John-Vernon Movie Reviews

The film tells the story of a Missouri farmer who, towards the end of the Civil War, finds his home overrun by renegade union soldiers who set fire to his homestead, kill his wife and son, and leave him for dead. After burying his family, he joins a group of confederate guerillas who have suffered similar tragedies. Ultimately, the war ends and their leader brings them in for surrender, except for Josey Wales, who watches their surrender from afar. Good thing he did not join them, as their surrender turns into an execution by the very same men who had pillaged his home and killed his family.

Wales escapes only to be relentlessly hunted down by the very men who had wronged him, as well as by bounty hunters who want that five thousand dollar reward offered for his capture. Wales rides on to escape them, and along his travels acquires a motley entourage whom he befriends and who befriend him. What happens on his journey is classic Eastwood.

Clint Eastwood plays his role as a stoic man of few words, while Chief Dan George is an absolute delight as part of Wales' entourage. The rest of the cast is uniformly excellent. Of course, Sandra Locke, as Eastwood's real life main squeeze at the time, got star billing, even though her role was one of the smaller ones and her performance the least impressive of the supporting cast.

This remains one of the more entertaining films in this genre. It also made Hollywood sit up and take serious notice of Eastwood as a major force in the film industry.

At first glance, I found it overlong and meandering, enlivened only occasionally by some trademark Eastwood gunplay. But if it's a little short on the action for which Eastwood made his name, repeated viewings make it clear that there is much more happening beneath the surface. The Outlaw Josey Wales is very much a film about community and trying to find a place in one. Josey Wales is an outlaw only because he avenged the death of his family at the hands of murderous Union soldiers. Now a hunted man, this peaceful farmer is an Angel of Death wandering the west in search of vengeance but also a place to call home. Its scope is much bigger than the revenge tale at its center, and the film represents an important step in Eastwood's maturation as a director.

Beautifully photographed, splendidly acted (especially by John Vernon), and capably directed, "The Outlaw Josey Wales" is one of Eastwood's finest hours (although "Unforgiven" is superior in my book), and one of the finest hours for the western, as well.

The film tells the story of a Missouri farmer who, towards the end of the Civil War, finds his home overrun by renegade union soldiers who set fire to his homestead, kill his wife and son, and leave him for dead. After burying his family, he joins a group of confederate guerillas who have suffered similar tragedies. Ultimately, the war ends and their leader brings them in for surrender, except for Josey Wales, who watches their surrender from afar. Good thing he did not join them, as their surrender turns into an execution by the very same men who had pillaged his home and killed his family.

Wales escapes only to be relentlessly hunted down by the very men who had wronged him, as well as by bounty hunters who want that five thousand dollar reward offered for his capture. Wales rides on to escape them, and along his travels acquires a motley entourage whom he befriends and who befriend him. What happens on his journey is classic Eastwood.

Clint Eastwood plays his role as a stoic man of few words, while Chief Dan George is an absolute delight as part of Wales' entourage. The rest of the cast is uniformly excellent. Of course, Sandra Locke, as Eastwood's real life main squeeze at the time, got star billing, even though her role was one of the smaller ones and her performance the least impressive of the supporting cast.

This remains one of the more entertaining films in this genre. It also made Hollywood sit up and take serious notice of Eastwood as a major force in the film industry.

At first glance, I found it overlong and meandering, enlivened only occasionally by some trademark Eastwood gunplay. But if it's a little short on the action for which Eastwood made his name, repeated viewings make it clear that there is much more happening beneath the surface. The Outlaw Josey Wales is very much a film about community and trying to find a place in one. Josey Wales is an outlaw only because he avenged the death of his family at the hands of murderous Union soldiers. Now a hunted man, this peaceful farmer is an Angel of Death wandering the west in search of vengeance but also a place to call home. Its scope is much bigger than the revenge tale at its center, and the film represents an important step in Eastwood's maturation as a director.

Beautifully photographed, splendidly acted (especially by John Vernon), and capably directed, "The Outlaw Josey Wales" is one of Eastwood's finest hours (although "Unforgiven" is superior in my book), and one of the finest hours for the western, as well.

The Outlaw Josey Wales (1976) is a personal favorite of mine from childhood, and was the second Western Eastwood directed himself; the first was 1972's High Plains Drifter. It features a compelling story, beautiful cinematography, and a fully realized protagonist. The latter is a welcome change of pace from the characters in the Leone films and High Plains Drifter, who were loners with no name and no past.

Wales is a dirt farmer in Missouri shortly after the Civil War whose wife and young son are murdered by a renegade Union cavalry unit called the Red Legs, under the command of the evil Captain Terrill. Wales falls in with the Missouri Bushwhackers, a group of similar men who ride the Ozarks fighting a guerilla war against the Union even after the War has ended. They are under the command of Fletcher, who persuades them to turn in their guns and surrender to the Union. Only Wales refuses, and only Wales and Fletcher survive-Wales because he flees, Fletcher because he reluctantly betrays his men, who fall before a Gatling gun as they take an oath of allegiance to the Union. When it becomes known that Wales is the lone survivor, a price is put on his head and Terrill and Fletcher set out after him. Wales embarks on a journey that will take him to Texas en route to Mexico, and ultimately to bloody revenge.

Along the way he picks up a few friends: an elderly Cherokee man, a young Apache woman, and a family of Kansas Jayhawkers, including a troubled young woman played by Sondra Locke, Eastwood's longtime live-in companion (this is quite possibly the only role in which I find her even remotely appealing). Eastwood has memorable lines galore and seems to walk around in a perpetual cloud of cordite, spitting tobacco juice on the face of anything and everything around him; in other words, this is a classic.

