RETRO FILM REVIEW – Many 1980s cop movies were nothing more than a mix of chases, violence, pop psychology, and broad character stereotypes. Tightrope certainly includes those elements, but it also adds much more, harkening back to the great cop films of the 1940s, where the hero wrestled as much with his conscience as with the criminal. Written and directed by Richard Tuggle and produced by Clint Eastwood, who also stars, the film was produced by Malpaso Company and released by Warner Brothers in 1984. Today, Tightrope celebrates its 40th anniversary.

In the film, Clint Eastwood portrays Wes Block, a New Orleans homicide detective who is a far cry from his iconic Dirty Harry Callahan. Block is a flawed yet dedicated cop, recently separated from his wife, living with his two young daughters and several dogs. He has a peculiar quirk: he enjoys engaging in intimate encounters with women while they are handcuffed. The movie suggests this may stem from deep-seated fears of women. Block is well-known to the kinkier prostitutes in the French Quarter, but his superiors are unaware of this when they assign him a high-profile case: a mad strangler, likely an ex-cop, is murdering prostitutes in the Quarter. Block faces a unique dilemma; he cannot easily enter this world as a detective after frequenting it as a client. Moreover, his old urges resurface when he steps back into this dark world.

Cuffs and Conscience

The police work in Tightrope follows the usual patterns: suspect interrogations, paperwork, and the obligatory scenes where his superiors reprimand him for not making enough progress on the case. What elevates Tightrope above the average cop movie are the interactions between Eastwood and the women in his life. Some of them are prostitutes; others are victims. One, played by Geneviève Bujold, is a feminist who teaches women’s self-defense classes. Block has always been attracted to flashy, gaudy women, like the Quarter’s more bizarre prostitutes. We never learn why his wife left him, and we’re given no hints about her, but it’s clear that Bujold’s character isn’t his type. She’s in her mid-thirties, doesn’t wear makeup, often dons sweatshirts, and isn’t easily impressed by cops. Yet, despite this, a friendship begins to form.

This relationship serves as a counterpoint to Block’s investigation, as he delves deeper into the seedy underworld of crime, and as more evidence points to the unsettling possibility that he could be a suspect himself. It’s intriguing that the film presents Eastwood with two challenges: solving the murders and finding a way out of his own compulsions to reach an emotional state where he can trust a strong woman.

Tightrope might appeal to Dirty Harry fans due to its mix of sex and violence. However, it’s far more ambitious than the Harry movies, and the relationship between Eastwood and Bujold is more compelling than most recent male-female relationships in film, for three reasons: (1) There’s something at stake for both sides; (2) it’s a learning process, where Eastwood’s character must change; (3) it pays off dramatically at the end, when their developing relationship ties into the investigation’s climax. It’s unusual for a major male star to appear in a commercial cop picture where the plot hinges on his ability to accept and respect a woman. Besides all the other commendable aspects of Tightrope, I admire it for taking such risks; Clint Eastwood could have easily continued making Dirty Harry films, but he chose to evolve and experiment, making him one of the most interesting of the box-office giants.

Investigation and Romance in the Shadows of the French Quarter

One of the most enjoyable aspects of the film is its New Orleans setting. It lends the movie a distinct atmosphere, capturing the essence of Cajun culture alongside the city’s seedier sides. The script does a fine job of illustrating just how loud and crowded the environment is, adding a unique flavor to the narrative. Kudos to cinematographer Bruce Surtees for bringing this to the screen so effectively.

The film wavers between being a slasher gore flick and a crime thriller. While it doesn’t quite settle on one genre, this doesn’t detract from the story. Clint Eastwood and Geneviève Bujold share strong on-screen chemistry. Bujold plays a woman who genuinely wants to help the victims, and her character’s strength and sincerity shine through. Eastwood, on the other hand, convincingly portrays Block’s frustration at being unable to catch the killer while also finding some dark pleasure in the seedy lifestyle of the French Quarter. His performance perfectly matches the film’s tone.

Good Dad, Troubled Cop

Another element I appreciated about the film is how it portrays Block as a caring father. Usually, detectives in such thrillers are depicted as distant parents who prioritize their job over their family. In Tightrope, however, Block is shown to be a devoted father who deeply cares for his daughters, and they love him in return. This shift in portrayal made the film more endearing, especially during the tense moments.

This is one of the two films directed by Richard Tuggle. It’s a shame he didn’t direct more. Yes, the movie has some pacing issues and minor flaws, but I believe he did a solid job as a director. He and Eastwood worked well together to bring the final product to life. It would have been interesting to see how his career might have evolved.

Tightening the Noose on Both Cop and Killer

Overall, Tightrope is an engaging thriller that keeps you on the edge of your seat. You’re hooked as Eastwood chases a killer who’s much closer than our protagonist could ever imagine. It’s not perfect, and the somewhat archaic style of the 1980s leaves its mark, but for fans of the venerable Clint (who was already 54 at the time), it’s an essential – and nowadays less well-known – thriller that’s worth revisiting.

-Herpai Gergely „BadSector” –