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.
Nun Sara is on the run in Mexico and is saved from cowboys by Hogan, who is preparing for a future mission to capture a French fort. The pair become good friends, but Sara never does tell him the true reason behind her being outlawed.
Jonathan Hemlock is an art history professor and collector who finances his hobby by performing the odd sanction (assassination) for an obscure government bureau. He is forced to take a case where he must find out which of the members of a mountain climbing team is the Russian killer he has been given as a target by joining an expedition to climb the treacherous Eiger.Written by
John Vogel <firstname.lastname@example.org>
This is the only film that John Williams has scored for Clint Eastwood. He was suggested by the studio and the producers of the film, Richard D. Zanuck and David Brown, after Jaws (1975), and because Williams knew that Eastwood was a huge fan of jazz. He did incorporate that style into his score, which also featured a classical, more traditional orchestral sound. See more »
At about 64 minutes into the film, Hemlock and Bowmen climb that high, thin, pillar-like formation, when Hemlock helps Bowmen onto its top, you can see the shadow of the camera, first on Bowmen as he crosses in front of it, and then on Hemlock's white t-shirt where for a moment you can also see the shadow of a cable as well. See more »
Tell me, Mr. Bowman, in your opinion do these men climb to prove their manhood, or is it more a matter of compensating for inferiority feelings?
Lady, why don't you go get yourself screwed. It would do you a lot of good.
See more »
An early cut of the movie showed, in detail, a man slitting Henri Bach's throat, reaching in, and retrieving microfilm that he had just swallowed. This was deemed too graphic, so the scene was edited to its current version. See more »
entertaining, near-mindless fun with some cool climbing scenes and plenty of wisecracks
Let's face it, folks, either you go for Clint Eastwood's kind of almost pure machismo (or whatever comes closest to him as a living, walking bad-ass), or you feel unnerved or turned off or just tune in for a few minutes here and there. I go for it, as it's one of those things that makes Clint what he is; he's intelligent about being a star, as his figure and persona are rarely changed much, so there's a consistency (Jack Nicholson may be a more versatile actor, maybe even better overall in his craft, but he'd have to go in a steel cage with Eastwood to see who'd be the best 70s star). The Eiger Sanction isn't any great shakes as compared to Clint at his best in the 70s- it's no High Plains Drifter or Dirty Harry or even Play Misty for Me- but it's a helluva lot of fun, and probably one of the better pictures done on the danger of mountain climbing.
Is the plot generic? Yes and no. Yes because we have seen this many times, with the ex-assassin pulled in for one more job and then finding a way to secure his retirement package with the deal and with not-surprisingly exciting (or sometimes not exciting) results. And yes, we've seen stuff like the guy's "girl" who comes in and plays a role, more or less, as the voice of reason, in this case Jemimma Black (yes, the name is basically blaxsploitation in mainstream clothing). Hell, there's even the doggone twist (yes, there's a doggone here) about who the killer actually is, and it's the sort that is handled this time with some degree of interest not so much in how it's revealed but what's done with it by the actors and the outcome of the climb.
But there's a lot more wit and fun in the script than one might give Eastwood and his writers credit for. It's tailor-made for someone like Clint, who plays this 'Doctor' of assassin time turned art history like it's nothing. He probably doesn't have much difference here in term of delivery of lines or sarcasm or the knack for beating the crap of the bad dude at the nick of time than Dirty Harry. Which is just as well; we need an anchor with the plot's likely pit-falls, with co-star Kennedy the only normal one among the possibly shifty characters (save for whoever plays Dragon, which is also filmed appropriately creepy and near originally). And it's the combo of humor ("Screw Marlon Brando!") and the suspense that arrives in that final act on the Eiger that makes the picture work. It's not entirely superbly directed- you can tell Eastwood is still working his way through doing certain techniques and frankly can't film a love scene at all- but for what it's worth, it's good, under-looked stuff in the cannon, perfect for a 'sick day' viewing. 7.5/10
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