IMDb RATING
5.2/10
1.1K
YOUR RATING
Biography of the famed motorcycle daredevil, much of which was filmed in his home town of Butte, Montana. The film depicts Knievel reflecting on major events in his life just before a big ju... Read allBiography of the famed motorcycle daredevil, much of which was filmed in his home town of Butte, Montana. The film depicts Knievel reflecting on major events in his life just before a big jump.Biography of the famed motorcycle daredevil, much of which was filmed in his home town of Butte, Montana. The film depicts Knievel reflecting on major events in his life just before a big jump.
Alana Stewart
- Nurse #1
- (as Alana Collins-Hamilton)
Lee de Broux
- Wrangler #1
- (as Lee De Broux)
Storyline
Did you know
- TriviaPart of a 1970s cycle of films about stunt work and the stunt profession. In his book "Cult Movies 3", Danny Peary says in his piece on The Stunt Man (1980) that "there had been a proliferation of theatrical and television films about stuntmen". The films include Hooper (1978), Animal (1977), Evel Knievel (1971) (1971), Stunt Rock (1978), Evel Knievel (1974) (1974), The Stuntmen (1973), Deathcheaters (1976), Stunts (1977), Viva Knievel! (1977), Superstunt (1977), Death Riders (1976) and The Stunt Man (1980).
- GoofsBoom mic operator's shadow when Bobby's wife joins him on the back of his motorcycle after they are married.
- Quotes
The Sheriff: We better double our guard, we have Evel Knievel and Awful Knofel!
- ConnectionsEdited into E! True Hollywood Story: Evel Knievel (1998)
Featured review
dangerous to laugh at , but good-humored
This film is a comedy and a satire, and as both, it is a double-edged sword - it laughs with it's target audience - 'good ol' boys' and wannabees along the drive-in circuit, primarily in the South - and at them. It is dangerous to laugh at this film, because you may find out you're laughing at yourself - but of course, it is so good-humored, you won't be able to avoid it.
This film is not really an Evel Knieval biopic; it is really a study in the culture that makes Knieval possible. The makers of this film - primarily producer-star Hamilton - understand that in the 20th century, Americans developed an unhealthy fascination for 'sports' wherein the performers flirted with death; this could only make sense if some of the performers actually did die. The performers themselves well understood that, but all believed they were invincible, that therefore they were manipulating the secret desire of the audience rather than satisfying it. However, inevitably some - like the rodeo bull-rider early in this film - just did die; no human is invincible, after all.
How do film-makers address such a culture without getting cynical or preachy about it? You take one such 'sports'-star and take him on face-value. The ground of this film is the Evel Knieval legend that Knieval himself was hyping at every opportunity - it is simply arraigned in a way that many of his tall-tales reveal themselves as just 'too much' for their own good - even if true, why would anybody do that? Finally, one has to note that this is a fine specimen of a film made specifically for the drive-in circuit: clearly enunciated dialog (those car-speakers), over-lit (has to play against moonlight), fast-paced, careful avoidance of close-ups (only Sergio Leone's were able to hold attention at the drive-in), sweeping scenery, episodic (plenty opportunities for couples to neck), and none too deep.
Bottom-line: I first saw this film 20 years ago and only recently saw it again; neither the film nor my opinion of it has changed much all those years - there must be something that still works here.
This film is not really an Evel Knieval biopic; it is really a study in the culture that makes Knieval possible. The makers of this film - primarily producer-star Hamilton - understand that in the 20th century, Americans developed an unhealthy fascination for 'sports' wherein the performers flirted with death; this could only make sense if some of the performers actually did die. The performers themselves well understood that, but all believed they were invincible, that therefore they were manipulating the secret desire of the audience rather than satisfying it. However, inevitably some - like the rodeo bull-rider early in this film - just did die; no human is invincible, after all.
How do film-makers address such a culture without getting cynical or preachy about it? You take one such 'sports'-star and take him on face-value. The ground of this film is the Evel Knieval legend that Knieval himself was hyping at every opportunity - it is simply arraigned in a way that many of his tall-tales reveal themselves as just 'too much' for their own good - even if true, why would anybody do that? Finally, one has to note that this is a fine specimen of a film made specifically for the drive-in circuit: clearly enunciated dialog (those car-speakers), over-lit (has to play against moonlight), fast-paced, careful avoidance of close-ups (only Sergio Leone's were able to hold attention at the drive-in), sweeping scenery, episodic (plenty opportunities for couples to neck), and none too deep.
Bottom-line: I first saw this film 20 years ago and only recently saw it again; neither the film nor my opinion of it has changed much all those years - there must be something that still works here.
helpful•84
- winner55
- Nov 25, 2007
- How long is Evel Knievel?Powered by Alexa
Details
Box office
- Gross US & Canada
- $36,000
- Runtime1 hour 28 minutes
- Sound mix
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