This is a rather light tale of a Hollywood stuntman that falls in love with a big name actress and still wants to pursue his risky career. The little women gives him a choice-the stunts or her. He chooses the stunts and still manages to get her. A nice inside look at how Hollywood wanted the public to think the movies were made, circa 1940.
5 Reviews
A star is bored, a stuntman is stunted.
mark.waltz5 May 2015
Warning: Spoilers
Spoiled movie star Linda Hayes meets her match in macho stuntman Kent Taylor when he tells her to "keep the noise down" after trying to get some rest after a plane crack-up. The shrew is not further tamed when her pet pooch hops into his car as he heads home, and she accuses him of kidnapping it. The studio head, torn between his top star and his top stuntman, pleads with her to drop the charges, but she refuses without a public apology. Taylor knows how to handle pampered divas and gives her the apology she wants, but without losing his own dignity. It's no shock that underneath her temperamental demeanor is a lady, and all she needs is to be taken down a level. But "Taming of the Shrew" this is not, and when they suddenly marry, she's scared of witnessing him being hurt (or worse) and pleads with him to give up his career which causes instant friction, especially when he tries (and quickly fails) an acting career of his own (opposite her no less), and almost ends up becoming the next Norman Maine in the process.
Much better than expected, this Hollywood drama is aided by the presence of Howard da Silva as Taylor's best pal, a fellow stuntman who knows that Taylor will loose his will if he can't go on doing what he loves. They hang out in a bar called the Graveyard (ironic name for a bar that caters strictly to stuntmen) where the death of a stuntman means that the bar is closed for a night. When Taylor witnesses a stuntman's drive off a pier which leads the young man to fighting for his life, it's obvious that Hayes won't budge when allowing him to return to his profession, and when news of his fate comes into the Graveyard, it is truly an extremely profound moment.
The conclusion is even more exciting, as a misunderstanding concerning Hayes and da Silva's sudden friendship (over concerns about Taylor's descent into possible alcoholism) causes Taylor to take drastic actions. The film takes the viewer into a world of movie making rarely seen on the screen and reminds the viewer that the star isn't the one jumping out of moving vehicles, flying planes into buildings or driving cars off of cliffs, that another person is risking their life in doing these tricks, and their story is one worth telling, even if this one has a definite element of soap opera attached.
Much better than expected, this Hollywood drama is aided by the presence of Howard da Silva as Taylor's best pal, a fellow stuntman who knows that Taylor will loose his will if he can't go on doing what he loves. They hang out in a bar called the Graveyard (ironic name for a bar that caters strictly to stuntmen) where the death of a stuntman means that the bar is closed for a night. When Taylor witnesses a stuntman's drive off a pier which leads the young man to fighting for his life, it's obvious that Hayes won't budge when allowing him to return to his profession, and when news of his fate comes into the Graveyard, it is truly an extremely profound moment.
The conclusion is even more exciting, as a misunderstanding concerning Hayes and da Silva's sudden friendship (over concerns about Taylor's descent into possible alcoholism) causes Taylor to take drastic actions. The film takes the viewer into a world of movie making rarely seen on the screen and reminds the viewer that the star isn't the one jumping out of moving vehicles, flying planes into buildings or driving cars off of cliffs, that another person is risking their life in doing these tricks, and their story is one worth telling, even if this one has a definite element of soap opera attached.
Woman of the Year it is not...
AlsExGal3 November 2019
... because little RKO just didn't have the star power and budget to put much energy, excitement, or depth to this story. And yes, Katharine Hepburn as the big star would have made this film much better, but RKO had already deemed her box office poison, mainly because of their own awful scripts, and sent her packing to MGM, where the next ten years would prove her to be otherwise. But I digress.
This is the tale of a Hollywood stuntman, (Kent Tayler as Steve Bennett) who first feuds with then falls in love with and marries a big star (Linda Hayes as Laura Marley). Then, AFTER the ceremony, AFTER she sees Steve do his first big stunt post nuptials, THEN Laura pouts until he gives up the profession he loves and becomes a bit actor - and a mediocre one at that - in Laura's films. His first reaction is - "Well, I couldn't keep doing this the rest of my life." That is true. But he needed to come to that realization on his own schedule. And surely Laura must have noticed that all of her dates with Steve involved adventurous sports?
Eventually, Steve is brought down by a combination of missing his old profession, feeling he is under the thumb of his influential wife, and an accident on the set for which he blames himself because he was not the experienced guy doing the stunt. I'll let you see yourself how this paint by numbers plot pans out.
This film has a few things that recommend it. First, RKO has found its own Asta in Skip as Laura's dog that actually brings the feuding couple together in the first place. Second, there is the bar - "The Graveyard" - where all of the Hollywood stuntmen gather for a drink that closes anytime a stunt man dies. How does such a bar stay in business with such a narrow clientele and such a gloomy name? Finally, there is a laugh out loud minute at the beginning of the film where Steve and Laura go to their "trailers" on the movie set, before they first meet. Inside each "trailer" the place looks like a dressing room complete with cheery drapes on sunny windows. But outside - they look like the big portable trash containers you rent if you are moving and need to throw away a pile of junk! It was just a great comical art direction moment in film.
This is the tale of a Hollywood stuntman, (Kent Tayler as Steve Bennett) who first feuds with then falls in love with and marries a big star (Linda Hayes as Laura Marley). Then, AFTER the ceremony, AFTER she sees Steve do his first big stunt post nuptials, THEN Laura pouts until he gives up the profession he loves and becomes a bit actor - and a mediocre one at that - in Laura's films. His first reaction is - "Well, I couldn't keep doing this the rest of my life." That is true. But he needed to come to that realization on his own schedule. And surely Laura must have noticed that all of her dates with Steve involved adventurous sports?
