The Gauntlet (1977)

User Rating:

6.2/10   

Director:

Clint Eastwood

Writers:

Michael Butler (written by) and
Dennis Shryack (written by)

Release Date:

21 December 1977 (USA)

Genre:

Action | Crime | Thriller

Tagline:

Clint Eastwood is the man in the middle of The Gauntlet

Plot:

A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.

Plot Keywords:

Prostitute | Betting | Trial | Bus | Police

Cast

Clint Eastwood	...	Ben Shockley
Sondra Locke	...	Gus Mally
Pat Hingle	...	Josephson
William Prince	...	Blakelock
Bill McKinney	...	Constable
Michael Cavanaugh	...	Feyderspiel
Carole Cook	...	Waitress
Mara Corday	...	Jail Matron
Doug McGrath	...	Bookie (as Douglas McGrath)
Jeff Morris	...	Desk Sergeant
Samantha Doane	...	Biker
Roy Jenson	...	Biker
Dan Vadis	...	Biker
Carver Barnes	...	Bus Driver
Robert Barrett	...	Paramedic

Runtime:

109 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

4-Track Stereo

Certification:

Spain:13 (cut) | Iceland:16 | Netherlands:16 | Finland:K-18 (1978) (cut) | Singapore:NC-16 | Canada:14A (video rating) | Peru:14 | Argentina:16 (original rating) | Argentina:Atp (re-rating) | Australia:MA (DVD rating) | Australia:R (original rating) | Finland:K-16 (DVD rating) (1999) (uncut) | Finland:K-16 (video rating) (1988) (cut) | France:-12 | New Zealand:R16 | Norway:16 (1978) | Spain:(Banned) | Sweden:15 | UK:18 (video rating) (1986) | UK:X (original rating) | USA:R | West Germany:16

Filming Locations:

Las Vegas, Nevada, USA

Company:

Malpaso Productions

Trivia:

The illustration on the film's original theatrical release poster was by Frank Frazetta.

Goofs:

Crew or equipment visible: When the helicopter crashes into the power lines, the copter is obviously a shell. The lack of an engine, and the mechanism where it is tied to the power lines is clearly visible.

Quotes:

Ben Shockley: Exactly. Reasonable suspicion. I can go anywhere I please if I have reasonable suspicion. Now if I have suspicion a felony's been committed, I can just walk right in here anytime I feel like it, 'cause I got this badge, I got this gun, and I got the love of Jesus right here in my pretty green eyes.

Movie Connections:

Referenced in "Remington Steele: Blood Is Thicker Than Steele (#2.14)" (1984)

Ridiculously entertaining

A one-time Steve McQueen-Barbra Streisand vehicle until McQueen met Streisand, and subsequently a Clint Eastwood-Streisand vehicle until Eastwood met Streisand, The Gauntlet sees Clint sending up his Dirty Harry image as a none-too-smart washed out drunken cop escorting Sondra Locke's foul-mouthed "nothing witness in a nothing trial" from Las Vegas to Phoenix and finding the Mob and every cop in two States determined to stop them - even the Vegas bookies are taking bets on ever-lengthening odds (70-1) on their not making it. From the days when Clint still made films in broad daylight and could film interiors without turning all the lights out and seen as wildly over the top at the time (even the famed Frank Frazetta poster art offered Clint as a Conan-esquire muscular figure in ripped shirt with girl in one hand and gun in the other), now it's almost an exercise in naturalism for the genre. Sure there's more firepower on display that in all of Eastwood's previous films combined (including both Where Eagles Dare and Kelly's Heroes!), with cars, houses and buses shot to pieces with gleeful abandon while helicopters crash into power lines, but somehow Michael Butler and Dennis Shryack's script manages to sell the increasing absurdities in a perfectly conceived audience picture that's designed to entertain and does just that.

There's a nice line in self-deprecating wit that never quite crosses the line into outright stupidity and Eastwood's tight direction keeps the action moving without losing sight of the fact that it's the characters that really need to sell the film. Just as importantly the on screen relationship between Eastwood and Locke hadn't overstayed its welcome yet as it quickly would over their subsequent films, their initial vicious sparring giving way to genuinely convincing tenderness in the later scenes, giving you a pair you can actually root for. Great fun if you're not expecting gritty realism - like the end credit says, 'Law enforcement procedures depicted in this film do not necessarily depict those of any law enforcement agency mentioned herein.' No **** Sherlock.