While a number of critics characterized the film as “fascistic,” Eastwood countered that Harry, who disregards police procedure and disobeys his superiors, represents “a fantasy character” who “does all the things people would like to do in real life but can’t.” “Dirty Harry,” he stated later, was ahead of its time, putting the “rights of the victim” above those of the accused. The film’s kinesthetic direction and editing laid the aesthetic groundwork for many of the 1970s’ gritty, realistic police dramas. Hours for Jerome: Parts 1 and 2 (1980-82) Nathaniel Dorsky shot the footage for what would become his silent tone poem, “Hours for Jerome,” between 1966 and 1970. He edited that footage over a two-year period.
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