Stunt_Man_makes_mischief,_movie_magic

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Stunt_Man_makes_mischief,_movie_magic - 'Stunt Man9 makes mischief, 'movie mask9 I...
'Stunt Man9 makes mischief, 'movie mask9 I pAvtaurojl Ktr IT ADI VtrV .-J ...v. I it u j. )VK Miumpolli Stir Suff Writer ? On the one hand, there's "The Stunt Man," a joy buzzer of a moviesudden, deceptive, and a little scary.. ! On the other hand, there's "The Stunt Man" a filmmaker's genuine jewel. It has, Imbedded in a sterling action-adventure setting, a gem of a story that changes dimensions and acquires new surfaces with the changing of the light. ! Between the two hands, there's a movie with something to please anyone. "The Stunt Man," which opens today in the Twin Cities, is a splendidly complex creation you don't have to think about to enjoy. But few people would be able to resist thinking about it. Director-writer Richard Rush has knit a pattern of psychological mischief so neatly into this film that it cannot be pulled loose. Nor should it be. That mischief is the real fun of this film 4 ; ' ?Peter O'Toole '- f, CM . aU v. :- v -m and what makes it such an enter tatning minor masterpiece. It opens with a chase scene. Two squads of police are closing in on a man wanted for a crime that is not revealed, but that (to judge by the coldblooded looks of fugitive Steve Rallsback) is most likely in the league of people-eaters like Ed Gein. Railsback is fleeing across a narrow bridge when an immaculate, vintage automobile pulls over, apparently to pick him up. But at the last minute, the driver shoves the fugitive onto the road, does a U-turn, and roars back as if to run him over. Instead, he swerves off the bridge and into the river, leaving the fugitive staring into the water after the vanished car. It is an eerie, silent moment (and film students are tempted to compare it to the classic short about death and film techniques, "Incident at Owl Creek Bridge.") None of the familiar standard A Steve Railsback i t tin r "The Stunt Man" Director Rlclurd Rush Producer Rlchtrd Rush Executive Producer Melvin Simon Screenpliy .. Rlclurd Rush Book-- PeulBrodeur EH Croej Peter OToole Cimeroo Steve Railsback Nina Franklin ... Barbara Hershey Sam - Allen Goorwttz Jke AlexRocco Denlae Sharon Farrell Twentieth Century-Fox dlstrlbutet "The Stunt Man," a Melvin Simon Production rated R for robustnest, now showing at the Skyway Theater In Minneapolis and Cina 4 In St Paul. The advance screening of this film was made available free to The Star by Twentieth Century-Fox. cops-and-robbers actions that elapsed during the previous five minutes seemed very familiar, and certainly not reassuring. The camera seemed always slightly off-balance, the editing, more than a little desperate, almost hectic. And now, out of the sky over Railsback's shoulder! floats a helicopter. Dangling from it Is a man with a movie camera. In the pilot seat sits Peter O'Toole, staring steel-eyed at our man on the bridge, who wisely sprints away once more. O'Toole, we soon learn, is Eli Cross, a film director whose leading stunt man has just driven off the bridge and drowned. To avoid a scandal over the death, and because he takes a peculiar shine to the boy, Cross assigns the stunt man's identity to the fugitive, and dubs him "Lucky." They're a twisted pair, Lucky and Cross. The director is a mysterious, but grand, autocrat prone to sweeping flourishes of language and movement. We often see him careening around the set aboard a platform that swings from a crane like a wrecking ball and proclaiming what he loves about the deceptive nature of "movie magic"! "If God could do the tricks that we can do," hollers Cross, swooping across the heavens, "he would be a happy man." Lucky is confused by Cross. He first of all appreciates being hidden, but in time discovers that this is not the same as being sheltered. As a stunt man, Lucky has to leap from towers and tirop off roofs. They are breathtaking stunts, and make for some of the most exciting sequences in the movie (Cross' and Rush's movie). It's all the more so because Cross has a penchant for "crossing" his employees. The movie he's making is about war, and in order to capture genuine terror on film Cross is not above letting Lucky rip through a canopy that the young man had been told would catch him. It's perfectly safe, even if rather mean. And it makes Lucky wonder how much realism will be required to satisfy the director when he shoots the scene that killed the first stunt man. Add to this the fact that Cross' girlfriend and leading lady (Barbara Hershey) has fallen in love with Lucky, and you have a situation that warrants wariness. While viewers will identify with Lucky (because his head is spinning nearly as fast as ours), they will also harbor suspicions of him because it is still unknown why he is on the run. (And Lucky looks pretty sinister being played by Railsback, who portrayed Charles Manson in CBS' 1976 "Helter Skelter." If any of this sounds straightforward on its face, bear in mind that this is only one face. A new way of sizing matters up lurks at every turn in this energetic film, practically at every cut and Rush does some wonderfully bold ones. The film swoops and careens like Cross' crane. The reason it's so daring: The hand on the controls is firm and knowing. Many times when a movie tricks you, the natural response is to resent being manipulated; here, as in "The Sting," the response is exhilaration in discovery, and perhaps admiration for the filmmaker's technique. serving the FOOD & ou will thoroughly atmosphere at the for an appetizing noon evening dinner. Our friendly feel right at home. iaxea aining it s tne OPEN BUSES TO AU. GOPHER Featuring at the Piano Fri. ,HWY 52 ot BASS wmsm, Wllllli'mk HURRY! Ends October "Last of the Don't miss this one. Rated charming, " by the New York LIVE 8 PM Thurs., Fri. and TICKETS: $6 & $7 Thurs., RESERVATIONS: COMING "DAMES at SEA" By Ptayzra ftrrs Productions. RADISSON INN PLYMOUTH & You won't great It s a

Clipped from
  1. The Minneapolis Star,
  2. 31 Oct 1980, Fri,
  3. Page 31

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