Tag Archives: Yakima Canutt

1962, 1973, 1976, 1977, 1988, 1991, 1993, 1994, 1997, 2002, 2005, 2006, 2007, Comedy, Forgotten Films, Success

Top 15 Jodie Foster Movies

March 29, 2017 Donovan Montierth Leave a comment

Here’s another fine actress, that transitioned well from child star to great adult actress. A Disney player of the 70’s who managed to make intriguing and emotional role choices over the years and won an Academy award for her efforts. I loved her early Disney movies and respected her choices later on; easily as comfortable in a drama as a thriller or a comedy. Like all of my favorites, she’s versatile and adept at all genres. Here’s a list of my top 15 favorite Jodie Foster films:

15 – Taxi Driver (1976)

Jodie Foster has chosen some gritty roles over the years, not one to shy away from an uncomfortable role by any means. She seemed to do this early on in her career, trying as hard as possible to stretch herself as an actress, beyond her comfort zone. This is one of those roles. It’s interesting to me that she chose to do this role of a teenage prostitute in the midst of her popularity as a Disney star. Dangerous move, but one that ultimately proved to the Industry, at least, that she was an Academy Award caliber actress. I personally drift to her more funny or light-hearted movies, but there certainly is no denying her talent and ability to master any role and genre. This was her first nomination for an Oscar. Tough subject matter.

14 – One Little Indian (1973)

Now this Disney film was pretty neat because it’s the first time that James Garner and Jodie Foster would work together and when they worked together again it was over 20 years later, for Maverick (1994). Pretty typical fare overall, and similar to her other Disney work at this time, she was gearing up to be the star, even then you can see she was something more than a supporting actress.

13 – The Little Girl Who Lives Down The Lane (1976)

I put this film on the list because I think it’s pretty scary, although I haven’t seen it in 20 years, it spooked me pretty bad. To be fair, in interviews, Jodie Foster usually refrains from saying which of her films are her least favorites, but she has let it slip that this movie isn’t one she is fond of, explaining, “When people are there to simply do a job they don’t have any passion for, those are nearly always bad films.” It was first top-billed lead role in a major motion picture for Jodie. 1976 was definitely her breakout year, although from the 5 movies she did that year I prefer the Disney film, Freaky Friday, the most.

12 – Inside Man (2006)

Jodie, being fluent in French, dubbed herself in the French version. Jodie filmed her part in three weeks, and it’s a very different part for her, but as always she’s very good. It’s a pretty fun heist movie and my favorite Spike Lee film. Denzel Washington and the cast was allowed to ad-lib at times, he just seemed especially adept at it. The scene in the coffee shop was improvised. On the DVD commentary, Spike states that when Denzel ad-libbed the line, “I’ll bet you can get a cab though,” he nearly ruined the take by laughing really loud.

11 – The Brave One (2007)

Interesting to note, Nicole Kidman was originally cast as Erica. Jodie would be cast when Nicole dropped the project. Jodie also took over Kidman’s role in Panic Room (2002). It was Jodie’s idea for Erica to record sounds of the city for her radio show. Foster walked for miles all around Manhattan with headphones on to prepare for the role. The movie is like the female version of Death Wish, with Jodie playing the Charles Bronson role.

10 – Flight Plan (2005)

Jodie Foster’s role was originally written for Sean Penn. The original character’s name of “Kyle” was even kept. Coincidentally, Penn’s role in The Game (1997) was originally intended for Jodie Foster. A bereaved woman and her daughter are flying home from Berlin to America. At 30,000 feet, the child vanishes, and nobody will admit she was ever on the plane. It’s Lady Vanishes, on a plane!

9 – The Accused (1988)

Probably the most brutal role for any actress ever. What she has to go through to even film this is unfathomable. The movie is based on a real-life gang rape that occurred on 6 March 1983 at Big Dan’s Bar in New Bedford, Massachusetts. The bar lost its liquor license the very next day. Upon seeing a pre-screening of the film, Jodie Foster thought her performance as Sarah Tobias was so awful that she immediately began preparing for and taking the GRE’s for graduate school. She was prepared to leave her film career behind and focus on academia…until she won the Academy Award for her performance.

8 – Stealing Home (1988)

This is one of those rare movies that no one seems to know about, but that I love. I tell people about it all the time and convince them to watch it and they usually thank me for it later. Mark Harmon plays a washed-up baseball player who is called back home to handle the ashes of his childhood sweetheart/ first love (Jodie) who had committed suicide. As he searches for what to do with them, he remembers the past and the relationship they had. In doing so he finds himself again. This movie was reportedly based on the real-life experiences of its writers, former Second City troupe members and WKRP in Cincinnati writers Steven Kampmann and William Porter. The two lead actors (Jodie and Mark) never even have a scene together.

