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 make and model of the vintage car is referred to in the film as being a Duesenberg. However, according to the IMCDb, the vehicle was a made for movie car, it resembling a 1932 Mercedes Benz 770, and appearing to be made of various manufacturer styles including the above as well as Rolls Royce. See more »
When Eli pulls Cameron onto the crane, Eli's arm wraps around him and stays wrapped around him for the rest of Cameron's closeups even though Eli has removed the arm to tell Cameron to look into his camera. See more »
[after Nina falls into the ocean, Cameron carries her in his arms back to shore]
This is just like in the movies!
I *am* the movies.
See more »
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 »
When I first saw THE STUNT MAN, I was very enthusiastic about the film and raved about it to anyone who might be interested. I've watched it twice with some friends since, but they weren't very enthusiastic about it, so I can imagine that for many people it won't pay off. It's an ingeniously constructed film that takes some patience and attention to watch. Made by the erratic Richard Rush, this was his pet project for nine years. Although the direction is fine, it's mostly a virtuoso piece of scripting (credited to Rush and Lawrence B. Marcus, based on Paul Brodeur's novel) that makes this such a special film.
A short plot outline: Fugitive Cameron (Railsback) stumbles onto a movie set where megalomaniac director Eli Cross (O'Toole) promises to hide from the police if he replaces his ace stunt man, who got killed earlier on the set in a freak accident while filming a scene. Is Eli trying to capture Cameron's death on film while he is performing a stunt? Reality and imagination soon blur when Cameron grows increasingly paranoid because Eli Cross doesn't let anything or anybody get in the way of shooting his masterpiece the way he wants. He doesn't seem to care about human life, as long as his movie is shot in the way he wants it.
Railsback is an odd choice for the main role but apparently the makers wanted a "low-key" actor for the main part. Barbara Hershey gives a great performance but without Peter O'Toole's tour-de-force performance, I doubt if the film would have worked as well as it did, especially with such a challenging and multi-layered script. He delivers his lines with such vigor that you cannot look away, a grand performance by perhaps my favorite actor off all time. Such a pity that his (later) career mainly consisted of mediocre films at best and some disastrous ones, sadly... I cannot imagine this kind of film being made in Hollywood today and even back then it might be called a small miracle it got made in the first place, let alone released (in fact, it sat on the shelf for two years before release). Perhaps it's all a little too ambitious at times but with a cast like this and such a dazzling script, it's definitely worth the effort.
The DVD-release by Anchor Bay comes with an extra disc loaded with extra's. Lots of interviews, including one with O'Toole and a very peculiar - almost two-hour (!) - documentary about the making of the film, presented by Rush himself, almost worth seeing in itself.
Camera Obscura - 8/10
23 of 26 people found this review helpful.
Was this review helpful to you?
| Report this