All in all, this is probably my favorite Clint Eastwood Western, but there is one troubling aspect to the film. The degree to which it acts as an apologist text for the Confederacy can sometimes be a bit much. Anyone from North of the Mason-Dixon line who wants to know how English audiences felt about The Patriot is urged to screen this film-its bias is naked. The Union Army is portrayed as an honorless bunch of ruffians and murderers; the only mention made of slavery is a scene in which the young Native American woman Wales rescues remarks that his actions mean that he now owns her. Wales replies simply that he "doesn't want to own anyone," and the matter is never mentioned again. Considering the source, I suppose this is to be expected. TOJW is based on an at the time unpublished novel entitled Gone to Texas, by Forrest Carter. Carter is better known for his controversial fictitious autobiography The Education of Little Tree (about his imaginary childhood as a Native American boy - guess he forgot he's always been just a hateful Cracker), but his best-known work is probably the speech he wrote for Alabama Governor George Wallace's inauguration, the highlight of which was "segregation now, segregation tomorrow, segregation forever!" He also headed a chapter of the Ku Klux Klan at one time. It explains a lot. If you can simply accept the film on its own terms, it certainly will not detract from your enjoyment (at least two of my ancestors fought for the Union, one in a fairly high-ranking position, and it's still a sentimental favorite), but you have been warned.

On the positive side, Warner Home Video's DVD presentation is flawless-the print used was obviously the absolute best that could be found, with excellent sound and color as crisp as the day it premiered. There's nothing much in the way of extras except for a large collection of trailers for other Westerns, but the film itself is gloriously presented in its original aspect ratio and will only set you back about fifteen bucks. There is absolutely no excuse for anyone who collects Western film not to own this film.

As far as a film is concerned, it is a very good tale of revenge and devotion to friends. Eastwood is great as the title character and the film has some very good supporting performances. The exteriors where the film was shot are beautiful and are just as good on DVD as in reality.

The DVD is a great, inexpensive version of a great Western. The 16:9 widescreen version of the film highlights the colors and tones that were filmed by Eastwood. The color is good as well as the Dolby 5.1 Surround Soundtrack. There is also a French soundtrack (which is very humorous when Eastwood utters the best line of the film, "You going to pull them pistols or whistle Dixie"). The disc also contains trailers to many other Westerns as well as the trailer for Outlaw Josey Wales.

You should not miss this great DVD. The price is right and the movie is one of Eastwood's best. This is one of the better looking westerns that I have in my DVD collection. If you love great westerns and movies about the American Civil War, you will love this DVD!

Others here have reviewed this top-notch movie better than I could, so I'll just give my impressions of the quality of this release.

I don't know how many different DVD versions of this movie were ever released, but as far as I'm concerned, this is the best one, with remastered audio and video. The sound quality is simply superb--I have many DVD movies, and this one is by far the best, both in terms of audio and video quality. Considering it comes in the flimsier fold-out cardboard flap over plastic case, I was surprised at how good the quality of the actual disk is. The picture quality is simply stunning; I don't know how else to adequately describe it. It's the widescreen "letterbox" format, which gives you the entire theater screen including the left and right sides that fullscreen releases chop off in order to fill up the whole screen. Letterbox is the only way to go if you want to see the entire wide picture you get at the theater. Most of you already know this; I only mention it because I know there are still some who do not. This release is dual-layer format and is enhanced for widescreen TVs. The movie itself runs 2 hours and 15 minutes. Special features: Soundtrack remastered in Dolby Digital 5.1. 1976 Documentary "Eastwood In Action" (approx. 8 minutes). 1999 Documentary "Hell Hath No Fury: The Making Of The Outlaw Josey Wales" (approx. 30 minutes and a fascinating look behind the scenes including documentary footage from the making of the movie showing Eastwood in the act of directing). A very brief introduction to the movie itself by Clint Eastwood (approx. 1 minute). Subtitles in English, French, and Spanish. Languages in English and French. Production notes. Theatrical trailer. Scene Access.

Again, I cannot stress how good this edition looks and sounds. Even the darkest scenes are vivid and clear. Image throughout the film is extremely crisp. A very slight pause midway as the player switches layers, but that's normal with the Dual-Layer format, and it was hardly noticeable. The audio is amazing, with gunshots and explosions reverberating through my floorboards. Turned up through a simple decent stereo system, you will *feel* this movie. Whoever did the audio/video remastering did a fantastic job. The best I've ever seen. This would be worth it at twice the price. The only giveaway to the low price is the cardboard-flap-type case. You simply can't go wrong here.

The Outlaw Josey Wales (1976) is a personal favorite of mine from childhood, and was the second Western Eastwood directed himself; the first was 1972's High Plains Drifter. It features a compelling story, beautiful cinematography, and a fully realized protagonist. The latter is a welcome change of pace from the characters in the Leone films and High Plains Drifter, who were loners with no name and no past.

Wales is a dirt farmer in Missouri shortly after the Civil War whose wife and young son are murdered by a renegade Union cavalry unit called the Red Legs, under the command of the evil Captain Terrill. Wales falls in with the Missouri Bushwhackers, a group of similar men who ride the Ozarks fighting a guerilla war against the Union even after the War has ended. They are under the command of Fletcher, who persuades them to turn in their guns and surrender to the Union. Only Wales refuses, and only Wales and Fletcher survive-Wales because he flees, Fletcher because he reluctantly betrays his men, who fall before a Gatling gun as they take an oath of allegiance to the Union. When it becomes known that Wales is the lone survivor, a price is put on his head and Terrill and Fletcher set out after him. Wales embarks on a journey that will take him to Texas en route to Mexico, and ultimately to bloody revenge.