7 – Panic Room (2002)

Another one of her great thrillers. This one is top notch, great cast, great crew all around. A divorced woman and her diabetic daughter take refuge in their newly-purchased house’s safe room, when three men break-in, searching for a missing fortune. As I stated earlier, Nicole Kidman was originally cast in the role of Meg Altman. Then, only eighteen days into filming, Kidman had to leave the film as well, due to a recurring knee injury, suffered during the filming of Moulin Rouge! (2001). David Fincher suggested that the studio close the production and collect the insurance, but the studio decided to go on. Jodie Foster was offered the role. She was due to be the president of the Cannes Film Festival jury but withdrew to work with Fincher, with whom she was originally supposed to work on The Game (1997) in the role now played by Sean Penn. Foster had only nine days to prepare for the role. Kidman left a small mark in the film nevertheless, however, as the voice of the girlfriend of Foster’s husband in the movie, heard answering the phone when Foster’s character calls him in a desperate attempt for help.

6 – Sommersby (1993)

An example that she can do it all, this is a great romantic film. A farmer’s wife begins to suspect that the man in her bed is an impostor after he returns home from the Civil War, based on the French film, The Return of Martin Guerre. Steven Reuther, one of the producers behind the project commented about the casting of Gere and Foster: “A lot of people questioned us about this coupling. And it was a gamble, because there are the obvious romantic leading females, and Jodie really is not one of them. Also, I don’t think anyone had ever seen Jodie in a period costume. But once we got her in the period clothes and the hair, it was like, ‘How could there have been a question?’ I think that part of why she was attracted to the character was because it was something she had never done before.”

5 – Candleshoe (1977)

I love this movie, which is kind of an alternate telling of the story of Anastasia but with a treasure hunt mixed in. Helen Hayes and David Niven are just fantastic in it as well as Foster. It’s the last of three theatrical movies that actress Helen Hayes made for the Walt Disney Pictures studios during the 1970s. The earlier films were Herbie Rides Again (1974) and One of Our Dinosaurs Is Missing (1975). Screenwriter David Swift, who in the early 1960s directed Pollyanna (1960) and The Parent Trap (1961) for Walt Disney, developed this project for the company and was set to direct it. However, he felt Jodie Foster (then one of the most popular teenage actresses in the country) was all wrong for the part of Casey and stepped down. Boy, was he wrong, she is really great in this.

4 – Freaky Friday (1976)

The most popular of Jodie’s Walt Disney films, it’s a really fun movie and still holds up today, even with all the period clothes. The only time I can remember Jodie singing for a film, the title song “I’d Like to be You for a Day” is sung by Barbara Harris and Jodie Foster. Both Jodie Foster and Barbara Harris were nominated for Best Actress – Musical or Comedy at the 1977 Golden Globes for this film. Technically, as they also played each other’s characters, they were both nominated for playing the same characters. Jodie Foster said of the film whilst doing press publicity for the picture around the time the movie first launched: “I think it’s important for my career that I make all different kinds of films. I’m proud that I made Freaky Friday. And I thought the idea was terrific. A lot of my friends think it’s my best picture. I really like working for Disney”. The date of the “Freaky Friday” in the movie’s story-line was a Friday the 13th.

3 – Silence of the Lambs (1991)

This is the movie that comes up generally as the best of Jodie’s films, and I do love it, but it’s not my favorite. It is Jodie’s 2nd Academy Award win after The Accused. Anthony Hopkins won as well for his portrayal of Hannibal Lecter. Jodie Foster claims that during the first meeting between Lecter and Starling, Anthony Hopkins’s mocking of her southern accent was improvised on the spot. Foster’s horrified reaction was genuine; she felt personally attacked. She later thanked Hopkins for generating such an honest reaction. Anthony Hopkins and Jodie Foster only share four scenes throughout the course of the film. With 24 minutes and 52 seconds of screen time, Anthony Hopkins’s performance in this movie is the 2nd shortest to ever win an Academy Award for Best Actor in a Leading Role, with David Niven in ‘Separate Tables‘ beating him at 23 minutes and 39 seconds. Clarice Starling was chosen by the American Film Institution as the sixth greatest film hero (out of fifty), the highest ranked female on the list; Hannibal Lecter was chosen as the #1 greatest film villain (also out of fifty).

2 – Maverick (1994)

This film is just really great fun. Not only does Jodie get to work with one of her favorite actors, Mel Gibson, but she was reunited with James Garner again after 20 years when working with him when she was a child. They all have some funny stuff in this. Jodie Foster’s character’s gracelessness in the film stems from the first scene she shot, when she waited for Mel Gibson to help her down from the stagecoach. Instead, he took her parasol and walked away. She tried to get down alone and flopped to the ground. Director Richard Donner liked it so much he kept the shot in the film, and staged more scenes of Foster stumbling, being dumped through windows, etc. In the stagecoach chase sequence, stuntman Mic Rodgers (doubling for Mel Gibson) had to go under the coach and get up at the back. This is a direct nod to legendary stuntman Yakima Canutt’s similar stunt in Stagecoach (1939). By coincidence, second-unit director Terry Leonard, a former stuntman himself, performed this same stunt in the truck chase in Raiders of the Lost Ark (1981). I specifically talk about the stunt in the blog post, http://brothers-ink.com/2015/09/stagecoach-and-zorros-fighting-legion/ and again for the Indiana Jones stunt in the blog post http://brothers-ink.com/2015/12/stunt-team-for-raiders-of-the-lost-ark/

