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A Film Nobody Wanted Endures As A Brilliant Cult Classic And

K. Harris | Las Vegas, NV | 02/21/2007

(5 out of 5 stars)

"There are just some movies in your life that really speak to you--that connect to you on some emotional or intellectual level in a very special way. "The Stunt Man" from director Richard Rush is such a film for me. Released in 1980, this ode to movie making is a challenging, intelligent, incisive and fun film that very few people saw upon its initial release. After a 10 year preproduction struggle by Rush, a tumultuous shoot, and no support from a studio that didn't care about the film--it was essentially dumped with no fanfare. Even star Peter O'Toole has commented, "The Stunt Man wasn't released, it escaped." But with amazing clarity and foresight, the film was surprisingly awarded with three major Academy Award nomination--Best Actor for Peter O'Toole, Best Director for Rush, and Best Screenplay for Rush and Lawrence Marcus. In the years that have followed, the film has attained a cult status and a legion of faithful fans (myself among them). In fact, I have seen this film probably 15 times and it was the first (really!) VHS tape I ever bought--now that's dating me!

To relate the plot of "The Stunt Man" in a concise way is to deny the subtleties and intricacies that really distinguish this as a bold and unusual work of art. But here's a brief synopsis. The film begins as a convict, played by Steve Railsback (Charles Manson in "Helter Skelter"), makes a break from the cops who are transporting him. Fleeing into the neighboring seaside village, he stumbles onto a film set where a tragedy that will likely be investigated has just struck. To avoid police intervention, the film's director (Peter O'Toole) embraces Railsback and identifies him as the company's stunt man who was just involved in an accident. It seems an ideal setup, as Railsback needs a new identity and the film production needs to account for the missing stunt man. As the film progresses, Railsback learns about movie making, becomes infatuated with the leading lady (Barbara Hershey), and starts to suspect that O'Toole has sinister ulterior motives.

The beauty of "The Stunt Man," which may be one of the most delightfully "inside" films about the industry ever made, is that it works on so many different levels. You could aptly describe the film as a drama, a comedy, a thriller, and action picture, a romance, a satire of filmmaking, and a study of truth versus illusion--what is reality? Seriously, it is successful in every one of these fields. Add breathtaking action sequences, a wickedly funny and literate script, and bravura performances--and this mini-masterpiece truly stands the test of time. Hershey and Railsback are terrific, but O'Toole steals the show as the megalomaniacal director! Anyone who loves movies, and the art of filmmaking, should find much merit in "The Stunt Man." But make no mistake, as much as I will defend this as a great film--you, in no way, have to be a film snob to enjoy it. This film is deliriously entertaining and a wild ride!

The Limited Edition of the DVD also contains the feature length documentary--"The Sinister Saga of Making The Stunt Man." This is a fascinating look at the trials and tribulations of getting "The Stunt Man" to the screen by a writer/director with no intention of compromising his vision. I recommend this edition while it's still available, the journey of this film is a tremendous and impressive story! And Rush is easy to admire and like.

This film carries my highest recommendation to movie lovers of all ages. While maybe not one of the 5 "best" pictures ever made, it is easily one of my 5 most enduring "favorites." Check it out. KGHarris, 02/07.

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"I *am* the movies!"

Tom S. | New York City | 08/04/2006

(5 out of 5 stars)

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Barbara Hershey delivers that line (above) very early in THE STUNT MAN, and she is saying a great deal. She is the old lady who magically transforms into a beautiful young woman, the fantasy, the dream girl at the end of the rainbow. She is the reason we go to the movies.

This is a work of art about the creation of a work of art. The work in this case happens to be a movie, and--as with all great works of art--there is one obsessed, cruel, megalomaniacal genius at the helm. Eli Cross (Peter O'Toole) is the most vivid depiction of a Hollywood director ever captured on film. He is a true patriarch, playing father/lover/drill sergeant to his cast and crew, and they all love/hate/fear him for it. Anyone who's ever been near an actual film set can tell you how accurate the character is.

But what makes this film just about the last word on the subject is Richard Rush's brilliant blurring of fantasy and reality. That, after all, is the main occupation of those who toil in the "Dream Factory" of show biz. Note the many references to ALICE IN WONDERLAND. Steve Railsback (who is terrific) is Alice, and Eli and his mad crew are what he finds on the other side of the looking glass. He is running from bleak reality, straight into the arms of an instant family: father (O'Toole), uncle (the screenwriter played by Allen Goorwitz), brother (fellow stuntman Chuck Bail), and love interest (Hershey). And they all may be planning to kill him on camera, just to make their movie even better. Now, that's Wonderland--and that's Hollywood!

Few films before or since this 1980 gem have given us such a true, terrifying, hilarious view of the process of manufacturing dreams. Truffaut's DAY FOR NIGHT is the only one I can think of that comes close. How tall is King Kong? As tall as we want him to be. If you love the movies, you'll love THE STUNT MAN.

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