A member of the House of Lords dies, leaving his estate to his son. Unfortunately, his son thinks he is Jesus Christ. The other, somewhat more respectable, members of their family plot to steal the estate from him. Murder and mayhem ensue.
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 <email@example.com>
The American Federal Aviation Administration (FAA) declined approval to allow director Richard Rush's production filming of an early 20th century bi-plane near the Hotel del Coronado shooting location. According to Paul Tatara at the TCMDb, "Eventually, Rush secured the right to land the plane at a nearby Naval base, then Bail, who volunteered to fly the antique aircraft, 'developed radio trouble' and lost contact with the closest control tower, at which point the plane mysteriously began to 'stall' directly over the hotel. Bail then performed a handful of diving runs and machine gun passes while Rush filmed him with five strategically located cameras". See more »
When Cameron does a somersault, his position changes as he comes out of the roll. See more »
It's not what he's eating, but what's eating him that makes it... sort of interesting.
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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 »
Revered as one of the greatest "cult" films of all time I recently saw it and most of my expectations were met. Steven Railsback plays a character named Cameron. A former Vietnam veteran and fugitive on the lam. At the begining of the film we see him being pursued by the police after he is spotted in a restaurant. Cameron while being chased accidentally stumbles onto a movie set where a World War I epic is being shot. After almost being killed by a stunt man on a bridge by a car Cameron picks up an object and throws it at the windshield of the vehicle causing it to swerve off the bridge and fall into a nearby river. A helicopter suddenly descends in front of Cameron. Inside it are the filmcrew documenting the bridge scene with it's director Eli Cross ( Peter O'Toole) starring at Cameron and what has happened. Cameron flees from the scene as the helicopter soars away. Eventually Eli Cross meets up with Cameron and convinces him to replace the stunt man or Cross will turn him into the police. Cameron has little choice. Thus begins the main characters harrowing journey.
The Stunt Man is a complex and multilayered film. It requires multiple viewings in order to catch all of the subtleties and nuances. As the film progresses we see Cameron placed into various stunt scenes, each one more dangerous than the last. Is Eli Cross trying to kill him? The film is a fascinating battle of psychological mind games. Cameron's perception of reality becomes skewed with the fantasy world of filmmaking as he becomes less able to distinguish until the final frame. We the viewer are also constantly confused as the film makes many unpredictable twists and turns with it's convoluted plot. Peter O'Toole is perfect as the flamboyant, megalomanical filmmaker. No one else could to the role justice and bring that much class to the part. Barbara Hershey is also good as the lead actress of Eli Cross' film who becomes romantically involved with Cameron. I have many favorite scenes from the movie. Especially the crash course in stunt work Cameron is given by the lead stunt man played by Chuck Bail, a real life former stunt man. Director Rush has seamlessly balanced pathos with humor to create a unique film of epic proportions. It is a film that the viewer must discipline oneself in order to watch.....but what a payoff.
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