1 – Contact (1997)

This is one of the finest films, in what is a library of marvelous films by director Robert Zemeckis. It’s got one of the most remarkable tracking shots I’ve ever seen for any film. Ask my wife, I have literally watched and rewound this shot a hundred times trying to figure it out. Apparently, I learned later, this impossible shot, the long shot of Ellie as a child running up the stairs to get medicine, was actually filmed as a normal shot would have been and then flipped and placed in the mirror which, at the time of shooting was a blue screen placement in the cabinet. Any way you look at it, it’s a thing of beauty. Sorry, back to Jodie…Jodie Foster was interested in this movie as early as 1995. After initially deciding to drop out, her interest was resparked by a new revision of the script. Her character, Ellie is based partly on real radio astronomy pioneers and extra-terrestrial intelligence researchers. There’s also some Carl Sagan in her. He wanted a female hero to inspire girls to pursue science. Jodie really connected with that, being an academic herself. So much so that in 2011, Jodie was part of a group of private donors that saved SETI’s telescope array in California.

1986, Stunts

Stunt Families: The Canutts

June 22, 2016 Donovan Montierth Leave a comment

Everyone in the Industry seems to include legendary stuntman and action director, Yakima Canutt as a founding father of the American Stunt System that we have in place today. He helped create the systems, procedures and policies that keep stunt men and women safely working and producing some of the finest moments ever shot on film over the last 100 years. Republic Pictures director William Witney said of him, “There will probably never be another stuntman who can compare to Yakima Canutt. He had been a world champion cowboy several times and where horses were concerned he could do it all. He invented all the gadgets that made stunt work easier. One of his clever devices was a step that attached to the saddle so that he had leverage to transfer to another moving object, like a wagon or a train. Another was the “shotgun,” a spring-loaded device used to separate the tongue of a running wagon from the horses, thus cutting the horses loose. It also included a shock cord attached to the wagon bed, which caused wheels to cramp and turn the wagon over on the precise spot that was most advantageous for the camera.”

In the book, Falling: How Our Greatest Fear Became Our Greatest Thrill, Garrett Soden describes that time like this, “In the five years between 1925 and 1930, fifty-five people were killed making movies, and more than ten thousand injured. By the late 1930s, the maverick stuntman willing to do anything for a buck was disappearing. Now under scrutiny, experienced stunt men began to separate themselves from amateurs by building special equipment, rehearsing stunts, and developing new techniques.” Through the years, Yakima and his fellow stunt performers were hurt and some killed, so several leaders in the Industry, including Yakima started to develop safer ways of doing things and started to create a lot of the new tools of the trade.

In 1940, he started to direct the action on several pictures and a new role behind the camera was created. That of the Action Director, which eventually became the Second Unit Director and Stunt Coordinator positions. He trained and organized his own set of stunt performers which he could count on to do the stunts safely and properly and they included his two sons Edward “Tap” Canutt and Harry Joe Canutt. Tap and Joe would become crucial elements in the stunt industry in their own right and would perform stunts in some of the biggest epics and films of the 40’s, 50’s and 60’s, which included, Ben Hur, El Cid, Ivanhoe, Spartacus, Knights of the Round Table, King Richard and the Crusaders, Swiss Family Robinson, The Fall of the Roman Empire, Khartoum, Where Eagles Dare and so many others.

Check out our new Book, 100 Years of the Best Movie Stunts!

2016, Stunts

Oscars Need a Stunt Category

February 26, 2016 Donovan Montierth Leave a comment

There’s been only 3 stunt performers that have ever received an Oscar in 100 years. The first one went to Yakima Canutt in 1967 as a special Lifetime award for his years as a stunt performer, stunt coordinator and for creating a variety of safety devices for the Industry. The second to get one was Vic Armstrong in 2001 in Technical Achievement for the development of the Fan Descender, a tool to help Stunt Performers in high falls. The last to be given an Honorary Oscar was Hal Needham in 2012 for his “extraordinary distinction in lifetime achievement.”

To this day, there still is no Stunt Category in the Academy Awards, even though two other major organized awards have now provided for some form of stunt recognition. The SAG awards provide an Award for Outstanding Performance by a Stunt Ensemble in a Motion Picture since 2007 and the Emmy awards have offered a Primetime Emmy for Outstanding Stunt Coordination since 2001. I would love to see the Academy Awards offer an Oscar for Best Stunt Coordination or Second Unit Direction Award. If they can give awards to the heads of all the other departments on a movie set, why not the Stunt Department?

