Hooper (1978)

Hollywood aging stuntman Sonny Hooper wants to prove that he's still got what it takes to be a great professional in this risky and under-recognized line of work.

Director:

Hal Needham

Writers:

Thomas Rickman (screenplay), Bill Kerby (screenplay)

Stars:

Burt Reynolds, Jan-Michael Vincent, Sally Field

Nominated for 1 Oscar. Another 1 nomination.

Cast

Cast overview, first billed only:
Burt Reynolds	...	Sonny Hooper
Jan-Michael Vincent	...	Ski
Sally Field	...	Gwen
Brian Keith	...	Jocko
John Marley	...	Max Berns
Robert Klein	...	Roger Deal
James Best	...	Cully
Adam West	...	Adam
Alfie Wise	...	Tony
Terry Bradshaw	...	Sherman
Norman Grabowski	...	Hammerhead (as Norm Grabowski)
George Furth	...	Bidwell
Jim Burk	...	Jimbo
Don 'Red' Barry	...	Sheriff
Princess O'Mahoney	...	Wanda

Storyline

Aging stuntman Sonney Hooper is still on top as one of the best stuntmen in the business. But up and coming Ski is starting to do bigger and better stunts. Hooper has the experience to setup a stunt safely, and Ski lacks the common sense to know when a stunt is too dangerous. Maybe together, along with their fun loving buddies, they can do a stunt together that will surpass anything that anyone has done.

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Plot Keywords:

stuntman | stunt | director | cowboy hat | police | 

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Taglines:

It just ain't summer without Burt!

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Genres:

Action | Comedy

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Certificate:

PG

Details

Country:

USA

Language:

English

Release Date:

28 July 1978 (USA)

Also Known As:

Hollywood Stuntman

Filming Locations:

Santa Susana Field Laboratory, Santa Susana, California, USA

Box Office

Budget:

$6,000,000 (estimated)

Gross USA:

$78,000,000

Company Credits

Production Co:

Warner Bros.

Technical Specs

Runtime:

99 min

Sound Mix:

Mono

Color:

Color (Metrocolor)

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

James Best (Cully) played Sheriff Rosco P. Coltrane in The Dukes of Hazzard (1979) while Burt Reynolds (Sonny Hooper) played Jefferson Davis "Boss" Hogg in its film remake The Dukes of Hazzard (2005).

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Goofs

It appears that the red Trans Am in the bridge jump turns into a different body style while in the air - that of a Nissan (Datsun) 240 ZX.

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Quotes

Ski: My life is worth more than a piece of film.
Hooper: I'll tell you EXACTLY what your life is worth. Your life is worth fifty thousand dollars, that's the price you put on it when you got behind this wheel!

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Crazy Credits

Outtakes from stunts performed in the movie are shown over the closing credits.

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Alternate Versions

TV versions have included numerous outtakes which include a much longer party scene following the fight at the Palomino Club in which: Ski discusses his marital woes with Gwen in Hooper's kitchen (a dropped subplot); an awake, and very rowdy, crowd views "stunt reels" culled from "Deliverance"; and Jocko and Sonny have a lengthier sunrise discussion about babies. Later on, Sonny and Ski also get into a hairy fistfight outside of Sonny's trialer.

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Connections

Referenced in Saturday Night Live: Fred Willard/Devo (1978)

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Soundtracks

Hooper
Sung and Written by Bent Myggen

User Reviews

A joyous tour-de-force

My parents ushered the young me into an 8-plex one fine afternoon prophesying an epic -- a cinematic triumph unparalleled since the days of Bergman. Disgruntled at my forebears' refusal to consent to a screening of Jaws 2, I nonetheless acquiesced and slumped into the screening room.

When I emerged a scant two hours later, I was no longer a callow youth. I had become a man.

Screen legend Burt Reynolds offers one of his most insightful, well-rounded performances as Sonny Hooper, an Achilles with a mustache, seemingly foredoomed to the stuntman slag heap by the onset of middle age. Playing the part with the gusto and verve of a man four-fifths his age, Reynolds achieves newfound heights without seeming to crack a script, winking slyly at the merry romp he has conjured. Sally (The Flying Nun) Field (who by some incredible chance happened to be dating Reynolds) plays the groundbreaking role of Hooper's common-law girlfriend, Gwen Doyle (a name so lilting and memorable, I promptly bestowed it upon all six of my goldfish). Field embodies the universal theme of a woman struggling to come to terms with a life she has neither chosen nor can escape. Kneepad-deep in beer cans, forced to wear short shorts, physically lifted and repositioned like an arc light or rubber tree, she personifies the objectification of women by the stuntmen who are themselves objectified by the studio hacks (Robert Klein) who employ them. As the winsome, perky daughter of stunt-osaurus Jocko Doyle (Brian Keith), Field set the standard by which all future stuntman's daughter roles would be be measured.

Central to the success of this story are the providential appearances of such childhood icons as James (Rosco P. Coletrane) Best, Pittsburgh Steeler Terry Bradshaw (utterly convincing as a man who gets hit in the face), and the impeccable Adam (Batman) West, who plays an actor respected enough that a film crew protectively prevents him from jumping over the side of a building. The absence of the sublime Dom DeLuise marks this film's only flaw, forgiveable considering that by this point in his trajectory, DeLuise had priced himself out of the market.

Shining through it all, dazzling in his wit, pathos, and imperfect grandeur, stands the linchpin, Burt Reynolds. Whether baring his bottom for a Xylocaine booster or outwitting the police by driving his pickup backwards, Reynolds inhabits the role so effortlessly, he seems to glide along like Clark Gable atop his Rhett Butler waltzing simulator.

Although this film had an unintentional rite-of-passage effect upon me, I was subsequently disillusioned to learn that Mr. Reynolds was not a stuntman, but an actor. Granted, the greatest actor to grace the silver screen since John Larroquette (who actually came later, but the comparison still stands), but still an actor.

It took years of therapy before I again began to trust.