Kaskadér Hooper sice cítí, že stárne, a bolesti zad ho znepokojují stále víc, dosud však patří k nejlepším. Na kaskadérské benefici se objeví ambiciózní nováček Ski, který se Hooperovi zalíbí natolik, že ho vezme do party a zařídí angažmá na natáčení velkolepého akčního filmu. Kamarádi ho přemlouvají, aby se konečně oženil s dlouholetou přítelkyní Gwen, on však váhá, i když začíná uvažovat o zakončení kariéry. Když Ski navrhne mimořádně nebezpečný kousek skoku auta přes stometrovou roklinu, rozhodne se uskutečnit ho jako své poslední vrcholné číslo, navzdory tomu, že ho všichni zrazují, Gwen vyhrožuje rozchodem a náročné přípravy se komplikují.
- C. J. Brass17. února 2026I love this movie, it was frequently shown on Cinemax when I was growing up and in my view then as well as now, the perfect followup to Smokey and the Bandit.
- Dan S Turpin12. srpna 2026Hooper is the kind of movie that comes roaring at you with a grin on its face, a beer in one hand, and probably a broken rib it has no intention of mentioning. It is loud, broad, cheerfully ridiculous—and much better than it has any business being. Hal Needham knows this world because he lived in it, and the picture has an affection for stuntmen that keeps all the smashed automobiles and barroom foolishness from becoming merely mechanical. Beneath the noise, Hooper is a rather sweet movie about men who make their living pretending not to be afraid. It is also, for my money, the last genuinely good movie Hal Needham ever made. He would go on making bigger, louder pictures, some of them enormous popular successes, but Hooper has something his later movies increasingly lost: a human center. The machinery hasn't yet swallowed the people. Needham's affection for stunt work is still stronger than his affection for wrecking expensive automobiles. Burt Reynolds is almost ideally cast as Sonny Hooper, the veteran stuntman who has begun to discover that the human body doesn't come with replacement parts. Reynolds always seemed to be in some kind of conflict with himself as an actor. He often gave the impression that he didn't quite believe he was a very good one, and so he sometimes retreated behind the grin, the jokes and the Burt Reynolds persona. That's a shame, because given the right material, he could have done almost anything. Hooper occasionally allows us to see the actor hiding behind the movie star. There is a terrific quiet moment when Hooper stands in front of a mirror and studies his banged-up body. Reynolds doesn't need to explain what he's thinking, and the movie wisely doesn't explain it for him. Is Hooper missing the younger man who once looked back at him from that mirror? Is he simply taking inventory of the damage? Or is he finally acknowledging something he has spent the entire picture trying not to say—that his days doing this are numbered? Reynolds lets all of those possibilities sit there at once. For a movie filled with explosions and crashing automobiles, one of its best moments is simply Burt Reynolds looking at himself. That scene gets at something Reynolds could do exceptionally well when he trusted himself enough to stop performing "Burt Reynolds." The smile disappears. The wisecracks stop. Suddenly there's a middle-aged man looking at the evidence of his own mortality. Reynolds was sometimes accused of coasting on that famous charm, but Hooper demonstrates that the charm could be a dramatic tool. Hooper jokes because that's how Hooper keeps from admitting he's scared. The cast is terrific. Jan-Michael Vincent makes a fine younger rival without becoming the obligatory villain; Sally Field brings warmth and intelligence to what could easily have been the thankless role of the worried girlfriend; Brian Keith is enormously likable as the old hand who understands exactly where Hooper is headed. James Best, Robert Klein and Adam West add to the carnival atmosphere. Even when the characters are behaving like lunatics, they seem to belong to the same battered, affectionate fraternity. And Needham gives us plenty of lunacy. Cars fly, motorcycles leap, fists connect, bones ache, booze flows, and grown men behave as though hospitalization were simply another occupational benefit. Yet the movie's best joke may be that these people aren't entirely crazy. They're professionals. The picture understands the peculiar pride involved in doing something extraordinarily dangerous and then acting as though it were nothing. Then comes the finale, and Hooper quits pretending to be modest. The climactic stunt sequence is pure razzle-dazzle filmmaking—a glorious escalation of explosions, crashes, collapsing structures, speeding vehicles and increasingly improbable acts of physical courage. Needham stages it like a man who has suddenly been handed the keys to Hollywood and told he has to return them by morning. It's excessive, preposterous and exhilarating. Just when you think the movie has produced its big stunt, another one comes barreling through the wreckage. What makes the sequence work is that the spectacle has become personal. Hooper isn't merely trying to finish a movie; he's trying to prove something to himself about age, nerve and whether a man knows when to quit. That earlier mirror scene hangs over the whole thing. We've already seen the price written across Hooper's body. Now we're watching him demand one more payment from it. That's the difference between Hooper and so much of what Needham would make afterward. In the later pictures, the stunt frequently became the reason for the movie. Here, the stunt is the movie's expression of character. The explosions have something at stake besides gasoline. Hooper belongs to that wonderful late-'70s breed of American entertainment that didn't seem embarrassed about wanting an audience to have a good time. It has stars who look like movie stars, stuntmen doing things that make you wince, a terrific supporting cast, and a finale determined to send you out of the theater laughing and slightly exhausted. Needham would make more hits. He would make bigger spectacles. But he never again made one quite this good. And Reynolds would spend too much of his career apparently doubting an acting ability that was there whenever somebody gave him the opportunity—or whenever he gave himself permission—to use it. Hooper was the last time all that Needham razzle-dazzle had a heart beating underneath it. And in that moment before the mirror, Reynolds quietly shows us where that heart is.
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Hooper byl vydán 28. července 1978.
Hooper byl režírován Hal Needham.
Hooper je dlouhý 1 h 39 m.
Hooper byl produkován Hank Moonjean, Burt Reynolds.
Kaskadér Hooper sice cítí, že stárne, a bolesti zad ho znepokojují stále víc, dosud však patří k nejlepším. Na kaskadérské benefici se objeví ambiciózní nováček Ski, který se Hooperovi zalíbí natolik, že ho vezme do party a zařídí angažmá na natáčení velkolepého akčního filmu. Kamarádi ho přemlouvají, aby se konečně oženil s dlouholetou přítelkyní Gwen, on však váhá, i když začíná uvažovat o zakončení kariéry. Když Ski navrhne mimořádně nebezpečný kousek skoku auta přes stometrovou roklinu, rozhodne se uskutečnit ho jako své poslední vrcholné číslo, navzdory tomu, že ho všichni zrazují, Gwen vyhrožuje rozchodem a náročné přípravy se komplikují.
Klíčové postavy v Hooper jsou Sonny Hooper (Burt Reynolds), Delmore "Ski" Shidski (Jan-Michael Vincent), Gwen Doyle (Sally Field).
Hooper je hodnocen PG.
Hooper je film s žánrem Komedie, Action.
Hooper má hodnocení diváků 6.1 z 10.
Hooper měl rozpočet 6 mil. US$.
Hooper vydělal v kinech 78 mil. US$.