneaky when apprehending a suspect as it pops up late in the film after an intriguing beginning), plus with the dull romantic side-bar. But there&#39;s enough scenes where it&#39;s quintessential Eastwood, of him being simple and direct and to-the-point as a cop on a mission can be, and even Lee J Cobb turning in a good turn as an even hard-ass NY cop who plays totally by the books (with the exception of the end, which is a little unclear). A good Eastwood vehicle with some impressive locations and very good Schifrin score, though don&#39;t expect it to be a ground-breaker like a Dirty Harry or as unconventional as the Beguiled.

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