Along the way he picks up a few friends: an elderly Cherokee man, a young Apache woman, and a family of Kansas Jayhawkers, including a troubled young woman played by Sondra Locke, Eastwood's longtime live-in companion (this is quite possibly the only role in which I find her even remotely appealing). Eastwood has memorable lines galore and seems to walk around in a perpetual cloud of cordite, spitting tobacco juice on the face of anything and everything around him; in other words, this is a classic.

All in all, this is probably my favorite Clint Eastwood Western, but there is one troubling aspect to the film. The degree to which it acts as an apologist text for the Confederacy can sometimes be a bit much. Anyone from North of the Mason-Dixon line who wants to know how English audiences felt about The Patriot is urged to screen this film-its bias is naked. The Union Army is portrayed as an honorless bunch of ruffians and murderers; the only mention made of slavery is a scene in which the young Native American woman Wales rescues remarks that his actions mean that he now owns her. Wales replies simply that he "doesn't want to own anyone," and the matter is never mentioned again. Considering the source, I suppose this is to be expected. TOJW is based on an at the time unpublished novel entitled Gone to Texas, by Forrest Carter. Carter is better known for his controversial fictitious autobiography The Education of Little Tree (about his imaginary childhood as a Native American boy - guess he forgot he's always been just a hateful Cracker), but his best-known work is probably the speech he wrote for Alabama Governor George Wallace's inauguration, the highlight of which was "segregation now, segregation tomorrow, segregation forever!" He also headed a chapter of the Ku Klux Klan at one time. It explains a lot. If you can simply accept the film on its own terms, it certainly will not detract from your enjoyment (at least two of my ancestors fought for the Union, one in a fairly high-ranking position, and it's still a sentimental favorite), but you have been warned.

On the positive side, Warner Home Video's DVD presentation is flawless-the print used was obviously the absolute best that could be found, with excellent sound and color as crisp as the day it premiered. There's nothing much in the way of extras except for a large collection of trailers for other Westerns, but the film itself is gloriously presented in its original aspect ratio and will only set you back about fifteen bucks. There is absolutely no excuse for anyone who collects Western film not to own this film.

As far as a film is concerned, it is a very good tale of revenge and devotion to friends. Eastwood is great as the title character and the film has some very good supporting performances. The exteriors where the film was shot are beautiful and are just as good on DVD as in reality.

The DVD is a great, inexpensive version of a great Western. The 16:9 widescreen version of the film highlights the colors and tones that were filmed by Eastwood. The color is good as well as the Dolby 5.1 Surround Soundtrack. There is also a French soundtrack (which is very humorous when Eastwood utters the best line of the film, "You going to pull them pistols or whistle Dixie"). The disc also contains trailers to many other Westerns as well as the trailer for Outlaw Josey Wales.

You should not miss this great DVD. The price is right and the movie is one of Eastwood's best. This is one of the better looking westerns that I have in my DVD collection. If you love great westerns and movies about the American Civil War, you will love this DVD!

Others here have reviewed this top-notch movie better than I could, so I'll just give my impressions of the quality of this release.

I don't know how many different DVD versions of this movie were ever released, but as far as I'm concerned, this is the best one, with remastered audio and video. The sound quality is simply superb--I have many DVD movies, and this one is by far the best, both in terms of audio and video quality. Considering it comes in the flimsier fold-out cardboard flap over plastic case, I was surprised at how good the quality of the actual disk is. The picture quality is simply stunning; I don't know how else to adequately describe it. It's the widescreen "letterbox" format, which gives you the entire theater screen including the left and right sides that fullscreen releases chop off in order to fill up the whole screen. Letterbox is the only way to go if you want to see the entire wide picture you get at the theater. Most of you already know this; I only mention it because I know there are still some who do not. This release is dual-layer format and is enhanced for widescreen TVs. The movie itself runs 2 hours and 15 minutes. Special features: Soundtrack remastered in Dolby Digital 5.1. 1976 Documentary "Eastwood In Action" (approx. 8 minutes). 1999 Documentary "Hell Hath No Fury: The Making Of The Outlaw Josey Wales" (approx. 30 minutes and a fascinating look behind the scenes including documentary footage from the making of the movie showing Eastwood in the act of directing). A very brief introduction to the movie itself by Clint Eastwood (approx. 1 minute). Subtitles in English, French, and Spanish. Languages in English and French. Production notes. Theatrical trailer. Scene Access.

Again, I cannot stress how good this edition looks and sounds. Even the darkest scenes are vivid and clear. Image throughout the film is extremely crisp. A very slight pause midway as the player switches layers, but that's normal with the Dual-Layer format, and it was hardly noticeable. The audio is amazing, with gunshots and explosions reverberating through my floorboards. Turned up through a simple decent stereo system, you will *feel* this movie. Whoever did the audio/video remastering did a fantastic job. The best I've ever seen. This would be worth it at twice the price. The only giveaway to the low price is the cardboard-flap-type case. You simply can't go wrong here.

The Outlaw Josey Wales (1976) is a personal favorite of mine from childhood, and was the second Western Eastwood directed himself; the first was 1972's High Plains Drifter. It features a compelling story, beautiful cinematography, and a fully realized protagonist. The latter is a welcome change of pace from the characters in the Leone films and High Plains Drifter, who were loners with no name and no past.

