“Profession Danger” pays tribute to the work of stuntmen and the 80s series of the same name.
The powerhouse that represented North American television from the decades of the 60s to the 80s continues to serve as an inspiration for contemporary cinema, eager for profitable ideas that have little risk.
The new bet that arrives in Argentine cinemas today is “Profession Danger”, the suspense, comedy and action film directed by David Leitchwritten by Drew Pearce and starring Ryan Gosling and Emily Blunt in the main roles of a cast that completes Winston Duke, Aaron Taylor-Johnson and Hannah Waddingham.
From the name it refers, in a fairly free adaptation that can easily be read as the beginning of a saga, to the homonymous series created by Glen A. Larson and headed by Lee Majors four decades ago on the ABC network (there were 113 episodes in five seasons), about an improvised bounty hunter. But this production differs in several points and takes many different paths in its story no matter how many winks the script written by Drew Pearce.
The story follows an abused and old-fashioned stuntman, who is working on “Metalstorm”, a production with the star whom he covered in his stunts and risky actions a long time ago and who later replaced him. When he suddenly disappears mysteriously, many questions begin to be asked and few answers are found.
The underrated actor takes on the triple task of locating the person who disappeared, solving the case and trying to recover the love of his life (the director of the film being filmed) while continuing to do his daily job. The thing is that he is only seeking to regain a place in the industry after an accident that was almost devastating to his career. In parallel with his investigation, and carrying out his work, he flies away, is shot at, crashes, jumps from windows and falls from the most extreme heights, all for the entertainment of the audience. In short, he is a true worker of the screen, but one of those who appear (hopefully) in the fine print.
In his international investigation he comes across a conspiracy related to drugs, a mafia organization and murders surrounding the actor who does not appear anywhere, who have many things to hide.
Leitch knows the job because he was a stuntman and action scene coordinator before becoming a director with notable titles such as “Deadpool 2” and, fundamentally, “Bullet Train.” Hence, this production is read as a tribute to his own past and, in some way, as a kind of underhanded complaint for not giving enough space to those who -really- risk their lives in each dangerous scene. And the premiere film abounds in them, with explosions, chases, crashes, shootouts, various fights and strong blows.
Gosling already played that kind of character in this movie in “Drive,” but he was a police officer with all the usual rules and particular toughness. He now faces it with a strong dose of humor, with a special chemistry with Blunt that is reflected in the various press conferences in which they participated. Those who have already seen this film especially recommend paying attention to the verbal duels on screen. As additional information, the two were nominated at this year’s Oscars for their supporting performances in “Barbie” and “Oppenheimer,” respectively.
Tucumán shorts: screening at the Historical House
This afternoon, at 7:30 p.m., at the Historical House (Congress 141) and with free admission, the Tucumán Audiovisual group organized a “Proyectorazo” in defense of Incaa and against the national policy related to culture. The Tucumán short films “Eureka!” will be seen, directed by Ana Inés Flores; “How bubbles sound”, by Melina Dulci; “Here they come”, Pedro Ponce Uda and Lucas García Melo; “Brown noise”, Patricio García; “Put away your clothes, you’re going to cry”, Luciana Cornejo; “Tucumán: symphony of a hidden city”, Sergio Olivera and Bernabé Quiroga, “The hug”, Mauro Chaile Díaz and Lourdes Torres Sal and “Confín”, Solana Carlevaris. The proposal takes shape at a time when the Incaa Space in the Hynes O’Connor room of the Cultural Entity was closed – without a reopening period – alleging technical problems; On the other hand, the Incaa Space in the Orestes Caviglia room will continue to operate.