I’m not the only one who feels this way. The Stunt Community has been fighting this battle for decades. At first they simply fought to be recognized in the credits of the films. It was regular practice in the early decades to not put them in the credits at all, as the studios were trying very hard to maintain the illusion that actors did all this themselves. Finally, somewhere in the mid 50’s it started to become regular practice to list Stunt Performers and especially the Second Unit Directors and Action Unit to the films.

I guess the Academy Awards felt like they had made some concessions when they started to accept Second Unit Directors and Stunt Coordinators into their membership a few years ago, but this is still wholly underwhelming when you consider there are only 31 included to this day. Other departments have thousands of members.

This has become a hot topic again this week with the lead-up to the Academy Awards this Sunday with articles having been written in The Huffington Post, The Hollywood Reporter, Forbes, The LA Times and Vanity Fair. There’s also a huge out-cry within the ranks of the Entertainment Blogs online if you look at Deadline, The Wrap and Cinemablend.

http://www.huffingtonpost.com/entry/oscars-refuse-to-recognize-stunts_us_56c48b9ae4b08ffac1271c8e

http://www.forbes.com/sites/judebrennan/2014/02/07/stunt-actors-remain-oscars-forgotten-heroes/#1704102470e3

http://www.hollywoodreporter.com/news/stunt-coordinators-rally-at-academy-868348

http://www.latimes.com/entertainment/movies/la-et-mn-stuntman-oscar-campaign-20150623-story.html

http://www.vanityfair.com/hollywood/2014/01/stunts-that-deserve-oscars

Stunt Performers Rally For Inclusion At Oscars

Jason Statham Calls for Stunt-Actor Oscar Category

http://www.cinemablend.com/new/Why-Aren-t-Stunt-Performers-Eligible-Oscars-69574.html

I’m not so sure this would be such a big issue today if the Oscars didn’t include Mad Max: Fury Road in contention for Best Picture this year. It’s really incredibly hard to look at that film and not see the incredible work done by the Stunt Department. The film simply could have not been done without them. It’s about time we start recognizing these people and their hard work, don’t you think?

1959, Stunts

Joe Canutt and Ben Hur

December 24, 2015 Donovan Montierth Leave a comment

Over the Years, if you like movie stunts, you’ll hear about the rumor about the stuntman who died during the shooting of the chariot scene in this movie. Well, we’re going to lay that rumor to rest right, now, it’s not from this movie. There was a stuntman that died during the chariot scene during the filming of the original 1925 version. People will argue and swear that it’s the real man you see in full CinemaScope getting trampled under the chariot…Nope. Don’t believe it. There was a stunt “mishap” on this film, but no one died and it should really be called an “unplanned event”, ’cause that’s what occurs sometimes when a stunt doesn’t quite go as planned.

The Best Movie Stunt for 1959 goes to Joe Canutt and this “unplanned event”. This one is remarkable as well due to the fact that Yakima Canutt, Joe’s father and Stunt Coordinator on this picture, staged and shot this sequence along with Andrew Marton. Joe does the stunt work in this legendary chariot race scene. Father and son appear on the list exactly 20 years apart.

The original screenwriter, Karl Tunberg, had written just three words (“the chariot race”) to describe the now-famous sequence, and no other writer had enlarged on his description. To fill that gap, the director of the film, William Wyler relied on Andrew Marton and Yakima Canutt to come up with the sequence. Marton and Canutt wrote 38 pages of script which outlined every aspect of the race, including action, stunts, and camera shots and angles. According to editor John Dunning, producer Sam Zimbalist was deeply involved in the planning and shooting of the chariot sequence, and the construction of the arena. The chariot race ended up having a 263-to-1 cutting ratio (263 feet of film for every one foot kept), probably the highest for any 65mm sequence ever filmed. After the sequence was shot and edited together, Marton and Canutt showed it to Wyler who remarked that it was “one of the greatest cinematic achievements” he’d ever seen.

Now as for the “unplanned event”, in a very specific shot, Joe Canutt was stunt doubling for Charlton Heston as Ben Hur. The stunt called for Joe Canutt to drive his chariot over the wreckage of two others — actually a short ramp placed in his path and blocked from camera sight by one pile of debris. In concept it was a pretty simple stunt, not particularly designed to stand out in the mayhem but in the movie what really happens when Judah Ben-Hur’s chariot jumps over the wreckage of a chariot in its path, Ben-Hur is almost thrown out of his chariot. He hangs on and climbs back aboard to continue the race. While the jump was planned, Joe’s propulsion up and over the chariot front was not.

Marton wanted to keep the shot, but Zimbalist felt the footage was unusable. Marton conceived the idea of showing that Ben-Hur was able to land on and cling to the front of his chariot, then scramble back into the quadriga while the horses kept going. The long shot of Canutt’s accident was cut together with a close-up of Heston climbing back aboard and it now constitutes one of the race’s most memorable moments in the final film.

