Viva Knievel - Der Tod springt mit

Evel Knievel delivers toys to orphans one day and makes a death defying jump the next. Will Atkins (Gene Kelly) is his drunk manager. Kate Morgan (Lauren Hutton) is a photojournalist. Ben Andrews (Red Buttons) is a greedy crooked promoter. Stanley Millard (Leslie Nielsen) has an evil plan luring Evel to Mexico.

Evel, the character, does not come off that appealing. He's a bit misogynist towards Kate. He's a bit callous towards Will. If he's really worried about his drinking, he would keep all booze away from him. He needs to make small calibrations to his character which he already does with the orphans. He stops the momentum when he makes the anti-drug speech. He's trying to project machismo which doesn't look good like a middle age salesman with a fast sports car. He would be better off being humbled since his real life stunts already speak for his manhood. He may not be capable of projecting much else as an actor. His acting needs to round out the rest of him and I doubt he has it. He is self-righteous when he doesn't deserves it. As for the evil scheme, it's mostly non-sense and meaningless. It's bad writing and it needs to be explained well ahead of time. The flash photography premise is silly. Overall, Evel is a limited actor even if he is not the worst. His character has unappealing flaws. The story has unappealing flaws. It is bad but it could be worst.

No one noticed the influence of Irwin Allen in this wretched production? The "Poseidon Alumni" of Red Buttons and Leslie Nielsen? The casting of Eric Olsen and Cameron Mitchell (two holdovers from Allen's poorly received "Swiss Family Robinson" series)? And the "Allen Tradmark" of casting over-the-hill has-beens -- in this case Gene Kelly -- in a 'throw away' role? Allen even threw in one of his old 'stand-bys', Albert Salmi (Captain Tucker, the space pirate from two episodes of "Lost In Space").

Almost the entire production crew is from the Irwin Allen camp including legendary special effects man L.B. Abbott (what for you ask -- I didn't see any 'special effects?). Even Allen's costume designer, Paul Zastupnevich, is along for the ride. Allen's wife played the Mother Superior in the famed scene where the orphan throws his crutches away at the sight of seeing Evel as he sneaks into the orphanage in the middle of the night(!).

The story behind this film is that producer Sherrill Corwin (who was the head of the Motion Picture Academy of Arts and Sciences during the '70s), was a major financial contributor to Irwin Allen's "Poseidon Adventure" and "Towering inferno." Allen needed backing because the studios baulked at the high production costs. But, by the mid-70s Irwin was 'The Man' and now it was 'pay back time' for Corwin when he wanted to hype Knievel, who by that time was a superstar among the teen-set. True, Evel Knievel WAS bankable when it came to packing arenas, selling lunch boxes, action figures and toy motorcycles. Problem was that in the acting department Evel was as wooden as a tree trunk and this movie shows it.

Not helping matters was the horrendous screenplay by Norman Katkov and Antonio Santillian (whoever he is), and the ingredients for a GRADE A Turkey were assured. It is surprising that Katkov co-penned such a bad script since he was also responsible for the famous "Blood and Orchids" mini-series of the early '80s. But then again, he was also one of the primary contributors to the screenplay for another Irwin Allen travesty: "The Return of Captain Nemo" (aka "Amazing Captain Nemo"), a mini-series produced or should I say released the following year.

"Viva Knievel" is best enjoyed by those suffering from insomnia or otherwise get their kicks from bad-movie marathons.

Daredevil Evel Kneivel (just say his name out loud - ridiculous) stars as himself. The movie seems to portray Kneivel as some sort of wheelie-popping Christ figure.

You can't see it enough to fathom how truly bizarre it is. Kneivel says he's never taken a drug in his life, which is good so there was plenty enough to go around for the writer, the director and love interest Lauren Hutton.

And Kneivel's not even the weirdest guy in the movie! That honor goes to poor old Gene Kelly who plays Evel's sad excuse for a mechanic. His performance is quite possibly the worst captured on film; Kelly was playing this either as senile or retarded, though I suppose it doesn't matter which.

It's rough when the most convincing actor in the film is from Frank Gifford.

Evel Knievel, the greatest thing on two wheels (despite the fact that he had immense trouble with actually landing!) is on the attack! Truth, justice & the American way are under threat from some nefarious drug dealers out to use Evels fame as a way to smuggle drugs into the U S of A & then into the innocent hands of the nations youth no doubt!

From the opening bars of the theme tune to the closing credits this is non-stop-two-wheeled-high-octane-death-defying-cinema! You will witness the sheer power of Evel as his mere presence causes crippled children to walk - "You're the reason I'm walking, Evel! YOU'RE THE REASON!" Feel the love as he woos a captivating female reporter, what a dame! See the horror as his best friend is turned into a drug crazed dope-fiend by the bad guys, then rejoice as he is saved & reunited with his estranged son by the one & only Knievel!

In the grand, suspense filled rubber burning finale let out a mighty Huzzah as Evel foils the bad guys & saves the day for all the innocent children of the free world! Viva Knievel indeed!!

Evel was a great showman, and was incredibly popular in the 1970's. For those who missed that era, or chose to forget it, at least Evel had the skill to back up the hype. There are a few stunt scenes that bear this out, including a great two-person tour around and through a small stadium on Evel's bike.

But that's about it; the plot is pretty simple, and the criminals are as stereotyped as they come. Sit back, enjoy the stunts and flashback to the 70's for a while.