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
In the 1970s, nostalgic pangs were for a time before rising gas prices, recession, Watergate and Vietnam. Such a time was the fabulous '50s. (For the nostalgic type, the '50s end in ’63 with the Kennedy assassination, the day the music died). Cinema captured it all throughout the decade, and the music of the '50s was at the core of films like American Graffiti, Grease, The Buddy Holly Story, The Wanderers, and even National Lampoon’s Animal House. By 1980 the craze was over, which explains why the otherwise terrific film The Idolmaker wasn’t as big a hit as the others.
It was kinda-sorta based on the life of music manager Bob Marcucci, who helped fill the pop idol scene with Elvis wannabes Frankie Avalon and Fabian. They may not have been as important as The King, but they sold some records and their handsome pictures were on plenty of teenyboppers' bedroom walls. The film isn’t a straight bio, but Marcucci served as a technical advisor to first-time feature director Taylor Hackford, who would go on to have a big career himself, with flicks like An Officer and a Gentleman and Ray.Continue Reading