Things to look up (go to IMDB):

Ben Hur
Joe Canutt
Yakima Canutt
William Wyler
Andrew Marton
MGM
Sam Zimbalist
John Dunning

Check Out our new book!

1942, Stunts

Kane Richmond, David Sharpe, and Carey Loftkin, Spy Smasher

December 8, 2015 Donovan Montierth Leave a comment

Though Republic had the best stunt men in the business on hand, with the likes of Carey Loftin and David Sharpe and even Yakima Canutt as the film’s “Ramrod”, star Kane Richmond, who was quite an athlete, often insisted on doing his own stunts as “Spy Smasher” (this was back in the days when insurance issues were a lot more loose on movie sets).

Spy Smasher has absolutely fabulous stunts that remind you how fun movies were before CGI came into existence. These knuckleheads go all out in the fight scenes – leaping around, flipping each other, bludgeoning one another with balsa wood chairs, Spy Smasher roars around on a motorcycle like a madman, a wooden tower gets blown up and collapses, a motor boat takes on a submarine, etc.

William C. Cline said in his book, In The Nick of Time, that even though Kane Richmond did a lot of his own stunts, he was still helped out from time-to-time on some of the most spectacular stunts, which were performed by Dave Sharpe who, for example, “rolled from an overturning motorcycle to leap atop a careening auto that plunged from a cliff.” and stuntman Carey Loftin, who “showed what a motorcycle could do in the hands of an expert.”

Spy Smasher was directed by William Witney for Republic Pictures.

Things to look up (click on item to go to IMDB page or Website):

Glossary of film terms as defined by the Wikipedia – B movie – is a low-budget commercial motion picture that is not definitively an arthouse or pornographic film. In its original usage, during the Golden Age of Hollywood, the term more precisely identified a film intended for distribution as the less-publicized, bottom half of a double feature. Although the U.S. production of movies intended as second features largely ceased by the end of the 1950s, the term B movie continued to be used in the broader sense it maintains today. In its post–Golden Age usage, there is ambiguity on both sides of the definition: on the one hand, many B movies display a high degree of craft and aesthetic ingenuity; on the other, the primary interest of many inexpensive exploitation films is prurient. In some cases, both may be true.

In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed films they were paired with, many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more handsomely budgeted headliners; individual B films were often ignored by critics.

Latter-day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a genre film with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively “serious” independent film. The term is also now used loosely to refer to some higher budgeted, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie.

From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors, such as Vincent Price and Karen Black. Some actors, such as Béla Lugosi and Pam Grier, worked in B movies for most of their careers. The term B actor is sometimes used to refer to a performer who finds work primarily or exclusively in B pictures.

Check out our new Book, 100 Years of the Best Movie Stunts!

1930, 1931, 1932, 1933, 1934, 1935, 1936, 1937, 1938, 1939, Stunts

Best Stunts of the Year List 1930-1939

December 6, 2015 Donovan Montierth Leave a comment

The best movie stunts for the decade listed for 1930-1939 as talked about in the book 100 Years of the Best Movie Stunts:

1930: Canyon Hawks

Yakima Canutt shows off his guts in this one with a buckboard ride with horses straight down the side of a hill. Crazy, but I bet it was a whole lot scarier in person.

1931: The Phantom

The prison break at the beginning of this movie is just fantastic and ends with a really great train to plane transfer. The frustrating aspect is that back then they didn’t record who the stunt man was or who the stunt pilot was. Many stunts in the movies were uncredited during this time of studio filmmaking.

1932: Air Mail

John Ford directed two films on this list during this decade, this film and Stagecoach. He was a supporter of good stunts and usually filmed them himself. Paul Mantz does some nifty flying in this picture, specifically he flies a Stearman plane through an airplane hanger.

1933: The Fighter and the Lady

Before they fought for the actual title fight for the Heavyweight belt, they fought in this feature film. Max Baer and Primo Carnera mix it up on screen here, and Max later said he beat Primo in the real fight by studying his moves for the movie.

1934: Murder in the Clouds

This decade is ripe with plane stunts and this film has them in droves. This one has some fancy aerial tricks and the stunt photographers should get just as much credit for these fantastic shots as the stunt pilots themselves.

1935: The Crusades

Cecil B. DeMille is famous for his grand epics, and this film started that process for him. It has stuntmen and actors fighting in full armor for a huge war on several fronts.

1936: Modern Times

Charlie Chaplin was a very talented skater, and shows off his chops in this movie in a nifty little bit of tension added to the fact that he was doing it right next to a missing railing. The danger was not real, but the skating sure is. He’s also got a few nifty bits with a great big machine and a little one attached to the front of his chest. Fun Stuff.

1937: Wells Fargo

Ray Bunten and Richard Farnsworth, along with a slew of other uncredited stuntmen did a lot of work on this film. It has a lot of cowboys falling off horses, wagons, rocks and just about anything that moves. The scene at the end where the Wells Fargo wagon fights Indians have at least two dozens stunts in a ten minute period.

