#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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.
Plot: 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 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.
Smart Tags: #on_the_run #stuntman #brothel #voyeur #female_rear_nudity #premarital_sex #femme_fatale #female_full_frontal_nudity #seduction #cleavage #breasts #stunt #fugitive #love_triangle #infidelity #film_director #female_frontal_nudity #extramarital_affair #duesenberg #cult_film #adultery
|7.1/10 Votes: 9,418|
|6.9 Votes: 97 Popularity: 10.693|
I won’t carry on about the plot of this marvelous flick since it’s already been adequately limned, but do let me emphasize a few points that have been kind of grayed out in other comments. The score by Frontiere is outstanding, from the up-tempo opening blast to the final credits. It’s not only unnerving but vertigo inducing, so it supplements the plot perfectly. The photography is outstanding as well, the colors appallingly vivid, as in an MGM cartoon, which in this context is most apt. (It is a mystery/comedy/thriller/philosophical disquisition, after all.) The Hotel Coronado in San Diego has never looked quite so palatial, not even in “Some Like it Hot.”
Rush’s direction boggles the mind, to coin a phrase. The film begins with a helicopter. A hand pops out of the helicopter and drops a half-eaten apple. The apple bounces on the hood of a parked car. We follow without comment the apple, the line of events, and it turns out to be what gets the story moving.
There are multiple very strange touches throughout. As a movie star myself, having been a faceless extra in half a dozen films, I have to add that movies are simply not shot this way. An expensive and dangerous (and ultimately lethal) stunt is performed as we enter the actual narrative and there is only one camera rolling — and that in a helicopter so far away that its engine can’t be heard? But it doesn’t really matter. The movie plays tricks all along with the difference between “reality” and “illusion,” an old game into which it’s difficult to inject more life, as this movie manages to do.
At one point, Railsback is told to perform a short if dangerous stunt, leaping from one roof to another. He does so, but the stunt escalates. Not only escalates but goes on and on, with Railsback unexpectedly crashing through ceilings and floors in a shower of glass before winding up in the midst of drunken, partying enemies who shout at him and laughingly lift his body above their heads and pass him around the room. It will shock you almost as much as it shocked him. O’Toole asks him after this long gag what it is he wants. Says Railsback: “Not to think I’m going crazy.”
The smallest parts are done well. A very authentic-looking German soldier with a cheery old face and big white mustache is loading his rifle for a scene in which he and his comrades are going to fire at Railsback. “I hope those are blanks,” Railsback tells him. “It doesn’t say so on the box,” replies the soldier with a friendly tone and a big smile.
Let me mention Eli Cross, the director, played by O’Toole. At one level this movie is made, through his character, into an examination of God, and his whimsical sense of responsibility towards the human beings whose lives he controls. “Eli Cross”? I mean — okay — Elihu, the crucifixion — the whole JudeoChristian tradition is embodied in that cognomen. Cross has a habit of riding around the sky in a giant crane whose seat drops unexpectedly out of space and into the middle of peoples’ conversations. Before the shooting of the final stunt, Cross raises his hand, looking at the horizon, and says something like, “I hereby decree that no cloud shall pass before that sun.” And while shooting another scene, the cameraman calls “Cut.” Cross pauses, then asks, “WHO called cut?” The cameraman explains that there were only a few seconds of film left on the reel so they had to cut at that point. Cross, like the angry God of the Old Testament, shouts that, “NOBODY cuts a scene except ME!” After chewing the cameraman out thoroughly, he fires him on the spot. You see, if a movie is supposed to resemble life, then ending a scene suddenly ends the filmic exposure of the two human conversants and only — well, you get the picture. A lot of this rather obvious theological stuff seems to have gotten by unrecognized or at any rate uncommented upon. It doesn’t need to be dwelt on.
There are already so many layers to this film that the viewer can afford to be only half aware of any one of them at a given moment. It stands by itself as a kind of very strange comedy. I didn’t find Railsback’s background as a Vietnam vet put on very thickly, by the way. It would be nice if God really were as accessible as Peter O’Toole is in this movie. All you would have to do to find salvation is jump through some well-defined hoops. As it is, though, I for one find myself muddling through from one day to the next simply hoping not to step on too many toes. Gimme a fiery hoop or a dive off a bridge any day. Just as long as my scene isn’t cut too quickly.
A Christian is thrown to the lions…Hollywood style
Former Vietnam soldier, a curiously uncorrupted rube who finds himself on the run from the law, is recruited by a movie director with a God-complex to work as a stuntman in his WWI epic being shot by a ragtag movie company full of eccentrics and enigmatic shadies. It’s the movie world as a battlefield, with the latter spilling dangerously over into the former. Although a personal triumph for director Richard Rush (who also produced the film and worked on the adaptation of Paul Brodeur’s novel–and was eventually forced to wait two years after the picture’s completion before he could get it released), the results are florid and outrageous without being very good. Peter O’Toole’s seething portrayal of the mercurial filmmaker (who is often delivered down from the heavens like an angel with horns) is indeed superlative; complicated and nasty, he’s a gleeful mad-scientist who’s more than eager to renounce his new star’s movie-virginity for the sake of his extravaganza. However, Steve Railsback (just off the TV-movie “Helter Skelter”, where he played Charles Manson) never finds an appropriate style as the director’s victim; haunted, yet open-mouthed and vacuous, Railsback does manage some brave emotions, but mostly they are just freak-outs. The audience is never drawn to this character, nor to the ramifications of his circumstance. Railsback and O’Toole seems to belong to different times and places, and, as the actress who binds the two men together and then rattles that bond, Barbara Hershey looks absolutely lost. Rush wants “The Stunt Man” to be a merrily complicated web of deceit and confusion, and at times the viewer is terrifically confused (and the comedic after-effects can be exhilarating). Still, it’s such an ugly-looking picture, filled with barbed bravado and uncontrolled egocentricity, that one is apt to be worn down long before the final tally. ** from ****
Original Language en
Runtime 2 hr 11 min (131 min)
Genre Action, Comedy, Drama
Director Richard Rush
Writer Lawrence B. Marcus, Richard Rush, Paul Brodeur
Actors Peter O’Toole, Steve Railsback, Barbara Hershey
Country United States
Awards Nominated for 3 Oscars. 4 wins & 11 nominations total
Production Company N/A
Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera Panavision Panaflex
Laboratory Metrocolor, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm