Der Professor für klassische Kunst und Sammler Dr. Jonathan Hemlock, der auch als professioneller Attentäter tätig ist, wird aus dem Ruhestand gedrängt, um den Mord an einem alten Freund zu ... Alles lesenDer Professor für klassische Kunst und Sammler Dr. Jonathan Hemlock, der auch als professioneller Attentäter tätig ist, wird aus dem Ruhestand gedrängt, um den Mord an einem alten Freund zu rächen.Der Professor für klassische Kunst und Sammler Dr. Jonathan Hemlock, der auch als professioneller Attentäter tätig ist, wird aus dem Ruhestand gedrängt, um den Mord an einem alten Freund zu rächen.
- Auszeichnungen
- 1 Nominierung insgesamt
- Mrs. Montaigne
- (as Heidi Bruhl)
- Freytag
- (as Reiner Schoene)
Handlung
WUSSTEST DU SCHON:
- WissenswertesThis is the only movie that John Williams has scored for Clint Eastwood. He was suggested by the studio and producers 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.
- PatzerIn Hemlock's house on the wall over his desk there are pictures of him on various climbs. One of these pictures is of him dangling from the rope by the railway tunnel door at the end of the movie.
- Zitate
[Hemlock saves Meier from falling off the mountain]
Anderl Meier: You're very good. I have really enjoyed climbing with you.
Dr. Jonathan Hemlock: We'll make it.
Anderl Meier: I don't think so. But we shall continue with style.
- Alternative VersionenAn 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.
The intermittent tone seems largely attributable to the fact that, at this point in Clint's career, the ego had landed. Thus we witness scads of nubile young lovelies attempt to lure the granite hewn stud into bed, whilst he disrobes to reveal a finely honed physique at every opportunity. The women are all sex crazed psychopaths (ain't it the truth) driven to distraction by his squinting cool and formidable musculature. Notice also the number of times both female AND male characters are required to comment admiringly on Eastwood's appearance and caress his form with their eyes. There's no distance to any of this, however. Even the pop-Nietzcheian antics of the mountain climbers are served cold. The director star never offers us the merest suggestion that he's mocking the preening machismo at any level.
All of this worship, plus the fact that the star's performance is WAY, WAY over the top - his usual 'snarling and eye-rolling alternated with boyish grin' is accentuated to parodic proportions - lends the piece a bizarrely dreamy, awkwardly sadistic homo-eroticism. If, in any other film, the hero yelled, "you're quiet now, ain't ya, ya little prick?" at a dog called 'faggot' after he'd killed it's master, I'd be on safe ground in assuming that the makers were nudging my ribs. Here, though, the surrounding unfettered narcissism and borderline unpleasantness it engenders makes it impossible to tell when the joke is for us or on us.
But its fun because of this nonsense. Even the final inconsequentiality of the whole exercise can't diminish that. It's just that this film, more than any other in his catalogue, lends extreme credence to biographer Patrick McGilligan's central assertion that, cinematically speaking at least, Clint is a lot less smart than critics allow.
- LewisJForce
- 14. Dez. 2005
- Permalink
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Details
Box Office
- Budget
- 9.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 14.200.000 $
- Weltweiter Bruttoertrag
- 14.200.000 $
- Laufzeit2 Stunden 9 Minuten
- Farbe
- Seitenverhältnis
- 2.39 : 1