Exciting Don Siegel cop thriller plenty of thrills, action , fights and emotion . Brave , tough cop , Clint Eastwood , goes to N.Y in order to transport a killer fugitive , Don Stroud , but the murderer escapes. Then , the killer on the loose through the N.Y.City streets . The deputy sets out in pursuit and to track him down by suffering a dangerous , risked pursuit.

First Siegel-Eastwood teaming and subsequently following : ¨Two mules for Sister Sara¨, ¨The beguiled¨ , ¨Dirty Harry¨ in which Clint also played a cop , and ¨Escape from Alcatraz¨. This one results to be a tense actioner containing some extremely thrilling chase sequences at its final , while Eastwood and Stroud riding motorcycles . The famous and successful TV series MacCloud with Dennis Weaver was based on this movie ; in fact , Herman Miller had written the story for Coogan's Bluff and then later changed a few details to create McCloud . Support cast is frankly well. Don Stroud shines as a violent murderous . Lee J Cobb as chief inspector gives an strong and outstanding performance, as usual . And enjoyable and attractive Susan Clark as a lovely parole officer who falls in love for him . Furthermore , brief but agreeable acting from Tisha Sterling , last film role for veteran Betty Field , James Edwards , Seymour Cassel and David Doyle , previous to Charlie's Angels .

It features a moving and adequate musical score by Lalo Schifrin in his ordinary style of the seventies . It packs an evocative and atmospheric cinematography by Bud Thackery and uncredited Robert Surtees . This tumble and rough motion picture was professionally directed by Donald Siegel (Telephon , The shooter , The Black Windmill , Madigan , The Killers) though has a few gaps and flaws . However , original filmmaker was Alex Segal , who withdrew shortly before production began . Rating : acceptable and passable . The yarn will appeal to Clint fans . Well worth seeing.

Clint Eastwood plays a tough cop from Arizona who's been sent to New York City to bring a prisoner (Don Stroud) back to face charges. However, when he arrives, the prisoner is in the infirmary and he must wait a short time to get him. When he finally does take the guy to the airport, he's jumped and beaten by David Doyle!!! Yes, THAT David Doyle!! The one from "Bridget Loves Bernie", "Charlie's Angels" and "Rugrats" (he played the voice of Grandpa). Of all the actors who you could imagine pummeling Clint Eastwood, about the only one LESS likely might be Paul Rubens or Billy Barty!! This alone is reason to see the film!

Well, Eastwood is not about to just return to Arizona empty handed and spends the rest of the movie searching throughout New York for the escaped scum-bag. And so, the cowboy-hatted Eastwood does the whole 'fish out of water' thing until he ultimately gets his man. Does it all seem a bit familiar? Well, apparently this film was the inspiration for the series "McCloud" just a couple years later.

While it's fun watching Eastwood, I really felt the whole 'New York is crazy' aspect of the movie was WAY overdone. Sure, New York City of 1968 wasn't exactly Heaven on Earth, but come on! The worst example is the insane probation officer (Susan Clark) who allows a degenerate to fondle her breast repeatedly--right there in the police station!! I wonder how many OTHER probation officers do this sort of thing? How about ZERO--especially since this is happening right in front of everyone AND she then scolds Eastwood when he stops this probationer!!! This entire scene made no sense whatsoever and apparently it was to illustrate what a sick place this city is. Yeah, right!! I think it just illustrated bad writing. And then, following this, Eastwood and Clark then become very chummy--perhaps he's assuming she'll let him do what the probationer was doing! Later, Clint walks into a super-freaky dance club--full of naked painted ladies, gay men, a FLYING naked lady and drugs. Once again, it all just seems way, way overdone. We GET that New York is a strange place--stop with the sledgehammer symbolism! I did not particularly like this film. I wanted to...but the writing was just dumb. It's not that I don't like Eastwood--he was great in almost all his other films and actually was fine here. But here, he's just saddled with cartoony supporting characters. No one in New York City makes any sense--none! How can you take a Dirty Harry-like character and STILL screw up the film?! Too much emphasis on the weird and confusing--particularly Clark's character who only gets more strange and confusing as the film progresses. In fact, I might be willing to nominate her for the worst supporting female character of the 1960s for this performance (this isn't hyperbole--I'm serious. She was THAT bad). Cool action, a neat character and a decent basic story idea just aren't enough to overcome bad writing and dumb characters.

Extremely overrated. My advice is to skip this one and go right to "Dirty Harry". Your brain will thank you for this.

A fish-out-of-water comic action film in which Eastwood's cop cowboy is sent to New York to track down an escaped criminal. Once there, his Stetson-wearing character causes chaos in the local police department, while taking time out to romance a beautiful flame-haired woman.

COOGAN'S BLUFF is very much a slight and lightweight piece of filmmaking that can't hold a candle to the star's more serious police thrillers and westerns. That's not to say it's unwatchable, though; in fact it's fairly appealing, trading in on the star's youthful charm and giving him more of a chance to experiment with comedy than he usually gets. As the film progresses, he finds himself caught up in the era's counter-culture movement with some memorable results.

Don Siegel shot the film, so it looks great. There isn't a great deal of action, but it does close off with a rousing motorbike chase which is one of the most inventive I've seen on film; playing things simple always works out for the best in the end. Lee J. Cobb delivers an amusing turn as the exasperated lieutenant and Susan Clark (best known as 'Cherry Forever' in PORKY'S) is fine as the would-be love interest. Eastwood's character, a forerunner of Dirty Harry, is understated but also deliciously amoral and his visit to a liberal club makes for an amusing highlight.