Dirty Harry is the name of a series of films and novels featuring fictional San Francisco Police Department Homicide Division Inspector "Dirty" Harry Callahan, portrayed by Clint Eastwood. Eastwood's character also helped popularize the .44 Magnum, as Harry Callahan is famously shown wielding his Smith & Wesson Model 29 revolver.
Dirty Harry (1971), directed by Don Siegel. In this film Harry tracks serial killer Scorpio. Eastwood's iconic portrayal of the blunt-speaking, unorthodox detective set the style for a number of his subsequent roles, and the box-office success of the film led to the production of four sequels. The "alienated cop" motif was one subsequently imitated by a number of other films. This film features Eastwood intoning, "You've got to ask yourself a question: Do I feel lucky? Well, do ya punk?" (The line is often misquoted as "Do you feel lucky, punk?")
This movie became iconic, mirrored by other movies, especially the rest of the Dirty Harry films, because it was a portrayal of social protests, pointing out that it was easier for the justice system to protect potential suspects ahead of enforcing the rights of victims while ignoring citizens who were in danger or who had been murdered. It was the fourth highest grossing film of 1971 after Fiddler on the Roof, The French Connection, and Diamonds Are Forever.
Dirty Harry is a 1971 American crime thriller produced and directed by Don Siegel, the first in the Dirty Harry series. Clint Eastwood plays the title role, in his first outing as San Francisco Police Department Inspector "Dirty" Harry Callahan.
Dirty Harry was a critical and commercial success and set the style for a whole genre of police films. The film was followed by four sequels: Magnum Force in 1973, The Enforcer in 1976, Sudden Impact in 1983 (directed by Eastwood himself), and The Dead Pool in 1988.
A sadistic serial killer calling himself "Scorpio" (Andy Robinson) murders a young woman in a San Francisco swimming pool, using a high-powered rifle from a nearby rooftop. SFPD Inspector Harry Callahan (Clint Eastwood) finds a ransom message promising his next victim will be "a Catholic priest or a nigger" if the city does not pay $100,000. The chief of police and the Mayor (John Vernon) assign the inspector to the case.
While in a local diner, Callahan sees a bank robbery in progress and, alone with his revolver, he kills two of the robbers and wounds a third, challenging the man lying near a loaded shotgun:
Clinton "Clint" Eastwood, Jr. (born May 31, 1930) is an American film actor, director, producer, composer and politician. Eastwood first came to prominence as a supporting cast member in the TV series Rawhide (1959–1965). He rose to fame for playing the Man with No Name in Sergio Leone's Dollars trilogy of spaghetti westerns (A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly) during the late 1960s, and as Harry Callahan in the Dirty Harry films (Dirty Harry, Magnum Force, The Enforcer, Sudden Impact, and The Dead Pool) throughout the 1970s and 1980s. These roles, among others, have made him an enduring cultural icon of masculinity.
For his work in the films Unforgiven (1992) and Million Dollar Baby (2004), Eastwood won Academy Awards for Best Director and Producer of the Best Picture, as well as receiving nominations for Best Actor. These films in particular, as well as others including Play Misty for Me (1971), Thunderbolt and Lightfoot (1974), The Outlaw Josey Wales (1976), Escape from Alcatraz (1979), Tightrope (1984), Pale Rider (1985), Heartbreak Ridge (1986), In the Line of Fire (1993), The Bridges of Madison County (1995), and Gran Torino (2008), have all received commercial success and critical acclaim. Eastwood's only comedies have been Every Which Way but Loose (1978) and its sequel Any Which Way You Can (1980), which are his two most commercially successful films after adjustment for inflation.
You swing your hips and then you wave me over
Your eyes are so blue
I stroke your lips, you call me casanova
Oh honey you
Star in this film every single night and every single matinee
You should be here to bring it all to life
Oh I'm just a phone call away
We lie and listen to the raindrops falling
That's all we do
But the phone rings, and you laugh because it's your husband calling
Oh darling you
Star in this film every single night and every single matinee
You should be here to bring it all to life
Oh I'm just a phone call away
And then you could be who you want to be
As long as you are near
What are you waiting for?
Everything you need is here
Just come and sleep with me
You must know what I mean
You've seen this film before
This is the final scene
Star in this film every single night and every single matinee
You should be here to bring it all to life
You gonna keep this up
Keep on falling, keep on falling
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Stop position, opposition ain't no competition
Stop position, opposition ain't no competition
Stop position, opposition ain't no competition
Stop pretending propositions full of contradictions
Ain't no love for you haters from the other side
Call the blind when you see in you're easing up my time
For the way that I do it, all wise no, no mind blowing
Your mind taking a stool
Fine showing that God loaded
You to a highway to new force
Dumb nigger why hate? Cause you say no to learning something
Loaded locks I can't, what you say no to learning something
Loaded locks I can't, what you say no to learning something
Putting you to the back I put a point yellow all through this back
You the killer baby know my case
No feeling put the money in the seif
Came a man honest when we posing
Bitch can't tell my I-Ge
Bullshit on the map like you won't eat
Whatever you do nigger keep rowing
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
What and listen how I'm living in my compositions
Honest missions of beloved straight above the mission
In fact you give it to the bricks that needs a touch
Wait let me get it, put you with my man Lux
Shit they prolly saying in the musty faces
Say shoot that hoe don't trust
And the club hatin we love makin with the shit you prolly won
Fuck nigger why hate? Cause you ain't known to getting money
Caught up in the gang feeling like I joined a gang and did it all for the name
Loyalty's a game but the industry's full of niggers and they all got game
Only for the cameras, only for the cameras
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
Money talk when I walk in
Broke niggers be crying
I don't drink but yeah 100 pink of that ride
Rose is for cry I'm just swinging low with my sway
Hooligans they flexing
Bad ones on my girls bad and my instagram
No taxi, and yea I'm single like a dollar bill
Curved it all and I'm trying to chill
Count a mill, hide the bill and got time to'
Niggers film me cause your girl is real
Bitches film me say your girl is thrill
Cause I'm bout that, I bounce that
This be money that mouse trap
Yeah we in there, riding round in that gatti
No murder ink when I'm killing shit
And I'm finna capture that body
So back back if I bang the boy
Cause I'm in straight for yo Benjamin
This came up with some new money
That shit ain't no coincidence
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
I can't explain, but I'm willing
Caught up in fame what a feeling
All of the lights, we in the building
Them cameras beaned up, babe keep on film me
Whatever you do you know you gotta keep on film me
Keep on film me, keep on film me
Them cameras beaned up, babe keep on film me
You know how I show you respect? By showing you nothin
Get ready, count these millions