Movies about movies have a special fascination, and, despite some flaws, "The Stunt Man" is no exception. Arrested for an unnamed offense, Cameron, a crazy-eyed young man played by Steve Railsback, escapes custody and encounters a film company on location. The crew is on a beach shooting a World War I battle that involves dozens of extras, vintage biplanes, and explosions. Aided by the film's director, who does not want to admit that he has lost a stunt man in a tragic car stunt, Cameron becomes the stunt man and is goaded into performing daring and dangerous stunts of his own. In an Academy Award nominated performance, Peter O'Toole plays the determined Eli Cross, the movie-in-the-movie's ruthless manipulative director. Cross stops at nothing to get footage in the can, irregardless of the consequences, even the death of a stunt man. When not jumping from buildings or hanging from ledges, Cameron becomes involved with the film's female star, Nina Franklin, played by Barbara Hershey, whose history with Cross further complicates things.The screenplay by Lawrence B. Marcus and Richard Rush was adapted from a novel by Paul Brodeur, and both the screenplay and Richard Rush's direction, like O'Toole, received Oscar nominations. While much of the film's fun comes from the action and the stunts performed for the movie within the movie, O'Toole's delicious performance as the flamboyant philosophical director is also a major draw, although the supporting cast is also fine, with Alan Garfield and Alex Rocco deserving mention.The mystery of Cameron's crime and the cause of the stunt man's death plunge into a river are slowly revealed, but character is emphasized over plot and the romance consumes much screen time. Thus, the film is often slow, overlong, and not as clever as Rush wanted it to be. Judicious editing could have tightened the film and improved the pace. However, while "The Stunt Man" is fairly entertaining, O'Toole's star performance remains the film's major asset and chief draw.

There's questioning one's reality and then there's bending it through a prism six ways from Sunday. "The Stuntman" is the latter, which shrouds itself in questions and stymies you at every turn. Mostly, this is a well-constructed film and the mystery keeps you actively involved. It's fascinating how many layers this thing has. But even if you're not game for this sort of side-winding, it does have Peter O'Toole, which is a joyride unto himself. His megalomaniacal director is larger than life and might just be an evil genius. But he absolutely owns this movie, and it's a ferocious performance to beat them all. Amazing stuff.7/10

Lights, camera, FRANTIC! I saw this for the first time in a theater in 1981, so it was certainly time for a re-visit: A fugitive (and Vietnam vet, á la the 1980's formula character trait picks) from the law, stumbles upon a movie shoot and inadvertently kills its stunt man. The ruthlessly manic director agrees to shield him from the police - ONLY if he agrees to step in as the stunt man's replacement to finish the film! For any movie buff, this set-up is enough to make you drool and rub your hands together in delight.An absolute one-of-a-kind mix of sarcastic satire, dizzying action plus one of the best movie-within-a-movie gimmicks ever: An overblown WW1 war/romance epic! Top production of course, energetically unpredictable story twists and a lively soundtrack that is SO unforgettable, that I could hum its two main themes in my head even before I put the disc in... almost 30 years later! Also formidably cast, with an indelible performance of a lifetime from O'Toole. The downside though, when there is so much brain in a film like this, is the lack of heart (and subtlety) among the cold-blooded and hard-skinned cynicism, as I really don't feel much for its characters - memorable as they may be - afterward. 7 out of 10 from Ozjeppe

Troubled and paranoid fugitive Vietnam veteran Cameron (a fine and intense performance by Steve Railsback) seeks refuge on the set of a lavish World War I picture that's being directed by cruel and crazed, yet cunning and charismatic megalomaniac director Eli Cross (superbly played with lip-smacking pompous aplomb by Peter O'Toole). Cross makes Cameron replace a previous stuntman who drowned when a car gag went awry due to Cameron's interference. Cameron soon suspects that Eli may be trying to kill him so he can capture his death on celluloid for the sake of realism. Director Richard Rush, who also co-wrote the ingenious script with Lawrence B. Marcus, offers a fresh, inspired and arresting mix of comedy, drama, action, thriller, and romance while also delivering a rich and provocative existential meditation on illusion versus reality and a fascinating glimpse at all the chaos, tension, madness and arduous labor that goes into making a movie. The exciting and elaborate stunt set pieces are simply amazing. Mario Tosi's gleaming, polished cinematography and Dominic Frontiere's jaunty, rousing score are likewise excellent and impressive. This film further benefits from first-rate acting by the uniformly stellar cast: Railsback and O'Toole are both fabulous in their juicy lead parts; they receive bang-up support from Barbara Hershey as radiant, ravishing actress Nina Franklin, Allen Garfield as harried, neurotic screenwriter Sam, Adam Roarke as humble actor Raymond Bailey, Sharon Farrell as sweet, sassy make-up girl Denise, Chuck Bail as amiable stunt coordinator Chuck Barton, Philip Bruns as smarmy producer Ace, and Alex Rocco as huffy police chief Jake. Dusty Springfield sings the lovely theme song "Bits & Pieces." A marvelously offbeat and original one-of-a-kind knockout that's wholly deserving of its cult status.