Wales is a dirt farmer in Missouri shortly after the Civil War whose wife and young son are murdered by a renegade Union cavalry unit called the Red Legs, under the command of the evil Captain Terrill. Wales falls in with the Missouri Bushwhackers, a group of similar men who ride the Ozarks fighting a guerilla war against the Union even after the War has ended. They are under the command of Fletcher, who persuades them to turn in their guns and surrender to the Union. Only Wales refuses, and only Wales and Fletcher survive-Wales because he flees, Fletcher because he reluctantly betrays his men, who fall before a Gatling gun as they take an oath of allegiance to the Union. When it becomes known that Wales is the lone survivor, a price is put on his head and Terrill and Fletcher set out after him. Wales embarks on a journey that will take him to Texas en route to Mexico, and ultimately to bloody revenge.

Along the way he picks up a few friends: an elderly Cherokee man, a young Apache woman, and a family of Kansas Jayhawkers, including a troubled young woman played by Sondra Locke, Eastwood's longtime live-in companion (this is quite possibly the only role in which I find her even remotely appealing). Eastwood has memorable lines galore and seems to walk around in a perpetual cloud of cordite, spitting tobacco juice on the face of anything and everything around him; in other words, this is a classic.

All in all, this is probably my favorite Clint Eastwood Western, but there is one troubling aspect to the film. The degree to which it acts as an apologist text for the Confederacy can sometimes be a bit much. Anyone from North of the Mason-Dixon line who wants to know how English audiences felt about The Patriot is urged to screen this film-its bias is naked. The Union Army is portrayed as an honorless bunch of ruffians and murderers; the only mention made of slavery is a scene in which the young Native American woman Wales rescues remarks that his actions mean that he now owns her. Wales replies simply that he "doesn't want to own anyone," and the matter is never mentioned again. Considering the source, I suppose this is to be expected. TOJW is based on an at the time unpublished novel entitled Gone to Texas, by Forrest Carter. Carter is better known for his controversial fictitious autobiography The Education of Little Tree (about his imaginary childhood as a Native American boy - guess he forgot he's always been just a hateful Cracker), but his best-known work is probably the speech he wrote for Alabama Governor George Wallace's inauguration, the highlight of which was "segregation now, segregation tomorrow, segregation forever!" He also headed a chapter of the Ku Klux Klan at one time. It explains a lot. If you can simply accept the film on its own terms, it certainly will not detract from your enjoyment (at least two of my ancestors fought for the Union, one in a fairly high-ranking position, and it's still a sentimental favorite), but you have been warned.

On the positive side, Warner Home Video's DVD presentation is flawless-the print used was obviously the absolute best that could be found, with excellent sound and color as crisp as the day it premiered. There's nothing much in the way of extras except for a large collection of trailers for other Westerns, but the film itself is gloriously presented in its original aspect ratio and will only set you back about fifteen bucks. There is absolutely no excuse for anyone who collects Western film not to own this film.

As far as a film is concerned, it is a very good tale of revenge and devotion to friends. Eastwood is great as the title character and the film has some very good supporting performances. The exteriors where the film was shot are beautiful and are just as good on DVD as in reality.

The DVD is a great, inexpensive version of a great Western. The 16:9 widescreen version of the film highlights the colors and tones that were filmed by Eastwood. The color is good as well as the Dolby 5.1 Surround Soundtrack. There is also a French soundtrack (which is very humorous when Eastwood utters the best line of the film, "You going to pull them pistols or whistle Dixie"). The disc also contains trailers to many other Westerns as well as the trailer for Outlaw Josey Wales.

You should not miss this great DVD. The price is right and the movie is one of Eastwood's best. This is one of the better looking westerns that I have in my DVD collection. If you love great westerns and movies about the American Civil War, you will love this DVD!

Others here have reviewed this top-notch movie better than I could, so I'll just give my impressions of the quality of this release.

I don't know how many different DVD versions of this movie were ever released, but as far as I'm concerned, this is the best one, with remastered audio and video. The sound quality is simply superb--I have many DVD movies, and this one is by far the best, both in terms of audio and video quality. Considering it comes in the flimsier fold-out cardboard flap over plastic case, I was surprised at how good the quality of the actual disk is. The picture quality is simply stunning; I don't know how else to adequately describe it. It's the widescreen "letterbox" format, which gives you the entire theater screen including the left and right sides that fullscreen releases chop off in order to fill up the whole screen. Letterbox is the only way to go if you want to see the entire wide picture you get at the theater. Most of you already know this; I only mention it because I know there are still some who do not. This release is dual-layer format and is enhanced for widescreen TVs. The movie itself runs 2 hours and 15 minutes. Special features: Soundtrack remastered in Dolby Digital 5.1. 1976 Documentary "Eastwood In Action" (approx. 8 minutes). 1999 Documentary "Hell Hath No Fury: The Making Of The Outlaw Josey Wales" (approx. 30 minutes and a fascinating look behind the scenes including documentary footage from the making of the movie showing Eastwood in the act of directing). A very brief introduction to the movie itself by Clint Eastwood (approx. 1 minute). Subtitles in English, French, and Spanish. Languages in English and French. Production notes. Theatrical trailer. Scene Access.

Again, I cannot stress how good this edition looks and sounds. Even the darkest scenes are vivid and clear. Image throughout the film is extremely crisp. A very slight pause midway as the player switches layers, but that's normal with the Dual-Layer format, and it was hardly noticeable. The audio is amazing, with gunshots and explosions reverberating through my floorboards. Turned up through a simple decent stereo system, you will *feel* this movie. Whoever did the audio/video remastering did a fantastic job. The best I've ever seen. This would be worth it at twice the price. The only giveaway to the low price is the cardboard-flap-type case. You simply can't go wrong here.

