After the mania of Evel Knievel-style daredevils and stuntmen entered the pop culture imagination and the American lexicon, stuntmen became the subject matter of a string of films in the late '70s. This includes the Burt Reynolds opus Hooper (which was the directing follow up to Smokey & The Bandit by big time stunt coordinator Hal Needham) and finally the genre’s masterpiece, The Stunt Man in 1980, which earned three Oscar nominations, including one for the director Richard Rush. However most of the films from the stunt craze usually fell somewhere between forgettable, like Animal, with Jean-Paul Belmondo and Raquel Welch (how have I never seen this?) and the bizarre, like Stunt Rock, starring the prog band Sorcery! Stunts in ’77 fell somewhere between the two. But now almost forty years later, Stunts -- while ignored in its day -- is a fascinating look at the filmmaking process, the stuntman brotherhood and an entertaining scorecard for genre box checking.
Many years later Quentin Tarantino would famously resurrect Robert Forster’s sagging career with Jackie Brown, but in this era, he would often pop up in some glorious B movies like Alligator and Vigilante. Stunts is another high point during his low years, and though the material may be lacking, you can see his easy charisma on display here. If you grew up in the '70s and '80s the rest of the cast is a virtual all-star team of B actors who had some hits, but are maybe more recognizable from episodes of Police Story or Fantasy Island. The cast includes Ray Sharkey (later fantastic in The Idolmaker), Fiona Lewis (The Fearless Vampire Killers), Joanna Cassidy (Blade Runner), Bruce Glover (best known for playing one of the pair of oddball killers in Diamonds Are Forever), Darrell Fetty (Big Wednesday), Candice Rialson (the talking vagina epic, Chatterbox!) and finally the great character actor Richard Lynch. (Lynch has a massive midnight movie resume; he’s always watchable in oddball films like The Ninth Configuration, but is best known for, I guess, playing the bad guy in Invasion USA).Continue Reading
You Only Live Twice
It’s hard to pick a favorite of those first five James Bond films starring Sean Connery. Goldfinger and Thunderball have their fans. Dr. No is also a blast and the locations and Robert Shaw as the bad guy in From Russia With Love make it pretty special, but I would go with You Only Live Twice. It‘s the last of the 1960s Connery Bonds before he came back for the series' official jumping-of-the-shark four years later in the disappointing Diamonds Are Forever (in between being replaced by George Lazenby for one film, ironically, maybe the best Bond flick, On Her Majesty’s Secret Service). All of the Bond flicks of the period work as fascinating international travelogues (wow look at Istanbul in ’63!), butYou Only Live Twice’s Asian setting (mostly Japan), is particularly compelling. Besides Japan’s sexism matching and even topping Bond’s usual misogyny -- I point this out as an anthropologist, not a critic, and as a fan of Japanese cinema, especially Seijun Suzuki’s Yakuza flicks -- it’s fun seeing Connery walk (or run) through similarly blocky industrial locations, that look so familiar from other films. Though Twice’s fantastical centerpiece is its most dated aspect (a stolen rocketship from outer space), what works best is the pure procedural detective work Bond is forced to do and some of the best action set pieces of the franchise. Though Connery donning a bad haircut and slight eye makeup to go undercover as a Japanese man is less shocking then, say Marlon Brando actually playing Japanese in Teahouse of the August Moon and not as completely offensive as Mickey Rooney’s hateful caricature in Breakfast at Tiffany's, it still is a little off-putting, saved only because his eye makeup is less Japanese and more Vulcan.
In one of the more comprehensible Bond plots, the secret agent is forced to go poke around Tokyo, after an American and then a Soviet spaceship are hijacked. Only the British don’t get caught up in the Cold War politics, believing neither super power is responsible since they have reason to believe the ships touched down off the sea of Japan. Bond infiltrates corporate Japan aided by the very beautiful Aki (Akiko Wakabayashi) -- who more than once saves him in her bitchin’ convertible Toyota -- and a Japanese Secret Service man, Tiger Tanaka (Tetsurō Tamba), one of the rare second fiddles who seems to be an equal with Bond in both brains and chauvinism. With a script by the great Roald Dahl (most famous for his children’s books including Charlie and The Chocolate Factory, although he also had a background in Britain’s intelligence offices), this was apparently the first Bond script that veered strongly from Ian Fleming’s original source material, which may be why it plays so well. Eventually Bond's snooping leads him to a secret volcano base where the nasty head of SPECTRE, Ernst Blofeld, is stealing the rockets in an effort to start a world war. Along the way there are some classic moments, including a brutal fight between Bond and a sumo wrestler, a dog fight in Bond’s gyrocopter “Little Nellie” and a great attack on the volcano base by ninjas. The lair is as spectacular a set as ever was constructed at that point, complete with Blofeld’s escape monorail and a man-eating piranha pond. Along the way Aki is killed but Bond quickly replaces her with the equally cute Kissy Suzuki (in the book she gives birth to Bond's child); she seems uptight at first but loosens under Bond’s charm, even wearing a bikini while volcano climbing. Bond also has a great run-in with an evil businessman’s killer secretary, Helga Brandt (Karin Dor), who though assigned to kill Bond, first turns him into her boy-toy before leaving him to die in a plummeting airplane.Continue Reading