1938: The Adventures of Robin Hood

Howard Hill was a world class Archer. It’s him doing all the fancy bow and arrow stuff in this movie. A nod also goes out to all the stuntmen that lined up to be shot in the chest by Howard!

1939: Stagecoach

This one is a classic in the stunt world. Yakima Canutt has a great stunt that he was perfecting in several movies at this time. This one actually shows the first half of the stunt and was perfected in Zorro’s Fighting Legion the same year. The nod goes to Stagecoach because it was first but really should be co-presented with the later picture.

To learn more about these films, please read about them and the great trivia behind the scenes in our book, 100 Years of the Best Movie Stunts!

1981, Stunts

Stunt Team For Raiders of the Lost Ark

December 4, 2015 Donovan Montierth Leave a comment

I’ll be honest, at first I was going to give the nod for 1981 to Dar Robinson for Sharkey’s Machine as his 220 ft fall from the Hyatt Regency was the world’s record for the highest fall from a building for a commercially released film, but only the start of the fall made it into the final film as the rest of the fall is obviously a dummy. Besides, I had a really hard time not acknowledging a film that has had such a big effect on stunt performers all around the world as Radiers of the Lost Ark has. It really is viewed as a stunt man’s movie.

From start to finish, there are layers upon layers of fantastic stunts. No other series has as many stunts, besides the James Bond series. Believe it or not you can thank George Lucas and Steven Spielberg’s love of the old stunt layered cliffhanger serials of the 30’s and 40’s for creating this movie as well as for their love of Carl Barks. Carl Barks, you say? Yes, indeed, it’s their love of the old Uncle Scrooge McDuck adventures that Indiana Jones was born.

The opening scene in the lost South American temple is partly based on a classic Disney Ducks adventure written by the legendary artist Carl Barks, many of whose comic books have inspired George Lucas and Steven Spielberg. Exploring a lost temple, Donald Duck, his nephews, and Scrooge McDuck must evade a succession of booby traps, like flying darts, a decapitating blade, a huge boulder, a tunnel flooded with a torrent of gushing water, etc., in the story “The Prize of Pizarro” (“Uncle $crooge” no. 26, June-August 1959), which hit the newsstands when Lucas and Spielberg, both avowed fans of that comic book, were respectively 15 and 12 years old. Another Barks story, “The Seven Cities of Cibola” (“Uncle $crooge” no. 7, September 1954), has a native American lost city and a valuable idol that triggers a giant round rock to smash everything in its way.

But how can you have a movie like this with so many stunts and not pay tribute to some of the old time legendary stunt men? You can’t! When Indy is dragged under and then out behind a moving truck, it’s a tribute toYakima Canutt’s similar famous stunt in John Ford’s Stagecoach. In fact, it was a stunt that stuntman Terry Leonard had tried to pull off the year before, and failed to do so, on The Legend of the Lone Ranger. He was thrilled at the chance of having another shot at it, but only agreed to do it if his friend & colleague Glenn Randall Jr. was driving. The truck was specially constructed to be higher above the ground than normal so as to allow clearance for Indiana Jones to pass underneath safely. The center of the road was also dug out to allow more clearance. In Great Movie Stunts: Raiders of the Lost Ark we see, on the camera slate, that the camera was set at 20 frames per second instead of the traditional 24 fps; in other words, the shots were done in “fast motion,” so the truck was not really moving as fast as depicted on screen.

Harrison Ford was actually dragged behind the truck for some of the shots, badly bruising his ribs. When asked if he was worried, Ford quipped: “No. If it really was dangerous, they would have filmed more of the movie first.” During the chase, Harrison Ford dispatches all three of his stunt doubles, all of which are playing German soldiers. Terry Leonard plays the driver of the truck, who gets punched out of the cab by Harrison. Vic Armstrong and Martin Grace play soldiers hanging onto the side of the truck before being knocked off. The truck chase took approximately eight weeks to film. It’s interesting to note that it was also these three stunt men to double Harrison Ford throughout the film: Vic Armstrong when riding the horse; Martin Grace at the falling statue and Terry Leonard when pulled behind the truck.

A few interesting notes, renowned British wrestler Pat Roach gets killed twice in this film – once as a giant Sherpa left in the burning Nepalese bar and once as the German mechanic chewed up by the plane’s propeller. Also, Director Steven Spielberg admitted in the “Making of” DVD that watching the stage hands preparing the Well of Souls set by laying out the thousands of snakes for the scene really made him nauseous–even to the point where he nearly wanted to puke a few times. Raiders of the Lost Ark is directed by Steven Spielberg for LucasFilm.

