When The New Yorker's Pauline Kael wrote of Don Siegel's "Dirty Harry" in 1971 that the American cop thriller "has always had a fascist potential, and it has finally surfaced," she kicked off a fierce debate about the genre that still roils today.

Taken at face value, it's difficult to dispute that the film is meant to titillate viewers with the ultimate, judge-jury-executioner justice pursued and dispensed by Clint Eastwood's Harry Callahan. He despises the Miranda Warning, and complains...

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