Der Mann, der niemals aufgibt

'The Gauntlet' is an action thriller starring Clint Eastwood and Sondra Locke. In the film, Eastwood – playing an unpopular 'Dirty Harry' kind of police officer – must escort a prostitute (Locke) to a trial, at which she is to be a witness. However, there are high- ranking officials in the police department who'd rather see Locke not make it to her trial, and so the duo soon become the county's most-wanted, and it transpires that the authorities will do anything to keep the cop and the prostitute out of court. They must tackle a number of increasingly deadly obstacles in their path, with police snipers, vengeful bikers, helicopters and drive-by shootings all serving to impede them. With these developments, it becomes apparent that 'The Gauntlet' isn't a film to be taken seriously; once this is acknowledged, the film is quite good. It isn't as nail-biting as 'Dirty Harry' or as solemn as 'In the Line of Fire', but 'The Gauntlet' still manages to entertain, albeit in a lighter, 'Mad Max' way. (I think that Eastwood attempted this with the film 'Coogan's Bluff', but I'd say that 'The Gauntlet' is the superior title.) The film is supported by some enjoyable and opportunistic cinematography, a lovable jazz score, and two surprisingly good performances. 'The Gauntlet' isn't really a title to be remembered, debated or written about, and if you approach it in consideration of what it is – a fun, 'Bullitt'-like action film with mature themes – you're likely to enjoy it.

The Gauntlet is the second of six films that Clint Eastwood did with Sondra Locke, an amount that certainly qualifies them as a screen team of note. They were for 15 years a team off the screen as well.

The Gauntlet casts Locke as a hooker who is being subpoenaed as a witness in an organized crime case. She's in Las Vegas where if you'll recall prostitution is legal and apparently she's learned some interesting information. More interesting than she realizes because there are some people who want to make very certain she does not reach Phoenix where the Maricopa County District Attorney has her for a witness.

Assigned to the case is Clint Eastwood who is characterized by himself as a tired old time server of a cop. He's not by reputation with the Phoenix, PD a Harry Callahan. But to the regret of forces who want to see Locke dead and consider him an incompetent and expendable, Clint fools them all.

As a film The Gauntlet goes at a good clip and the suspense from the first attack against Eastwood and Locke does not let up for a second. The dialog between Eastwood and Locke is crisp and entertaining and the action sequences well staged. The two leads get good support from Pat Hingle as Eastwood's luckless partner and William Prince the corrupt Chief of the Phoenix PD.

I'm not sure whether Prince wants Locke dead for her testimony linking him to organized crime or for the fact she can testify to some alternate sexual practices he favors. Either way Prince is absolutely manic about making sure they never get to Phoenix alive.

For fans of Clint Eastwood, The Gauntlet is one of his best films, one of my favorites of his, and something not to be missed.

"The Gauntlet" is an action film that works best if you don't expect very much from it. It's not a Dirty Harry film nor does the film make a lot of sense...especially at the very end. Nevertheless, for Clint Eastwood fans it probably packs enough in it to make them happy...all others consider twice before watching.

Eastwood had just finished making his third Dirty Harry film when he then made "The Gauntlet". I am sure many expected to see the self- confident and murderous officer Callahan once again, but his Ben Shockley in "The Gauntlet" is in many ways very much unlike Callahan. He's a drunk, a lousy cop and someone no one would expect much from...hence this is why he was chosen for a special assignment. The Police Commissioner (William Prince) wants Shockley to go to Vegas to bring in a prisoner who is expected to testify in a mob case. However, it soon becomes obvious no one wants him to bring the girl (Sondra Locke) back alive...and the Vegas and Phoenix police forces are itching to kill them both.

So why do I only give this one a 5? Well, the film is pretty much mindless action much of the time, but the reason for this relatively low score for a Clint Eastwood film is the ending...an ending which seems incredibly fake and silly. All semblance to reality seems to vanish and the ending is basically intended to satisfy the primal, not the intellectual. Pretty silly ending...as is the bizarro romance.