Eventually, Steve is brought down by a combination of missing his old profession, feeling he is under the thumb of his influential wife, and an accident on the set for which he blames himself because he was not the experienced guy doing the stunt. I'll let you see yourself how this paint by numbers plot pans out.
This film has a few things that recommend it. First, RKO has found its own Asta in Skip as Laura's dog that actually brings the feuding couple together in the first place. Second, there is the bar - "The Graveyard" - where all of the Hollywood stuntmen gather for a drink that closes anytime a stunt man dies. How does such a bar stay in business with such a narrow clientele and such a gloomy name? Finally, there is a laugh out loud minute at the beginning of the film where Steve and Laura go to their "trailers" on the movie set, before they first meet. Inside each "trailer" the place looks like a dressing room complete with cheery drapes on sunny windows. But outside - they look like the big portable trash containers you rent if you are moving and need to throw away a pile of junk! It was just a great comical art direction moment in film.
It was an easy case to prove.
horn-517 July 2014
Over in Trivia there is this little note: Actress Helen Twelvetrees sued, claiming that the film was based on her life story. She won her case.
It would have taken a really bad lawyer to lose the case. RKO was on record of making the claim. On page six of the pressbook sent to the theatre exhibitors, there was a long publicity story , for use in local newspapers when the film was showing in their towns. It told of the many stunt men who were involved (in actual roles and stunts) on "I'm Still Alive." Mentioned were Allen Pomeroy. George Magrill, Cliff Bergere, Art Dupuis, Cy Slocom and several others. And, about half-way through the long ready-to-be printed (and it was) story was this paragraph from RKO's publicity department: "Strangely enough, every one of them is married, and most of them own their own homes. It is a fetish with these men who lead such hazardous lives to run no bills, to pay cash for everything they buy. They had fun on the picture which, they say, is based on a true story of one of their number, the romance a few years ago between the former star, Helen Twelvetrees, and stuntman Jack Woody."
She might have overlooked it. if they hadn't called her a former star.
It would have taken a really bad lawyer to lose the case. RKO was on record of making the claim. On page six of the pressbook sent to the theatre exhibitors, there was a long publicity story , for use in local newspapers when the film was showing in their towns. It told of the many stunt men who were involved (in actual roles and stunts) on "I'm Still Alive." Mentioned were Allen Pomeroy. George Magrill, Cliff Bergere, Art Dupuis, Cy Slocom and several others. And, about half-way through the long ready-to-be printed (and it was) story was this paragraph from RKO's publicity department: "Strangely enough, every one of them is married, and most of them own their own homes. It is a fetish with these men who lead such hazardous lives to run no bills, to pay cash for everything they buy. They had fun on the picture which, they say, is based on a true story of one of their number, the romance a few years ago between the former star, Helen Twelvetrees, and stuntman Jack Woody."
She might have overlooked it. if they hadn't called her a former star.
Art imitating life.
planktonrules6 November 2019
Whether it was intentional or not, RKO Studios was successfully sued because of "I'm Still Alive". Apparently, the story of an actress' marriage to a stuntman was WAY too close to that of star Helen Twelvetrees and her then stuntman husband, Jack Woody. That marriage did not last...and when you watch the movie, you can certainly understand why.
Steve (Kent Taylor) just completed a deadly stunt on the film set. At the same time, obnoxious actress Laura Marley (Linda Hayes) is having a typical sort of tantrum--and Steve tells the stuck-up actress to shut up! From this inauspicious beginning is a relationship between the stuntman and actress. But the marriage is doomed...not because they don't love each other but because Laura insists Steve stop stuntwork. You can certainly understand why...but Steve is bored with just sitting around as well as letting his masculinity take a hit. Can the two somehow patch things up or is the marriage (like in the real life story) beyond repair?
Despite being a B-movie and having mostly small-time actors, this is a very good quality production. I really liked the romance (while it lasted) and having professionals like Ralph Morgan and Henry De SIlva (playing a nice guy for a change of pace) on hand to offer support, it's a terribly enjoyable film. My only complaint was the overuse of the song "Darling Clementine"....which, after a while, became tedious....but cheap for RKO to use.
By the way, in one brief scene Steve is chatting with the director, Fred. In reality Fred was the real director, Fred Niblo. And that familiar looking Fox Terrier is Asta of The Thin Man movies.
Steve (Kent Taylor) just completed a deadly stunt on the film set. At the same time, obnoxious actress Laura Marley (Linda Hayes) is having a typical sort of tantrum--and Steve tells the stuck-up actress to shut up! From this inauspicious beginning is a relationship between the stuntman and actress. But the marriage is doomed...not because they don't love each other but because Laura insists Steve stop stuntwork. You can certainly understand why...but Steve is bored with just sitting around as well as letting his masculinity take a hit. Can the two somehow patch things up or is the marriage (like in the real life story) beyond repair?
Despite being a B-movie and having mostly small-time actors, this is a very good quality production. I really liked the romance (while it lasted) and having professionals like Ralph Morgan and Henry De SIlva (playing a nice guy for a change of pace) on hand to offer support, it's a terribly enjoyable film. My only complaint was the overuse of the song "Darling Clementine"....which, after a while, became tedious....but cheap for RKO to use.
By the way, in one brief scene Steve is chatting with the director, Fred. In reality Fred was the real director, Fred Niblo. And that familiar looking Fox Terrier is Asta of The Thin Man movies.
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