Customer Reviews

Tightrope [VHS]

5 star:		(18)
4 star:		(11)
3 star:		(4)
2 star:		(0)
1 star:		(2)

 

 

To me, this film is even more impressive today than it was when I first saw it. Frankly, when seeing it 20 years ago, I was thrown off-balance by the character whom Eastwood plays, Wes Block, a police detective in New Orleans. He pursues a serial killer of prostitutes, a psychopath with whom he seems to share similar psycho-sexual preoccupations. Presumably this was a risky part for Eastwood to take on. Under skillful but deferential direction by Richard Tuggle, he explores with great skill certain depraved tendencies within himself which were much more shocking in 1984 than they seem to be, regrettably, two decades later. Block's personal situation is complicated even more by the fact that he a single parent, raising two daughters. It is also important to remember that his personal conduct creates the risk of compromising his professional integrity as a law enforcement officer. For these and other reasons, Block is a much more enigmatic character than, for example, Harry ("what you see is what you get") Callahan.

In the role of Beryl Thibodeaux, Genevieve Bujold portrays a criminal psychologist who is attracted to Block as they work together even as she begins to sense and then contend with at least some of the demons which torment him. So much of this film occurs (both literally and symbolically) in darkness. Even a trained professional such as Thibodeaux is frustrated in her attempts to understand someone for whom she feels sincere affection. Special credit should be given to Bruce Surtees for superb cinematography which is coordinated seamlessly with the often depressing storyline. He had worked with Eastwood in previous films which include Dirty Harry (1971), Play Misty for Me (also 1971), Pale Rider (1975), and The Outlaw Josie Wales (1976). The supporting cast is excellent, notably Eastwood's own daughter Alison who plays Amanda Block in the film, and Dan Hadeya as Detective Molinari. Eventually, after the serial killer kidnaps Amanda, her distraught and enraged father pursues her to a riveting conclusion when....

Others are much better qualified than I to express this opinion but I think Wes Block is a character which begins a new transition for Eastwood the actor. Thereafter, the characters he plays tend to be of the "sadder but wiser" variety, much less self-assured, more fatalistic in their view of the world, skeptical and sometimes cynical, reluctant to trust anyone or anything, and are -- for me, therefore -- much more interesting. This is an especially upsetting film which has lost little (if any) of its dramatic impact. Twenty years after its initial release and probably because I have become a grandfather, there are certain situations in Tightrope which are even more upsetting now than ever before.

This Eastwood film portrays a much darker view of life than previous Eastwood efforts. A very suspenseful and gripping film. In it, Eastwood plays Detective Wes Block. Block is pursuing a serial killer who is murdering prostitutes in the seedy underside of New Orleans. Block finds himself strangely drawn into this underworld and walking the "tightrope" between right and wrong, good and evil, as he balances his search for the killer. Meanwhile, his behavior eerily shadows the killer's deviant pursuits quite often leaving the viewer gasping in shock.

In the role of a rape counselor is Genevieve Bujold, as Beryl Thibodeaux. An excellent counterbalance to Block, she plays on the tightrope, too. We watch as his tendency towards the lurid develops, yet her job is one of comforter and defender of those who are victems of violence and also to prevent violence against women. Their attraction creates an interesting tension during the film.

Another interesting feature of "Tightrope" is how it shows the difficulty Wes Block faces raising two daughters as a single father, especially given the nature of his job. Eastwood's real-life daughter, Alison, plays one of the daughters in this film. Without giving away too much of the plot, I should say that mentally and physically there is some threat to the family.

Overall, I would say that this film is one of Eastwood's best efforts, although it has been somewhat overlooked. For true Eastwood fans, I feel it is truly worth watching. Highest ratings.

Anybody who thinks Clint Eastwood gave his finest acting performances in "Unforgiven" and "Million Dollar Baby" should see this film, released in 1984. At the time, his acting talent was not as respected as it is now, which is why I think this film did not get the critical acclaim it should have.

Clint gives a flat out amazing performance as a police officer investigating the murder of prostitutes in red light new orleans while also exploring his own disturbing appetites for kinky sex.

The film is deceptive. It starts out as what seems to be a typical cop thriller but quickly evolves into something much deeper and multilayered. Clint shows an emotional complexity all the more extraordinary because of its subtlety. It should have easily been his first acting oscar nod.

Also worth noting is that this is one of the best films ever filmed in New Orleans. It excellently captures the unique flavor and ambience of the city. (something all the more precious in this post katrina era)

Alison Eastwood , clint's real life daughter, also gives an amazing performance for a child actor. She should have been awarded more plum parts during that period of her life because of it. It was easily jodie foster- dakota fanning level.

Tightrope is probably the most unusual Clint Eastwood film. But its also a brilliant film in dealing with his characters dark side and similarities with the killer. I also think that Alison Eastwood, Clint's real life daughter, gives a great performance. It's not annoying or badly done like some child actors would do. But be warned that Tightrope is extremely sexually explicit and very violent.

Perverse, voyeuristic and nightmarish are not words commonly associated with Clint Eastwood's oeuvre, but in 1984 Richard Tuggle on the strength of his story was given the opportunity by Eastwood to direct his first film. The result is a seedy stroll through the backstreets and whorehouses of New Orleans. The success of the film relies on Eastwood's willingness to manipulate and subvert his iconic screen image. Since the warm comic capers of "Every Which Way But Loose" Eastwood had shown a propensity to experiment with his characters. This reaches something of an apex in the trouble and haunted homicide detective Wes Block. Block finds himself empathising a little too much with the serial killer who is plaguing the warm New Orleans nights. Adding to Block's complexity is a turbulent family life in which he is the single parent of two young children and a blossoming romance. The film really gets to grips with psychology of the serial killer as Block attempts to get inside his mind, the revelation that Block finds himself enjoying certain perverse delights creates a wonderful tension in the film that implicates Block as a possible suspect. Another major success of the film is the location, New Orleans beats not with life, but with death as the Mardi Gras takes a back seat and Tuggle explores the dark and seamy nightlife of this soulful and mysterious town. Ultimately this film is the real Dirty Harry, with the emphasis on Dirty. "Tightrope" is to the Eastwood detective image/film what "Unforgiven" was to his western image, a deconstruction of myths and iconic status. It deserves re-appraisal.

