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Welcome to The 30 Dozen, a monthly exploration of the films that, like me, turn thirty this year. These are films that have been residing on my must-see list for ages, and those which I’m only now crossing off as together we each approach our third decade on this planet. As I examine one of these movies per month, I hope to glean from each some perspective on my approach of the big 3-0. So here we are, month three, and already I’m demonstrating my trademark steadfast dedication to project parameters. And I’m not even referring to the fact that I made my March deadline by less than an hour. No, actually I’m seconds away from completely compromising the integrity of my own monthly undertaking. Namely, I’m about to hardcore cheat.
You’d think that since I was the person who designated the rules that I would be able to adhere to them, and yet here we are talking about 1983’s Sudden Impact in March. In my defense, the whole point of this exercise was to discover films that provided comfort, or at least insight, into my own aging process; into what it meant to be an uber geek turning 30. Sudden Impact was never on that radar because it didn’t technically meet the qualification of being released in 1984 (much as I myself was released in 1984). That being said, my recent first viewing of the fourth Dirty Harry installment at the Alamo Drafthouse had several profound effects on me AND it was released in December of 1983.
Quibbling over a few measly weeks seemed suffocatingly bureaucratic. And there too lies an appropriate case for Sudden Impact‘s inclusion in this series despite technical ineligibility. If there is one man who makes stock and trade of scoffing in the face of rules and regulations, a man who refuses to be a pawn of crippling bureaucracy, it’s Detective Harry Goddamned Callahan. So much like Dirty Harry himself, I’m going full loose cannon, bending the law, and discussing the personal impact of my first viewing of Sudden Impact.
Many people would assume that by the time a franchise reaches a fourth entry, quality begins to become subjugated to commerce. This theory is not without plenty of supporting evidence. It is one step beyond the trilogy mark (and the inherent compartmentalized story arc that tends to wrap up by movie three), so fourth entries have an especially uphill battle to justify their existence. This tends to be doubly true when a significant period of time has elapsed between parts three and four. Sudden Impact, however, doesn’t simply break the mold, it unloads an entire clip into the mold and then throws it off a building. This is the point in the series where Clint Eastwood steps behind the camera; the only franchise entry he directed. I had heard it was a bit darker than the first three outings, but nothing could have prepared me for how that tonal shift, and more to the point Eastwood’s direction, would facilitate the most artistically distinct and arguably most satisfying Dirty Harry film of the bunch.