La fureur du danger

Burt Reynolds is at his rollicking best as devil may care stuntman Hooper who's beginning to feel his age. The hot breath of competition in the person of Jan-Michael Vincent is breathing down his neck. Reynolds prizes the fact that he's the best in the business, but it's a young man game that demands a young man's reflexes.

Brian Keith knows how Reynolds feels, Reynolds dethroned him as number one and Reynolds keeps company with Keith's daughter Sally Field who would dearly love it if both of the men in her life would just get out of that rough business.

Hooper has little plot to it, it's a character study of the people who go into that line of work and a touch of insanity seems to be a needed ingredient for success. The title role is something that fits Reynolds like a made to measure suit

John Marley is in the cast as your stereotypical ulcer ridden producer and Robert Klein has a great part as a truly obnoxious director, one of his early good ones. And of course the stunt work stands out on its own as well as being an integral part of the plot.

Hooper even got an Oscar nomination in the Sound category. A definite must for Burt Reynolds fans.

"Hooper" is yet another example of Burt Reynolds at the top of his game. Burt was a superstar who enjoyed making these action comedies for the summer drive-in crowd. The films usually made bundles of money and were usually pretty enjoyable. "Hooper" is one of Burt's better comedies of the 70's. He plays the title character, an aging Hollywood stuntman looking to make that last great stunt for the money and retire before his body gives out on him and serious damage occurs. Sally Field yet again plays Burt's girlfriend and, yet again, isn't given a whole lot to do. Jan Michael Vincent plays the new, young, hot shot stuntman that worries Burt. Brian Keith has a nice turn as Sally's father who happens to be a veteran stuntman himself.

The characters are not the important thing though. You go to see "Hooper" to laugh and enjoy the action scenes. The filmmakers deliver the goods on both counts. One standout scene involves a bar fight involving such tough guys as Terry Bradshaw. Burt confronts Terry one on one and it's the comic highlight of the film. The stunts are sensational and the final stunt is, thematically, totally ridiculous. But it's so well filmed we forgive the obvious silliness.

"Hooper" is a fun film to watch but make sure to see it uncut. It seems that many of Burt's PG-rated movies of the 70's stretched the limits to get as close to the R-rating as possible without going over the line. "Hooper" is no exception.

Hooper (1978) *** (out of 4)

Sonny Hooper (Burt Reynolds) is the best stunts-man in the business and he's working on his latest picture with a director who keeps pushing him to his limits. Hooper slowly begins to realize that his career has caused his body to be broken and it's effecting his relationship with Gwen (Sally Field) but he brings on and up and coming stunt-person (Jan-Michael Vincent) and they are asked to do a dangerous stunt that has never been done before.

Director Hal Needham, Reynolds and Field made SMOKEY AND THE BANDIT the same year as this film and needless to say that one is the one that most people remember today and it's easy to see why. This film here is Needham's love story to the men and women who perform stunts in such movies and on that level the film works and is very entertaining but at the same time there's no question that there are some flaws in the picture.

The film is obviously trying to tell the story of a man whose body is broken down due to his line of work. Needham started off as a stunt coordinator so there's no question that he knows what he's talking about and the behind-the-scenes stuff is what's so entertaining here. It's fascinating getting to see what these stunt worker are doing behind the camera and there's no doubt that there are some excellent stunts in the picture. There are some high jumps that are performed and final car jump is without question wonderful.

The problem with the film is that the whole personal drama is pretty much wasted and it never fully works. A lot of the blame can go towards the screenplay and especially the drama between Reynolds and Field. Their characters are meant to be going through some major drama but the viewer just never feels it as the relationship is really underwritten and I would argue that the Field's character is so under developed that you just can't take her too serious.

It's really too bad there's not much done with the character because Field is good when she's on the screen. Reynolds also turns in another winning performance as you really do believe that you're watching a real stunt person and the actor perfectly nails the roles. Vincent seemed to always be playing the "new" guy on the scene and he too is a lot of fun here. Brian Keith, John Marley and Adam West add nice support and Terry Bradshaw also gets a funny bit.

As I said, HOOPER is flawed at times but there's no doubt that it's a fun movie and the cast certainly makes it worth watching.

Not much of a story but just enough to get by. Lots of stunts including a spectacular ending sequence that delivers enough to make this an enjoyable love letter to stunt men and a solid Burt pic.

Following the success of the 1977 film "Smokey And The Bandit" Burt Reynolds was, for a short time at any rate, the world's no.1 box-office star. Alas, like so many actors who get to the top Burt soon found himself losing his mantle as he stumbled from one lousy picture to another. Part of the problem was that Reynolds formed a long-running partnership with stuntman-turned-director Hal Needham, a union that yielded too many bad movies. In total, the two men worked together six times. A chronological list of their films together would run like this: "Smokey And The Bandit", "Hooper", "Smokey And The Bandit II", "The Cannonball Run", "Cannonball Run II", and "Stroker Ace". Of this sequence, only the first two are really worthy of praise. The others are generally rather poor movies which met with considerable negativity from the critics and did little to enhance the star's popularity with the public. "Hooper" was released in 1978 and, as noted, was the second of the Reynolds-Needham collaborations. It is a simple but very slick story set in the world of testosterone-fuelled Hollywood stuntmen, and is perhaps the best of Reynolds' late '70s/early '80s films.

Sonny Hooper (Burt Reynolds) is a middle-aged Hollywood stuntman. He leads a freewheeling lifestyle with his girlfriend Gwen (Sally Field) and her father Jocko (Brian Keith), who was himself once a leading stuntman and is something of a father figure for Sonny. Sonny begins to feel the heat when a young new stuntman named Ski (Jan Michael Vincent) appears on the scene and threatens to take his mantle as the bravest performer in the business. Believing that he has never proved his greatness - neither to himself, his girlfriend, his companions nor the younger generation of the profession – Sonny decides to pull off one final stunt so dangerous and outrageous that it will cement his place in legend. Film-maker Roger Deal (Robert Klein) offers Sonny just the stunt he is looking for. Deal is busy making a James Bond style adventure movie and needs two fearless drivers to perform a record-breaking 325 feet leap across a collapsed bridge in a jet-fuelled sports car. Sonny and Ski agree to do the jump, even though everyone close to them urges them to turn it down as the odds of performing it successfully seem almost impossible.

"Hooper" is admittedly a light film with a story that demands little of the viewer, but on its own terms it is an enjoyable and involving film. The performances are surprisingly strong and nuanced for a film set in the world of macho stunt performers. Reynolds appears brash on the surface but elicits genuine humanity in the scenes where he torments himself over the daredevil legacy he wants to leave behind. Field is superb as his terrified girlfriend; Vincent shows gung-ho spirit as the youthful pretender; Keith is wonderful as the old-timer who has lived long enough in the business to appreciate the value of survival; and Klein gives the best performance in the entire film as the single-minded director willing to risk the lives of his stunt team in order to shoot the greatest action sequence ever filmed. The film is punctuated with several impressive action sequences, and climaxes with the jet car leap around which the story is based. This closing sequence is brilliantly put together – with real suspense generated about whether the drivers will or will not survive their attempt. As brash, brainless and brawny as it is, "Hooper" is still a tremendously enjoyable film. Fans of fast cars and sensational stunts will revel in it!