The Outlaw Josey Wales (1976) is a personal favorite of mine from childhood, and was the second Western Eastwood directed himself; the first was 1972's High Plains Drifter. It features a compelling story, beautiful cinematography, and a fully realized protagonist. The latter is a welcome change of pace from the characters in the Leone films and High Plains Drifter, who were loners with no name and no past.

Wales is a dirt farmer in Missouri shortly after the Civil War whose wife and young son are murdered by a renegade Union cavalry unit called the Red Legs, under the command of the evil Captain Terrill. Wales falls in with the Missouri Bushwhackers, a group of similar men who ride the Ozarks fighting a guerilla war against the Union even after the War has ended. They are under the command of Fletcher, who persuades them to turn in their guns and surrender to the Union. Only Wales refuses, and only Wales and Fletcher survive-Wales because he flees, Fletcher because he reluctantly betrays his men, who fall before a Gatling gun as they take an oath of allegiance to the Union. When it becomes known that Wales is the lone survivor, a price is put on his head and Terrill and Fletcher set out after him. Wales embarks on a journey that will take him to Texas en route to Mexico, and ultimately to bloody revenge.

Along the way he picks up a few friends: an elderly Cherokee man, a young Apache woman, and a family of Kansas Jayhawkers, including a troubled young woman played by Sondra Locke, Eastwood's longtime live-in companion (this is quite possibly the only role in which I find her even remotely appealing). Eastwood has memorable lines galore and seems to walk around in a perpetual cloud of cordite, spitting tobacco juice on the face of anything and everything around him; in other words, this is a classic.

All in all, this is probably my favorite Clint Eastwood Western, but there is one troubling aspect to the film. The degree to which it acts as an apologist text for the Confederacy can sometimes be a bit much. Anyone from North of the Mason-Dixon line who wants to know how English audiences felt about The Patriot is urged to screen this film-its bias is naked. The Union Army is portrayed as an honorless bunch of ruffians and murderers; the only mention made of slavery is a scene in which the young Native American woman Wales rescues remarks that his actions mean that he now owns her. Wales replies simply that he "doesn't want to own anyone," and the matter is never mentioned again. Considering the source, I suppose this is to be expected. TOJW is based on an at the time unpublished novel entitled Gone to Texas, by Forrest Carter. Carter is better known for his controversial fictitious autobiography The Education of Little Tree (about his imaginary childhood as a Native American boy - guess he forgot he's always been just a hateful Cracker), but his best-known work is probably the speech he wrote for Alabama Governor George Wallace's inauguration, the highlight of which was "segregation now, segregation tomorrow, segregation forever!" He also headed a chapter of the Ku Klux Klan at one time. It explains a lot. If you can simply accept the film on its own terms, it certainly will not detract from your enjoyment (at least two of my ancestors fought for the Union, one in a fairly high-ranking position, and it's still a sentimental favorite), but you have been warned.

On the positive side, Warner Home Video's DVD presentation is flawless-the print used was obviously the absolute best that could be found, with excellent sound and color as crisp as the day it premiered. There's nothing much in the way of extras except for a large collection of trailers for other Westerns, but the film itself is gloriously presented in its original aspect ratio and will only set you back about fifteen bucks. There is absolutely no excuse for anyone who collects Western film not to own this film.

As far as a film is concerned, it is a very good tale of revenge and devotion to friends. Eastwood is great as the title character and the film has some very good supporting performances. The exteriors where the film was shot are beautiful and are just as good on DVD as in reality.

The DVD is a great, inexpensive version of a great Western. The 16:9 widescreen version of the film highlights the colors and tones that were filmed by Eastwood. The color is good as well as the Dolby 5.1 Surround Soundtrack. There is also a French soundtrack (which is very humorous when Eastwood utters the best line of the film, "You going to pull them pistols or whistle Dixie"). The disc also contains trailers to many other Westerns as well as the trailer for Outlaw Josey Wales.

You should not miss this great DVD. The price is right and the movie is one of Eastwood's best. This is one of the better looking westerns that I have in my DVD collection. If you love great westerns and movies about the American Civil War, you will love this DVD!

Others here have reviewed this top-notch movie better than I could, so I'll just give my impressions of the quality of this release.

I don't know how many different DVD versions of this movie were ever released, but as far as I'm concerned, this is the best one, with remastered audio and video. The sound quality is simply superb--I have many DVD movies, and this one is by far the best, both in terms of audio and video quality. Considering it comes in the flimsier fold-out cardboard flap over plastic case, I was surprised at how good the quality of the actual disk is. The picture quality is simply stunning; I don't know how else to adequately describe it. It's the widescreen "letterbox" format, which gives you the entire theater screen including the left and right sides that fullscreen releases chop off in order to fill up the whole screen. Letterbox is the only way to go if you want to see the entire wide picture you get at the theater. Most of you already know this; I only mention it because I know there are still some who do not. This release is dual-layer format and is enhanced for widescreen TVs. The movie itself runs 2 hours and 15 minutes. Special features: Soundtrack remastered in Dolby Digital 5.1. 1976 Documentary "Eastwood In Action" (approx. 8 minutes). 1999 Documentary "Hell Hath No Fury: The Making Of The Outlaw Josey Wales" (approx. 30 minutes and a fascinating look behind the scenes including documentary footage from the making of the movie showing Eastwood in the act of directing). A very brief introduction to the movie itself by Clint Eastwood (approx. 1 minute). Subtitles in English, French, and Spanish. Languages in English and French. Production notes. Theatrical trailer. Scene Access.