Things to look up (go to IMDB):

Raiders of the lost Ark
Steven Spielberg
LucasFilm
Harrison Ford
Vic Armstrong
Terry Leonard
Martin Grace

History of film companies as defined by Wikipedia: Lucasfilm Ltd., LLC is an American film and television production company that is best known and responsible for the Star Wars and Indiana Jones franchises. Lucasfilm was founded by filmmaker George Lucas in 1971. Originally founded in San Rafael, CA a number of operations were moved to San Francisco in 2005 where Lucasfilm has continued as a leader in developing new film technology inspecial effects, sound, and computer animation, and because of their expertise its subsidiaries often help produce non-Lucasfilm pictures. Lucasfilm was acquired in 2012 by The Walt Disney Company for $4.05 billion.

Check out our new Book, 100 Years of the Best Movie Stunts!http://brothers-ink.com/books/100-years-of-the-best-movie-stunts/

1960, Stunts

Stunt Team For Spartacus

December 3, 2015 Donovan Montierth Leave a comment

To say that Spartacus has a very loyal and dedicated following is an understatement. Looking back, Spartacus has it’s own sub-genre, the Swords and Sandals Spectacle. It’s spawned multiple look-a-likes and many made-for-television sequels and TV shows. I’ve always been a fan of a good gladiator story and this is the best. It gets the nod for Best Movie Stunt over the Alamo for 1960 because of influence and it’s simply harder to perform stunts in what constitutes as a skimpy Speedo.

The stuntmen who worked on this film is a venerable who’s-who of the elite, top stuntmen of the time, including Yakima Canutt and his two sons, Tap and Joe, Richard Farnsworth, Harvey Parry, Tom Steele, Buddy Van Horn, Dale Van Sickel, Polly Burson, Carey Loftkin, Loren Janes, Cliff Lyons, and so, so many more. The film is really a tribute to all the men and women who worked on it and should be required viewing for anyone wanting a career in the stunt industry.

The interesting story behind the making of the film is that it wouldn’t have been made if it wasn’t for Ben Hur the year before. Kirk Douglas was so upset that he lost the role of Ben Hur to Charlton Heston that he set out to prove to William Wyler that he made the wrong decision. It’s by the sheer will of Douglas alone that this film got made. He searched for it, bought the rights to it, financed it and hired everyone to work on it. The first director he hired, he even fired a week into production. He replaced that director with Stanley Kubrick, but even Kubrick admitted years later that the film is really Douglas’s and not his. Kubrick did not have say in script and many of the elements that Douglas put in place.

Kubrick denounced the film later as his worst, but in the end it won four Academy Awards and was nominated for two others. It’s kind of hard to argue with that kind of a record. By most people I know, it is regarded as the best gladiator movie of all time and the father of the genre. Spartacus was directed by Stanley Kubrick for Bryna Productions.

Things to look up (go to IMDB ):

Kirk Douglas
Spartacus
STanley Kubrick
Bryna Productions

History of film companies as defined by Wikipedia: Bryna Productions was a film production company established by Kirk Douglas, inspired by the success of Burt Lancaster in moving into production.

Check out our new Book, 100 Years of the Best Movie Stunts!

1920, 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928, 1929, Stunts

Best Stunts of the Year List 1920-1929

November 28, 2015 Donovan Montierth Leave a comment

Here is the list for the Best Movie Stunts for the Decade 1920-1929 as listed in the book, 100 Years of the Best Movie Stunts!

1920: The Mark of Zorro

First time on the list for Zorro (not the last), and for Douglas Fairbanks. The Mark of Zorro represents the first in a line of Adventure films and Douglas Fairbanks was technically the first swashbuckler, an adventure actor that does a lot of the stunts himself. He was an incredible athlete, by all accounts, and this film showcases that ability very nicely.

1921: Never Weaken

Harvey Parry admitted on his death bed that he doubled Harold Lloyd on some of the stunts in this movie. This comedy movie would make way for all the dangerous slapstick comedies to come by Harold Lloyd and Buster Keaton.

1922: Robin Hood

Great example of Douglas Fairbanks at the top of his game, but in this case he’s helped out by his stunt double, Charles Lewis in several stunts. This is also the first time Robin Hood makes the list (also, not the last) and it’s interesting to me that several movies hit the list multiple times. You’d expect that with movie series like James Bond, being highly stunt driven, but still seems like a surprise when it’s just different versions of the same movie, like Robin Hood and Zorro.

1923: Safety Last!

The second half of this film, where he is climbing up each floor of a building is sheer brilliance. It’s nerve-wracking! The final few moments hanging from the clock is as iconic a film moment as you get. It’s a single-solitary slice of film that represents everything that being a stunt performer is all about. This would be the poster boy for the stunt movement. In fact, this should be the award they give out at the Academy Awards for Stunts, a Golden Statue of Harold Lloyd hanging from a clock tower.

1924: Sherlock, Jr.

This is the period where Harold Lloyd and Buster Keaton keep out-doing each other every film. But, I will add, that this particular film is just about my favorite stunt film of all time. It would definitely be in the top ten for best stunts of all time, it’s that great. Buster Keaton not only blows your mind with the stunts in this film, but it’s also an incredible film cinematically and some of the techniques he develops with this film are revolutionary.

