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While on the run from the police, Steve Railsback hides in a group of moviemakers where he pretends to be a stunt man. Both aided and endangered by the director (Peter O'Toole) he avoids both the police and sudden death as a stuntman. The mixture of real danger and fantasy of the movie is an interesting twist for the viewer as the two blend in individual scenes. Written by
John Vogel <firstname.lastname@example.org>
The 20th Century Fox film picked up the picture for distribution the same day the film won the Grand Prix at the Montreal Film Festival. See more »
When Cameron does a somersault, his position changes as he comes out of the roll. See more »
Oh Burt, stop this worrying. You must have heard surely of movie magic. You should be a stunt man, who is an actor, who is a character in a movie, who is an enemy soldier. Who'll look for you amongst all those? People like to believe in things, and policemen are just people. Or so I'm told. Frankly, our problem is so simple it's almost beneath us. Now listen to me: that door is the looking glass, and inside it is Wonderland. Have faith Alice! Close your eyes and enjoy.
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After the credits end, the movie-within-a-movie director (played by Peter O'Toole) yells, "Sam, rewrite the opening reel! Crush the little bastard in the first act!" And then he laughs during the fade-out. See more »
A true original comedy that wouldn't get made today.
This is a very funny and entertaining movie that doesn't fit into any one category. It's about a slightly crazed movie director who is making a WW1 movie in Southern California who hires a fugitive to replace his top stuntman. Peter O'Toole gives perhaps his best performance ever as the egomaniacal filmmaker who will do anything, perhaps even murder someone, in order to protect his artistic vision. The underrated Steve Railsback is good also as the paranoid Vietnam vet turned fugitive from the law. The action scenes are very funny and well-done, especially the rooftop chase. The music score is appropriately clever and matches what's happening on screen. Real-life stunt man Chuck Bail has a good part as a stunt coordinator who shows Railsback the ropes. The editing techniques help blur the line between reality and make-believe. The film is a bit too long, though, and some key scenes go on longer than necessary. These are minor complaints, however, because a film like this doesn't get made very often anymore.
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