Again, I cannot stress how good this edition looks and sounds. Even the darkest scenes are vivid and clear. Image throughout the film is extremely crisp. A very slight pause midway as the player switches layers, but that's normal with the Dual-Layer format, and it was hardly noticeable. The audio is amazing, with gunshots and explosions reverberating through my floorboards. Turned up through a simple decent stereo system, you will *feel* this movie. Whoever did the audio/video remastering did a fantastic job. The best I've ever seen. This would be worth it at twice the price. The only giveaway to the low price is the cardboard-flap-type case. You simply can't go wrong here.

Beautifully filmed on location in San Francisco by Bruce Surtees, director Don Siegel's film captures the pulse and fears of the American public in a time of great social upheaval. The movie addresses those fears in a "law enforcement shackled by Miranda" theme, and draws the main characters in broad uncompromising strokes.

Enter Inspector Harry Callahan of the San Francisco Police Department. Known as "Dirty Harry" within the bureau, Callahan works homicide and is regarded as a straight ahead, no nonsense investigator with a reputation for solving cases. Callahan is not politically correct and doesn't care for those who engage in its' posturing, which is the subtext and ignition point for the tension in this film.

As the movie opens, Callahan is investigating the murder of a woman who is shot while taking a dip in a rooftop swimming pool. The crime occurs in the downtown area, and Callahan theorizes the murder was probably committed by a rifleman from an adjacent rooftop at some distance. The theory pays off when Callahan checks a neighboring high rise to find spent rifle cartridge casings. Near the casings a note is found from a serial killer named Scorpio, who threatens to shoot others in sniper attacks throughout the city should the Mayor's office fail to pay the ransom demand.

This information is shared with the Mayor (played by John Vernon) who unhesitatingly agrees to pay the ransom to avoid a political firestorm of criticism should the demand ever become public knowledge. This only serves to further incense Callahan, who spends the rest of the film hunting for Scorpio as he battles internal pressure from the department as much as the danger on the street.

Sterling performances are handed in by Eastwood, Andrew Robinson as Scorpio, and Reni Santoni as Chico , a young idealistic officer newly assigned as Callahan's partner. The movie is also aided by an excellent musical score by Lalo Schifrin. The soundtrack is at times slow and ethereal, then accelerates, beautifully accentuating action sequences.

Reviews of this film in the early seventies (remember Pauline Kael?) were often wordy, unfair, and overly simplistic, concentrating on Callahan's worst personality traits and wringing them for all the sensationalistic print they were worth. But the film succeeds on several levels built around Eastwood's great performance as a frustrated cop who wants to put a murderer away.

DVD version includes a theatrical trailer that deserves Kael-like criticism (you'll see what I mean). Strong Buy.

At least in the larger U.S. cities 30 years ago, residents had become totally fed up with traditional law enforcement initiatives. It was no longer safe to walk the streets at night. Even more dangerous to do so in public parks. Homes were robbed while people worked during the day. Many of the same homes were robbed again later after insurance coverage replaced the articles previously stolen. Racial animosities, drug abuse, and a widespread contempt for institutional authority all contributed to such problems.

Under Don Siegel's crisp direction, Eastwood and his associates in the cast bring R.M. Fink's screenplay to life (and yes, to death) as they focus on what is obviously an irreconcilable conflict between Callahan and his superiors who include the mayor of San Francisco. Callahan's motto seems to be "Whatever it takes." In some situations, it may take his 44 Magnum, "the most powerful handgun in the world." Callahan has not totally lost faith in his society nor in the importance of the legal system. However, he does feel betrayed. The mayor and even Lieutenant Bressler (Harry Guardino) just don't "get it." This is precisely the same point Jim Malone (Sean Connery) makes to Eliot Ness (Kevin Costner) in The Untouchables 26 years later: When orthodox ("by the book") crime-fighting strategies and tactics don't succeed, use others even if they are not (at least technically) legal. Countless other films (such as Magnum Force, The French Connection, and L.A. Confidential) also make the same point.

It is important to remember when seeing this film again, as I did recently, that it portrays elements of an urban society few of us ever experience. Also, that it is a drama, not a documentary. Its primary purpose is to tell a story. The plot focuses on a serial killer named "Scorpio" (Andy Robinson) whom Callahan is determined to eliminate. Even when he eventually does so, questions remain. Don't criminals also have rights? What would happen if all or most other detectives followed Callahan's example? To what extent (if any) should private citizens also be actively involved in law enforcement? I agree with several critics who claim that, with Dirty Harry, Siegel and Eastwood created a new film genre. Its influence proved to be substantial. Each viewer must decide for herself or himself how much social relevance it has retained after 32 years but almost everyone would agree that it has lost little of its entertainment value.

Beautifully filmed on location in San Francisco by Bruce Surtees, director Don Siegel's film captures the pulse and fears of the American public in a time of great social upheaval. The movie addresses those fears in a "law enforcement shackled by Miranda" theme, and draws the main characters in broad uncompromising strokes.

Enter Inspector Harry Callahan of the San Francisco Police Department. Known as "Dirty Harry" within the bureau, Callahan works homicide and is regarded as a straight ahead, no nonsense investigator with a reputation for solving cases. Callahan is not politically correct and doesn't care for those who engage in its' posturing, which is the subtext and ignition point for the tension in this film.

As the movie opens, Callahan is investigating the murder of a woman who is shot while taking a dip in a rooftop swimming pool. The crime occurs in the downtown area, and Callahan theorizes the murder was probably committed by a rifleman from an adjacent rooftop at some distance. The theory pays off when Callahan checks a neighboring high rise to find spent rifle cartridge casings. Near the casings a note is found from a serial killer named Scorpio, who threatens to shoot others in sniper attacks throughout the city should the Mayor's office fail to pay the ransom demand.

