Eastwood Gives New York 24 Hours To Get Out of Town in Coogan’s Bluff + Clint’s Ultra-Rare Tribute to Don Siegel

The Auditorium at Northeastern Illinois University – Building E, 3701 W. Bryn Mawr Ave
General Admission: $7 • NEIU Students: $3

Tuesday, May 15 @ 7:30 PM
Directed by Don Siegel • 1968
Established on the heels of his beloved trilogy of films with Sergio Leone, Clint Eastwood’s Malpaso Company provided the auteur-movie star with a space where he could work quickly and efficiently on projects that alternately reinforced and challenged his iconic screen presence. A highly effective action policier typical of early Malpaso product, Coogan’s Bluff was the first film to pair the actor with director Don Siegel, who would go on to direct Clint in four more indelible pictures and who would exert a considerable influence over Eastwood’s own directorial efforts. Eastwood stars as Arizona cowboy cop Walt Coogan, sent to the big city to extradite an acid-gobbling hippie gang leader charged with murder back West. In his quest to bring his man in and bed every woman half his age in New York, Coogan, ever the good libertarian, takes a fast and loose approach to “due process” and manages to alienate just about every person sucked into the chaos that surrounds him. As with any good Eastwood picture, the actor imbues his character with a nasty charm that’s wholly magnetic even as Coogan’s actions often appear far from heroic. Siegel, for his part, further proves his action bonafides with a handful of the greatest helicopter shots ever put to film and an absolute monster of a climatic motorcycle chase. (CW)
93 min. • The Malpaso Company • 35mm from Universal
Short: “The Beguiled: The Storyteller” (Clint Eastwood, 1971) – 12 min – 35mm


And coming next week:

The Auditorium at Northeastern Illinois University – Building E, 3701 W. Bryn Mawr Ave
General Admission: $7 • NEIU Students: $3

Tuesday, May 22 @ 7:30 PM
Directed by Sidney Poitier • 1972
A very loose Western adaptation of the story of Moses leading the Israelites out of Egypt, Buck and the Preacher stars Sidney Poitier as a former soldier leading black wagon trains to unsettled territories in Kansas with his wife Ruby Dee and the very squirrely Harry Belafonte. Joseph Sargent was originally slated to direct this Columbia Pictures/Belafonte Enterprises co-production, but was fired by Harry Belafonte and replaced by Poitier shortly after the production began filming in Mexico. The first Western directed by an African American for a major studio, Buck and the Preacher is most decidedly not a blaxploitation film, though it is one of the only Westerns to seriously portray the role of African Americans in the West, and a great revisionist Western in its own right. Reflecting the delicate line that Poitier’s film had to walk in the marketplace, the New York Times sought to reassure genre fanatics that Buck was a “loose, amiable, post‐Civil War Western with a firm though not especially severe Black Conscience. The film is aware of contemporary black issues but its soul is on the plains once ridden by Tom Mix, whom Poitier, astride his galloping horse, his jaw set, somehow resembles in the majestic traveling shots given him by the director.” With music by jazz legend Benny Carter and the most intense harmonica playing you’ve ever heard over opening credits by Sonny Terry. (JA)
102 min • Columbia Pictures • 35mm from Sony Pictures Repertory
Short: Production Featurette for Duel at Diablo (Ralph Nelson, 1966) – 7 min – 16mm

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