Peter O'Toole descending into shots like a deity on a crane forever.
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Regie Richard Rush
An acclaimed, twisting action.
Der junge Vietnamveteran Cameron stolpert auf der Flucht vor der Polizei mitten in ein Set, an dem der exzentrische Regisseur Eli Cross gerade einen Kriegsfilm dreht. Dabei versursacht er versehentlich den Tod eines Stuntmans, woraufhin ihm Cross einen kuriosen Deal vorschlägt: Wenn Cameron für den verunglückten Stuntman einspringt, versteckt er den Gesuchten vor der Polizei. Der verzweifelte Cameron willigt ein und findet zunächst sogar Gefallen an seiner neuen Aufgabe, nicht zuletzt da er sich auch in die attraktive Hauptdarstellerin Nina verguckt. Doch schon bald bekommt er das Gefühl, dass Cross alles tut, um einen möglichst authentischen Film zu produzieren. Während Cameron für den manipulativen Filmemacher zunehmend gefährlichere Stunts vollführen soll, fällt es ihm immer schwerer, Wirklichkeit und Filmrealität auseinander zu halten.
Heute keine Spielzeiten für The Stunt Man in Los Angeles.
Peter O'Toole descending into shots like a deity on a crane forever.
What in the hell happened to Richard Rush? The Stunt Man is so sophisticated and funny, shot with such elan — it’s just freaking weird that the guy’s career very nearly stops, right there. All the performances have real depth. Mr. O’Toole is the obvious MVP, but Mr. Railsback and Ms. Hershey do their own heavy lifting. There is a scene, late in the film, between the two of them that would never make it on the screen today. Producers would think it’s too long, too late in the movie, “right when we should be ratcheting up,” and it would be drastically cut. But it’s actually a smart, well-written, beautifully performed (theatrical) scene that allows us greater investment in the characters before their lives are put in danger for the climax.Thanks, Transmission, getting this on 4K feels like manna.
I can't tell you what genre I'd label Richard Rush's The Stunt Man. It's a hybrid of dark comedy, action, drama and romance. It all depends on what scene you're watching. It's highlighted by Peter O'Toole's Oscar nominated performance. However, he's not the Stunt Man, but the eccentric director of an epic WWI movie. Peter O'Toole kills it, but I can't believe how powerful Steve Railsback is. He acts his balls off. It's almost unbelievable how he instantly turns from con on the run to stuntman working on a movie. He attempts insane stunts, and I'm pretty sure his character suffers from some sort of PTSD from his time in Vietnam. His romantic counterpart, Barbara Hershey also chews up scenes, and is at the top of her acting game. It's kinda crazy to say this, but the stunts in a movie called The Stunt Man are severely underrated. We get stuck on the acting, when the stunts deserve our attention as well. The coolest aspect of The Stunt Man is the film within a film plot line. We get to watch the film being made, and I was in awe of all the crane shots I witnessed. Watching the actual crane is cool as hell. Also, seeing how the characters prepare for stunts, and how the cast and crew interact with each other on a day to day basis, almost makes this a mock-documentary. There's crazy amounts of dialogue, and a lot of extended shots. You honestly will have no clue where the movie is heading. The "Ice cream assault reenactment scene" might be one of the greatest acting performances, ever. However, it's Railsback and not O'Toole who delivers the psycho funny monologue. The ending is about as crazy as it gets and The Stunt Man is one of the most unique movies you will ever see.
The film follows a fugitive who hides from the law by taking a job as a stunt double on an expansive war film, only to find himself ensnared in the manipulative games of its eccentric director.
Richard Rush directed The Stunt Man in 1980, a production celebrated for its complex meta-narrative and an Oscar-nominated performance by Peter O'Toole.