This information is shared with the Mayor (played by John Vernon) who unhesitatingly agrees to pay the ransom to avoid a political firestorm of criticism should the demand ever become public knowledge. This only serves to further incense Callahan, who spends the rest of the film hunting for Scorpio as he battles internal pressure from the department as much as the danger on the street.

Sterling performances are handed in by Eastwood, Andrew Robinson as Scorpio, and Reni Santoni as Chico , a young idealistic officer newly assigned as Callahan's partner. The movie is also aided by an excellent musical score by Lalo Schifrin. The soundtrack is at times slow and ethereal, then accelerates, beautifully accentuating action sequences.

Reviews of this film in the early seventies (remember Pauline Kael?) were often wordy, unfair, and overly simplistic, concentrating on Callahan's worst personality traits and wringing them for all the sensationalistic print they were worth. But the film succeeds on several levels built around Eastwood's great performance as a frustrated cop who wants to put a murderer away.

DVD version includes a theatrical trailer that deserves Kael-like criticism (you'll see what I mean). Strong Buy.

At least in the larger U.S. cities 30 years ago, residents had become totally fed up with traditional law enforcement initiatives. It was no longer safe to walk the streets at night. Even more dangerous to do so in public parks. Homes were robbed while people worked during the day. Many of the same homes were robbed again later after insurance coverage replaced the articles previously stolen. Racial animosities, drug abuse, and a widespread contempt for institutional authority all contributed to such problems.

Under Don Siegel's crisp direction, Eastwood and his associates in the cast bring R.M. Fink's screenplay to life (and yes, to death) as they focus on what is obviously an irreconcilable conflict between Callahan and his superiors who include the mayor of San Francisco. Callahan's motto seems to be "Whatever it takes." In some situations, it may take his 44 Magnum, "the most powerful handgun in the world." Callahan has not totally lost faith in his society nor in the importance of the legal system. However, he does feel betrayed. The mayor and even Lieutenant Bressler (Harry Guardino) just don't "get it." This is precisely the same point Jim Malone (Sean Connery) makes to Eliot Ness (Kevin Costner) in The Untouchables 26 years later: When orthodox ("by the book") crime-fighting strategies and tactics don't succeed, use others even if they are not (at least technically) legal. Countless other films (such as Magnum Force, The French Connection, and L.A. Confidential) also make the same point.

It is important to remember when seeing this film again, as I did recently, that it portrays elements of an urban society few of us ever experience. Also, that it is a drama, not a documentary. Its primary purpose is to tell a story. The plot focuses on a serial killer named "Scorpio" (Andy Robinson) whom Callahan is determined to eliminate. Even when he eventually does so, questions remain. Don't criminals also have rights? What would happen if all or most other detectives followed Callahan's example? To what extent (if any) should private citizens also be actively involved in law enforcement? I agree with several critics who claim that, with Dirty Harry, Siegel and Eastwood created a new film genre. Its influence proved to be substantial. Each viewer must decide for herself or himself how much social relevance it has retained after 32 years but almost everyone would agree that it has lost little of its entertainment value.

Beautifully filmed on location in San Francisco by Bruce Surtees, director Don Siegel's film captures the pulse and fears of the American public in a time of great social upheaval. The movie addresses those fears in a "law enforcement shackled by Miranda" theme, and draws the main characters in broad uncompromising strokes.

Enter Inspector Harry Callahan of the San Francisco Police Department. Known as "Dirty Harry" within the bureau, Callahan works homicide and is regarded as a straight ahead, no nonsense investigator with a reputation for solving cases. Callahan is not politically correct and doesn't care for those who engage in its' posturing, which is the subtext and ignition point for the tension in this film.

As the movie opens, Callahan is investigating the murder of a woman who is shot while taking a dip in a rooftop swimming pool. The crime occurs in the downtown area, and Callahan theorizes the murder was probably committed by a rifleman from an adjacent rooftop at some distance. The theory pays off when Callahan checks a neighboring high rise to find spent rifle cartridge casings. Near the casings a note is found from a serial killer named Scorpio, who threatens to shoot others in sniper attacks throughout the city should the Mayor's office fail to pay the ransom demand.

This information is shared with the Mayor (played by John Vernon) who unhesitatingly agrees to pay the ransom to avoid a political firestorm of criticism should the demand ever become public knowledge. This only serves to further incense Callahan, who spends the rest of the film hunting for Scorpio as he battles internal pressure from the department as much as the danger on the street.

Sterling performances are handed in by Eastwood, Andrew Robinson as Scorpio, and Reni Santoni as Chico , a young idealistic officer newly assigned as Callahan's partner. The movie is also aided by an excellent musical score by Lalo Schifrin. The soundtrack is at times slow and ethereal, then accelerates, beautifully accentuating action sequences.

Reviews of this film in the early seventies (remember Pauline Kael?) were often wordy, unfair, and overly simplistic, concentrating on Callahan's worst personality traits and wringing them for all the sensationalistic print they were worth. But the film succeeds on several levels built around Eastwood's great performance as a frustrated cop who wants to put a murderer away.

DVD version includes a theatrical trailer that deserves Kael-like criticism (you'll see what I mean). Strong Buy.

At least in the larger U.S. cities 30 years ago, residents had become totally fed up with traditional law enforcement initiatives. It was no longer safe to walk the streets at night. Even more dangerous to do so in public parks. Homes were robbed while people worked during the day. Many of the same homes were robbed again later after insurance coverage replaced the articles previously stolen. Racial animosities, drug abuse, and a widespread contempt for institutional authority all contributed to such problems.