Here is a very, very tense thriller about a New Orleans cop (Clint Eastwood) finding a serial killer.....and vice-versa.

This is a very dark (literally) film with a big film-noir look and feel. Neo-noir, I guess, is what they call post-1950 gritty crime films like these.

Eastwood's character in "Tightrope" is a complex one. On one hand, he's a wonderfully loving father of two sweet girls (one played by his actual daughter, and played well), and yet he is a weak man when it comes to prostitutes. But, whatever side he shows - light or dark - he's interesting, as always. So is the female star of this movie, Genevieve Bujold, a woman with a very intriguing face and just a trace of her French accent. Dan Heyada contributes strongly in a low- key performance.

Yes, this film is a bit too much on the seedy side for my normal tastes, definitely sordid, but very well done. It's a story that grabs you early and locks you in all the way.

Clint portrays the dark side of a homicide cop who is investigating a series of murders in New Orleans. While Clint is a single father and has a menagerie of dogs at home, he also has kinky sex with prostitutes. The killer he is targeting becomes aware of Clint's proclivities and uses this to taunt Clint. An interesting tale of the tension of opposites and the need to reconcile them.

Tightrope opens with the familiar credits that mark most of Clint Eastwood's films : Malpaso films presents...over an arial shot of car crossing a bridge. What is most surprising about this film is that writer/director Richard Tuggle uses the familiar framework of the "serial killer" movie to explore themes of guilt, sadomasochism, sexism and paranoia. Even more surprising is the fact that he explores those qualties in his hero, not the killer.

Eastwood stars as Wes Block, a New Orleans cop investigating the murders of several prostitutes who were tortured, raped and strangled. On his journey through the brothels of the city we sense that he has been there before, not as cop, but as a customer. Eastwood has the usual throwaway lines that have made his Harry Callahan character so famous, as when a prostitute apporches him "Want some honey?", "I don't eat sweets" he replies. But where Callahan draws knowing smirks from the audience, Block only draws gasps. Eastwood lets us know that any outward confidence he projects is merely a mask over his guilt. This leads to an early riveting scene where he interviews a hooker about her murdered friend "Did she mention anybody using handcuffs?" he asks. "I think it was a cop, maybe it was you" she jokes. The look on Eastwood's is face is one of such anguish, that he may even suspect himself. This one of Eastwood's best and bravest performances.

The scenes in the brothels and over the corpses are contrasted with surprisingly warm domestic scenes of Block the single parent raising his two daughters. The contrast is alarming, and the children are perhaps the only reason why he hasn't gone over the edge just yet. There is a particularly chilling suggestion in Tightrope that Block maybe vicariously living his fantasies through the killer.

On a physcological level the film is an original, where it falters is the plot. Perhaps inorder to get the film made, Tuggle was forced to add all the well worn cliches, such as the obligatory chase climax and the unmasking of the killer. He also has a tendancy to hammer home his points, as in the unnessecary dream sequence where Eastwood imagines he is the killer.

Some could persuasively argue the film wallows in excesses of depravity. I would disagree, an exploitation film tries to find a token story to hold acres of naked flesh and gore. A real film is driven to these taboo places BY its story. Tightrope is a real film. In its moody and intelligent way it suggests an innate depravity within the mildest of men.

Tightrope is an edgy film,good thriller and typical Clint which is a good thing,On the beat and sleazy streets of New Orleans making it a steamy thriller with some action towards the end,beautiful women(however they are dirty women of the night-how about that black hooker she is nice..) What is also great is Eastwood's Character which you never know until the end.

There is nothing original in this 1984 film in New Orleans. We have seen it all. The ex-cop turned serial killer after a long sojourn in prison for rape. The woman activist who is teaching self defense to other women. The divorced father who is taking care of two girls. The victims chosen among the female haphazard or not of the main cop who arrested him a long time ago, in order to get even with him, to get his revenge. The Mardi Gras turned into crime peddling. The three cops keeping one woman under surveillance and protection killed one after the other and the woman assaulted. Etc. So what makes this film special? The cool character of the inspector, slow and fast at the same time, Pondering and following his instinct at some other time. Professional and yet yielding to prostitutes a little too easily and too often, and forgetting his ties on the place of intercourse. Having a problem explaining his younger daughter what a hard-on is. And the word is used twice in the film. There is also the perfect well built suspense founded and built on the shoes and the color of the shoelaces of the criminal. The absolute ruthlessness of this killer who enjoys raping his victims before they die by strangulation and then even eating a cookie and having a cup of coffee. That nonchalance is rarely expected nor found in a serial killer, though he may become so used to his deeds that follow a strict scenario that he may become easy-going about it. That's why the film is perfectly entertaining and Bourbon street on Mardi Gras is so colorful and fascinating. We would like every day to be a Mardi Gras, even if that is the paradise of murderers who can disguise the way they want and be absolutely unseen, invisible. And it all holds with a red silk ribbon. Marvelous detail that makes the film nearly sentimental, like the red badge of courage turned perverse and sociopathic.

Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Versailles Saint Quentin en Yvelines, CEGID