Richard Rush

In honor of the DVD release of the 1980 cult film The Stunt Man, director Richard Rush recounts the trials and tribulations he confronted while making that much praised film. Speaking from a variety of quirky settings including his private plane and a UCLA sculpture garden, he openly admits that he borrowed elements from Francois Truffaut's Day for Night (1973) and Arthur Penn's Night Moves (1975). He also gleefully delves into the film's intentional blurring of reality and fiction. Stars Peter O'Toole and Barbara Hershey also appear. ~ Jonathan Crow, All Movie Guide

Mel Gibson and Robert Downey Jr. play a couple of what-the-hell flyboys flying contraband to Laos during the Vietnam War. Gibson doesn't seem to care about anything but the "guts and glory" aspects of the job, but Downey has serious questions about the moral implications of their mission. When a Laotian general expresses more concern over the wellbeing of an opium shipment than the men who are risking life and limb to fly it in, Gibson comes around to Downey's way of thinking. By film's end, Gibson is stuck in one of those character-building dilemmas so common to films of this nature: should he deliver his cache of weaponry, or should he dump it all to rescue a bunch of refugees? ~ Hal Erickson, All Movie Guide

Adapted from Paul Brodeur's novel, Richard Rush's story of a Machiavellian movie director and his accidental employee takes a darkly comic look at movie reality vs. "real" reality. Running from the law, Vietnam vet Cameron (Steve Railsback) stumbles on a movie shoot just in time to interfere with a staged accident, causing (perhaps) the stunt man's death. Rather than turn Cameron in, director Eli Cross (Oscar nominee Peter O'Toole) makes him an offer he can't refuse: replace the dead stunt man in return for safe harbor. Despite objections about Cameron's inexperience, Eli keeps him on, figuring that a vet will add an extra charge of realism to the World War I opus that he's filming. As leading lady Nina (Barbara Hershey) returns Cameron's affections, and Eli becomes ever more inscrutably mercurial, Cameron begins to wonder how far Eli will go to get the screen effects he wants, and if he would think twice about killing the stunt man. Placing a Vietnam vet in the midst of movie-making chaos, Rush adds a pointedly contemporary spin to Cameron's confusion; the war experience that makes Cameron a good stunt man wreaks havoc on his life. Rush in turn disorients the audience by seamlessly interweaving scenes from Eli's movie with scenes of its being made. Made two years before Rush found a studio to release it, The Stunt Man opened to raves for its wily narrative and O'Toole's messianic director. Its sly commentary on the blurred boundaries between movies and life became all the more striking at the dawn of the Reagan '80s. ~ Lucia Bozzola, All Movie Guide

"Movies like Getting Straight are ceasing to be tolerable" complained one conservative movie magazine of 1970. Today, the once-relevant but now merely entertaining Getting Straight is not only tolerable, but downright user-friendly. Elliot Gould plays a Vietnam vet who decides to attend college after his tour of duty. Though much too old and worldly to truly fit in with the naive flower-power generation, Gould becomes swept up in the various activist movements on campus. The leading character's crisis of conscience concerns his field of study: he wants to be a teacher for idealistic reasons, while his Establishment professors try to convince him that it's just another job, and hardly the best one at that. He finally chooses which side he's on while attempting to act as a mediator between students and faculty during a campus riot. Candice Bergen plays Gould's girlfriend, while Robert F. Lyons steals every scene he's in as a draft dodger who'll go to any lengths to avoid military service. Getting Straight represents the final screen appearance of Cecil Kellaway, here cast as a hidebound tenured professor. ~ Hal Erickson, All Movie Guide

This violent motorcycle gang drama finds the outlaws riding onto an Indian reservation to take over. A rival gang has other ideas. There are few likeable characters in this feature, the possible exception being Johnnie (Robert Walker), and he is a convicted thief. Rock-guitar legend Duane Eddy plays off the seven, while Penny Marshall makes an early big screen appearance. Marshall would gain fame for her television work in the 1970s, and by the 1990s she would become one of Hollywoods leading directors. The Savage Seven is a modern-day cowboys and Indians tale, only instead of horses, the outlaws ride motorcycles. ~ Dan Pavlides, All Movie Guide

The fast-paced world of stock-car racing provides the backdrop for this drama that centers upon a driver who is forced to retire after a blackout causes the death of another driver. He then begins working at a "Thrill Circus" as a stunt driver. There he meets the proprietor's daughter, who also drives there, and her lover. The professional driver is bored by his new job and so begins training the girl's beau to be a professional. The training is good and the young man wins his first race. This causes the banished driver's gold-digging ex-girl friend to try to steal the hot young driver away from the daughter which creates some problems between the younger and the older drivers. They reconcile when they are paired up during a crucial 500-mile race. In the midst of the race, the older pro feels another blackout coming on. By the end of the film, he realizes that the fainting spells are a psychological reaction to a childhood trauma. ~ Sandra Brennan, All Movie Guide

The "Fickle Finger of Fate" is one of a pair of priceless religious art icons. This comedy centers around an American engineer who is just about ready to leave Madrid when it is discovered that his suitcase contains one of the missing fingers. The authorities suspect that his suitcase was switched. The engineer begins assisting in the search for the other finger. The prime suspects are five winners of a beauty contest. As he looks, he runs across a murder and a kidnapping. Eventually the real thief is located. ~ Sandra Brennan, All Movie Guide

Filmmaker Richard Rush made his directorial debut with this low-budget drama about the danger of teenage romance and juvenile delinquency. Cathy Taylor (Jennifer West) and Jim Mills (Richard Evans) are a pair of teenagers who have fallen in love. When they're spotted making out at a local lover's lane by the police, they're arrested and brought in to the station; their parents, imagining the worst, warn them that their romance could lead to behavior that could ruin their lives. However, Cathy and Jim, brought even closer together by their misfortune, are heedless of their parents' pleas, and before long Cathy finds herself pregnant. In no position to marry, Jim offers to pay for an illegal abortion, but he has to turn to crime in order to raise the money. Keep an eye peeled for a young Jack Nicholson, who plays a youthful troublemaker named Buddy. ~ Mark Deming, All Movie Guide