Under Don Siegel's crisp direction, Eastwood and his associates in the cast bring R.M. Fink's screenplay to life (and yes, to death) as they focus on what is obviously an irreconcilable conflict between Callahan and his superiors who include the mayor of San Francisco. Callahan's motto seems to be "Whatever it takes." In some situations, it may take his 44 Magnum, "the most powerful handgun in the world." Callahan has not totally lost faith in his society nor in the importance of the legal system. However, he does feel betrayed. The mayor and even Lieutenant Bressler (Harry Guardino) just don't "get it." This is precisely the same point Jim Malone (Sean Connery) makes to Eliot Ness (Kevin Costner) in The Untouchables 26 years later: When orthodox ("by the book") crime-fighting strategies and tactics don't succeed, use others even if they are not (at least technically) legal. Countless other films (such as Magnum Force, The French Connection, and L.A. Confidential) also make the same point.

It is important to remember when seeing this film again, as I did recently, that it portrays elements of an urban society few of us ever experience. Also, that it is a drama, not a documentary. Its primary purpose is to tell a story. The plot focuses on a serial killer named "Scorpio" (Andy Robinson) whom Callahan is determined to eliminate. Even when he eventually does so, questions remain. Don't criminals also have rights? What would happen if all or most other detectives followed Callahan's example? To what extent (if any) should private citizens also be actively involved in law enforcement? I agree with several critics who claim that, with Dirty Harry, Siegel and Eastwood created a new film genre. Its influence proved to be substantial. Each viewer must decide for herself or himself how much social relevance it has retained after 32 years but almost everyone would agree that it has lost little of its entertainment value.

Beautifully filmed on location in San Francisco by Bruce Surtees, director Don Siegel's film captures the pulse and fears of the American public in a time of great social upheaval. The movie addresses those fears in a "law enforcement shackled by Miranda" theme, and draws the main characters in broad uncompromising strokes.

Enter Inspector Harry Callahan of the San Francisco Police Department. Known as "Dirty Harry" within the bureau, Callahan works homicide and is regarded as a straight ahead, no nonsense investigator with a reputation for solving cases. Callahan is not politically correct and doesn't care for those who engage in its' posturing, which is the subtext and ignition point for the tension in this film.

As the movie opens, Callahan is investigating the murder of a woman who is shot while taking a dip in a rooftop swimming pool. The crime occurs in the downtown area, and Callahan theorizes the murder was probably committed by a rifleman from an adjacent rooftop at some distance. The theory pays off when Callahan checks a neighboring high rise to find spent rifle cartridge casings. Near the casings a note is found from a serial killer named Scorpio, who threatens to shoot others in sniper attacks throughout the city should the Mayor's office fail to pay the ransom demand.

This information is shared with the Mayor (played by John Vernon) who unhesitatingly agrees to pay the ransom to avoid a political firestorm of criticism should the demand ever become public knowledge. This only serves to further incense Callahan, who spends the rest of the film hunting for Scorpio as he battles internal pressure from the department as much as the danger on the street.

Sterling performances are handed in by Eastwood, Andrew Robinson as Scorpio, and Reni Santoni as Chico , a young idealistic officer newly assigned as Callahan's partner. The movie is also aided by an excellent musical score by Lalo Schifrin. The soundtrack is at times slow and ethereal, then accelerates, beautifully accentuating action sequences.

Reviews of this film in the early seventies (remember Pauline Kael?) were often wordy, unfair, and overly simplistic, concentrating on Callahan's worst personality traits and wringing them for all the sensationalistic print they were worth. But the film succeeds on several levels built around Eastwood's great performance as a frustrated cop who wants to put a murderer away.

DVD version includes a theatrical trailer that deserves Kael-like criticism (you'll see what I mean). Strong Buy.

At least in the larger U.S. cities 30 years ago, residents had become totally fed up with traditional law enforcement initiatives. It was no longer safe to walk the streets at night. Even more dangerous to do so in public parks. Homes were robbed while people worked during the day. Many of the same homes were robbed again later after insurance coverage replaced the articles previously stolen. Racial animosities, drug abuse, and a widespread contempt for institutional authority all contributed to such problems.

Under Don Siegel's crisp direction, Eastwood and his associates in the cast bring R.M. Fink's screenplay to life (and yes, to death) as they focus on what is obviously an irreconcilable conflict between Callahan and his superiors who include the mayor of San Francisco. Callahan's motto seems to be "Whatever it takes." In some situations, it may take his 44 Magnum, "the most powerful handgun in the world." Callahan has not totally lost faith in his society nor in the importance of the legal system. However, he does feel betrayed. The mayor and even Lieutenant Bressler (Harry Guardino) just don't "get it." This is precisely the same point Jim Malone (Sean Connery) makes to Eliot Ness (Kevin Costner) in The Untouchables 26 years later: When orthodox ("by the book") crime-fighting strategies and tactics don't succeed, use others even if they are not (at least technically) legal. Countless other films (such as Magnum Force, The French Connection, and L.A. Confidential) also make the same point.

It is important to remember when seeing this film again, as I did recently, that it portrays elements of an urban society few of us ever experience. Also, that it is a drama, not a documentary. Its primary purpose is to tell a story. The plot focuses on a serial killer named "Scorpio" (Andy Robinson) whom Callahan is determined to eliminate. Even when he eventually does so, questions remain. Don't criminals also have rights? What would happen if all or most other detectives followed Callahan's example? To what extent (if any) should private citizens also be actively involved in law enforcement? I agree with several critics who claim that, with Dirty Harry, Siegel and Eastwood created a new film genre. Its influence proved to be substantial. Each viewer must decide for herself or himself how much social relevance it has retained after 32 years but almost everyone would agree that it has lost little of its entertainment value.