STAND ON IT (STROKER ACE)

US, 1983, 96 minutes, Colour.
Burt Reynolds, Loni Anderson, Ned Beatty, Jim Nabors.
Directed by Hal Needham.

Stand On It (Stroker Ace) is one of many films made by stunt expert Hal Needham. It was his 5th collaboration with Burt Reynolds (two Smokey and the Bandit films, Hooper, The Cannonball Run). These films rely on Burt Reynolds' genial personality and the emphasis on cars and stunt work. This film is no exception - but is more genially lower-key than some of the other films. Needham's satiric western Cactus Jack and his action adventure Megaforce were not successful. He seems to need, at least, Burt Reynolds' strong personality to sustain interest in the conventions and the stunt work. Reynolds is ably supported by Ned Beatty in this film and Loni Anderson adds some glamour.

1. A Burt Reynolds vehicle, the emphasis on cars? Director Hal Needham's skill with cars and stunt work? Popular, if passing, entertainment?

2. The film as a piece of Americana, the racing car tracks, hotels, the world of the commercials and sponsorship? The authentic atmosphere of America? The emphasis on stunts and special effects?

3. The humour of the screenplay and the performances? Stereotype characters and humour? The focus on American images? Commercials? The humour of Burt Reynolds sending himself up: mock-hero, sex symbol, star with huge ego. macho ability with stunts? This being emphasised with the final credits and the humour of showing the out-takes and the mistakes?

4. The prologue and the past. the echoes of the bootlegger films, the emphasis on cars, Stroker Ace and his self-opinion, humour? The later use of this prologue story?

5. The focus on Stroker Ace and cars, concern about doing his hair etc.? His phrase 'Whatever' ? The introduction at the car rally, the girls and their snubbing him? His techniques? The clash with Mr Caddie about sponsorship and putting the cement in his car? The races? Torkle and his persistence, the contract? Perabrook as administering the contract? The jokes about macho image and sexuality? The jokes about advertising - the opening of the chicken dinner restaurants? The hugs and the autographs? The chicken commercials? Aubrey as the snobbish rival? The devices to get out of the contract? His friends and the business set-up? Torkle and his double-dealing? Winning the race and the happy ending for all?

6. Lugs as a type, his friendship with Stroker, the television and wanting to appear on it, his skills, reaction to Stroker, friendship with Pembrook. his wanting to sing - and Jim Nabors' ability? His being part of the plans, involved in the fights etc.? In the happy ending?

7. Pembrook and Loni Anderson's spoof of the Marilyn Monroe-type image: the Sunday-school virgin? The contract with Torkle? Helping with the ads? Her change of attitude, the champagne and undressing sequence? The assault and the fire?

8. Ned Beatty's send-up of commercial interests with his character of Torkle? His appearance, clothes, vulgarity, wheedling the contract? His old over Stroker, the advertisements, the openings, the chases, his stating always that he wouldn't be angry, the police, his being taken in, the fire and the ending?

9. Arnold as the big black man, his service to Torkle, helping him out of difficulties, the car chase? His change of heart at the end and helping Stroker?

10. Aubrey and his showing off, vengeance, rivalry, fooling around in the hotel, going into the pool, the final race and clash, his genial giving in at the end?

11. The father and son and their friendship with Stroker? Singing, acting? The performance as businessmen to take in Torkle?

12. The background of the professional drivers, the announcers, the racing tensions, the insertion of video material of actual races and crashes? Audience response to cars and racing?

13. A pleasant piece of Americana, tongue-in-cheek with types and stereotypes?