1925: The Prince of Pep

This was where Richard Talmadge was trying to be an actor, but he soon found out that his talents lay with Stunt work. He goes on to be a fantastic Stunt Man and Stunt Coordinator in the years to come. In this one, he has a nifty gag where he jumps from the rooftop of one building through the window of the next building. He makes it look easy.

1926: The Devil Horse

Yakima Canutt is generally thought of as the grand-daddy of all stuntmen…not that he actually gave birth to all of them, just that he was a big reason why stunt work has legitimized as much as it is right now. He developed techniques for safety and paved the way for most of the stunt men to work behind the camera as an action director or second unit director and as a stunt coordinator. In this film he shows his early chops as a rodeo star as he rides the devil horse, Rex.

1927: Wings

This film won the first Academy Award for Best Picture, but thanks to Dick Grace, has some great flying stunts in it as well. No-one crashed a plane on cue better than he did.

1928: Steamboat Bill, Jr.

Another great film from Buster Keaton. This one is another one of those iconic images that help to propel the whole stunt world forward, an amazing stunt, where Buster just stands in one spot as the whole front of the building falls around him. Could have easily killed him if he was just a little bit off his mark. Great stunt.

1929: Tarzan the Tiger

Every wonder where Tarzan got his signature yell and signature swing from tree to tree from? Yep, from this movie. They used it in every Tarzan movie after that. Frank Merrill was very athletic and did all his stunts in a skimpy loin-cloth.

For more information about these stunt performers and these movies, including a lot of great trivia, please look for their chapters in the new movie stunt book, 100 Years of the Best Movie Stunts!

1930, Stunts

Yakima Canutt and Canyon Hawks

November 24, 2015 Donovan Montierth Leave a comment

There’s a scene in this one where Yak drives an open wagon driven by two horses straight down a precipitous hill that just blows the mind! The scene is shot with a group of men on horses watching from the top, obviously afraid of riding their own single horses down the hill – let alone a wagon with two horses attached – and Yak sitting in the seat in the middle at the front! Also, just watching Yak handle his six-shooters is like watching a Wild West Show.

When rodeo riders invaded Hollywood, they brought a battery of rodeo techniques that Canutt would expand and improve, including horse falls and wagon wrecks, along with the harnesses and cable rigs to make the stunts foolproof and safe. Among the new safety devices was the ‘L’ stirrup, which allowed a man to fall off a horse without getting hung in the stirrup. Canutt also developed cabling and equipment to cause spectacular wagon crashes, while releasing the team, all on the same spot every time. Safety methods such as these saved film-makers time and money and prevented accidents and injury to performers.

It was these early movies where Yakima met John Wayne. Canutt taught Wayne how to fall off a horse. Canutt and Wayne pioneered stunt and screen fighting techniques still in use. The two worked together to create a technique that made on-screen fight scenes more realistic. Wayne and Canutt found if they stood at a certain angle in front of the camera, they could throw a punch at an actor’s face and make it look as if actual contact had been made. Much of Wayne’s on-screen persona was from Canutt. The characterizations associated with Wayne – the drawling, hesitant speech and the hip-rolling walk – were pure Canutt. Said Wayne, “I spent weeks studying the way Yakima Canutt walked and talked. He was a real cowhand.”

Canyon Hawks (1930) was directed by Alan James (as Alvin J. Neitz) and J.P. McGowan for National Players.

Things to look up (click on item to go to IMDB):

Glossary of film terms as defined by Wikipedia:

Gunspinning – This refers to the old west tradition and Hollywood legend of a cowboy gunslinger twirling his pistol around his trigger finger. Gunspinning is a western art such as trick roping, and is sometimes referred as gunplay, gun artistry, and gun twirling. Gunspinning is seen in many classic TV and film Westerns, such as Shane and The Good, the Bad and the Ugly. The majority of gunspinning is seen as a precursor to putting the gun back in its holster. It may be used as a fancy ending to a trick shot, or just to impress or intimidate an opponent. Watch Kirk Douglas in Man Without a Star if you want to see someone really good at it. Douglas said later in one of his autobiography’s, “In my favorite scene, I twirled a gun; flipped it into the air, from side to side, behind my back, and fired it. This was basically juggling, with some additions. We filmed it in one take, no cuts, so you could see that there was no magic, no special effects, to it.”

Check out our new Book, 100 Years of the Best Movie Stunts!

Brothers' Ink Productions

Tag Archives: Yakima Canutt

Top 15 Jodie Foster Movies

Stunt Families: The Canutts

Oscars Need a Stunt Category

Joe Canutt and Ben Hur

Kane Richmond, David Sharpe, and Carey Loftkin, Spy Smasher

Best Stunts of the Year List 1930-1939

Stunt Team For Raiders of the Lost Ark

Stunt Team For Spartacus

Best Stunts of the Year List 1920-1929

Yakima Canutt and Canyon Hawks

Brothers' Ink Productions Official Website