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>
According to 'Movies on TV and Videocassette', "Director-producer 'Richard Rush' worked on the project for nine years and [then] had to wait two years after the film was completed in 1978 to get it released". See more »
At dinner, after Eli's line "This film... is not about fighting wars, Sam," Sam's right arm jumps; first it is putting some food in his mouth and then it's resting on the table. See more »
I have versions of all sorts. Care to go back and see one? In one version you fly the helicopter and I'm driving the Dusenberg. It's a dilly.
What about the version where I drive off the bridge and drown in the water?
What is this? Why would I want to harm you?
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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 »
Colors splash and re-arrange the sky, and reality...is yours to deny
It's called 'subjective reality', children. The fact that the truth depends on the angle you happen to be watching from gives us all our unique, if skewed and unfair, perception on life. We're all puppets in someone else's dastardly play and we never know when that person, that entity, that divine being will cut our strings.
This was director Richard Rush's dream project and it took him nine years to get it on the screen. And, of course, it would! It's multi-layered, original, funny and packed full of story and circumstance that makes you think. Why would any studio want to touch it? Fox even sat on it for two years before giving it a limited release. Even on its umpteenth viewing it delivers again and again, offering new angles and subtle clues.
The viewpoint of this metafictional masterpiece is Cameron (Steve Railsback), a Vietnam vet on the run from the law. He stumbles onto the set of a WWI movie and accidentally kills a stunt driver. The director of the movie is the eccentric and megalomaniacal Eli Cross (Peter O'Toole, in one of his best ever performances), who takes Cameron under his wing and protects him from John Law, as long as he keeps his mouth shut about the accident.
Cameron practices to be a stunt man and takes the place of the man he killed. But as the movie shoot becomes more elaborate and dangerous, he falls in love with the leading lady (Barbara Hershey) and starts to suspect that Eli is trying to capture his death on film.
Although it seems nasty, the movie is wonderfully light-hearted and the outrageous stunt scenes are backed up by an awesome score by Dominic Frontiere. I've been humming that theme since I was 12-years-old when I taped it off Channel 4 in December 1992. I didn't quite get it back then, but I nearly wore out that VHS watching it over and over. A long scene with Cameron running over a rooftop, as biplanes attack and enemy soldiers give chase, is pure joy. There is a great comic sense of humor in watching them trip over each other, fall off, and get blown up.
John Law do not back down on their suspicion of Eli and, through half-heard conversations and eavesdropping, Cameron's paranoia becomes increasingly justified. Because the movie is seen through his eyes we never quite know what is going on with Eli. Is he a madman, or just a crafty director? Would you believe that Peter O'Toole based his performance on his experiences with David Lean? Why he never won an Oscar (it went to Robert DeNiro for Raging Bull)- is beyond me. He truly gives the performance of his career, far exceeding even Laurence of Arabia. It also sucks that Rush never won for Director, or Adapted Screenplay. Had he been awarded the golden statuette, maybe he would have received more recognition. He's clearly a better filmmaker than most of today's hack artists.
You simply have to see The Stunt Man. It's an overlooked gem and, despite the wide praise it received, it has never really reached a large audience. Now is definitely the time to rediscover this forgotten classic.
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