Hands down, Sondra Lockes best performance.So then,why does this film need all the over the top violence? It does so because most men won't want to admit they like a love story, or go to the movies to see one. This movie is a top rate love story, from beginning to end. What possibly could this movie have in common with Fight Club,,or even As Good as it Gets? In Fight Club, Ed Norton meets a girl that he obviously can not handle , so he reinvents himself. Same with Ben Shockley. He meets his match, so he must act quickly, making up a story about snakes at the cave. He then thinks on his feet, and acquires himself a bike, impressing the girl and cementing their alliance. Jack Nicholson breaks down to Helen Hunt and claims "You make me want to be a better man".Estwood starts saying please, and and emotes a deep trust in his counterpart; He realizes he must soften up a little to keep the lady around.He does. Shockley isn't some phony Top Gun hero who loses the girl, he's a loser who does what he has to get the woman in love with him, and it works, this is his only chance at love.

This is Lockes best film. Is it because of the acting or is this Lockes personality? She does it well enough where you honestly believe she is ad libbing at least half of her lines, pulling them off the top of her tongue. She sizzles, oozing sex in the back seat of the cop car. You honestly believe she is so used to verbal abuse that she sits there and takes the insults. She is just playing possum, lying in wait. She takes her turn, and delivers a knockout counter-punch to the constable,forcing his mind to admit that he is just a sleazeball flunkie. What is best, is that nothing but honesty and cold reality come out of her mouth. Eastwood accepts the truth, and lives. The constable refuses, and dies. Locke is the anti-feminazi. She saves her mans life, and immediately wants to go back to being a real woman, in his arms.This movie deserves a ten, because the action scenes are just there so people can handle all of the raw truth in the movie. A must buy.

A rundown cop who's always on the drink named Ben Shockley is assigned to accompany a foul-mouthed prostitute in Las Vegas to a protection program across the country in Phoenix to testify against highly placed authority figure, although first they have to get through a gauntlet of bad cops and the mob who actually want them both dead. So now the odds aren't in their favour, but Shockley is determine to do his job, no matter how big the odds are against them.

Classic Eastwood is on show here people. Although, it's not one of his greatest nor particularly original. But this reasonably familiar cop / action film delivers what it intended to do by giving us a taut little road movie across baron landscapes with a tremendous amount of brutally fast-paced shootouts and grand chase scenes. I mean a lot! To sum it up, shootouts, shootouts and even more shootouts. Watch things go boom with a lot going on at such a furious pace! What more could you want?

So you ask, why is this nothing out of the ordinary? Because this kind of thing wasn't particularly new within this era of films. There were definite shades of Dirty Harry; Eastwood's character Shockley was the exact opposite to Harry though. The one thing you'll notice is that there is no real excuse or depth behind the plot, but to stage one chaotic and stretched out shootout after another. Sometimes they feel like they go on forever! Nonetheless, they might be far-fetched and fail logic, but they're rather well set-up by director Eastwood. Giving us a sudden burst around each corner and because of that there's hardly a mundane moment… uh, maybe Eastwood did overkill certain shootouts, but it did get the blood pumping! So, when the "exaggerated" climax hits the screen - at least the film was consistent in that aspect.

The performances were top-notch, with Eastwood's persona making any film his in watchable. He gives a stellar performance. Sondra Locke as Gus Mally was perfect. The chemistry between the leads was outstanding. The scathing and rough dialogue amongst them was a treat with great use of sarcasm and offbeat humour. The biting conversations truly built on the paranoia at hand with many top one-liners. This gives the film a buddy type of feel. Other key factors are the soothing blues soundtrack, well established camera shots that capture a beautiful landscape, but also the panic of the situation they face. While, there might be underlining themes running throughout the plot, I just didn't read too much into it.

Just leave your brain at the door and enjoy the total chaos and destruction that follows with your screen being sprayed with bullets! Definitely recommended for fans of Eastwood and gritty action films.