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Stuntwomen: The Untold Hollywood Story
“Gives voice to the women who have risked their lives for a few (perilous) moments on the big screen. A fascinating look at a risky profession.” —The Washington PostThey’ve traded punches in knockdown brawls, crashed biplanes through barns, and raced to the rescue in fast cars. They add suspense and drama to the story, portraying the swimmer stalked by the menacing shark, the heroine dangling twenty feet below a soaring hot air balloon, or the woman leaping nine feet over a wall to escape a dog attack. Only an expert can make such feats of daring look easy, and stuntwomen with the skills to perform—and survive—great moments of action in movies have been hitting their mark in Hollywood since the beginning of film.Here, Mollie Gregory presents the first history of stuntwomen in the film industry from the silent era to the twenty-first century. In the early years of motion pictures, women were highly involved in all aspects of film production, but they were marginalized as movies became popular, and more important, profitable. Capable stuntwomen were replaced by men in wigs, and very few worked between the 1930s and 1960s. As late as the 1990s, men wore wigs and women’s clothes to double as actresses, and were even “painted down” for some performances, while men and women of color were regularly denied stunt work.For decades, stuntwomen have faced institutional discrimination, unequal pay, and sexual harassment even as they jumped from speeding trains and raced horse-drawn carriages away from burning buildings. Featuring sixty-five interviews, Stuntwomen showcases the absorbing stories and uncommon courage of women who make their living planning and performing action-packed sequences that keep viewers’ hearts racing.
484 pages, Kindle Edition
First published November 5, 2015
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Displaying 1 - 15 of 15 reviews
February 22, 2021
You have to be pretty interested in the subject because it becomes quite granular, but I really really enjoyed this. Not only is it an intersectional look at misogyny, sexism, and rape culture from a different female perspective, it’s also just really interesting. From silent films all the way up to current day, there’s a great mix of a description of why and how it’s difficult to do what they do, how their skill set is different than men, and bow ties the whole thing with quotes from actual stuntwomen throughout the time and the actual stats of stuntwomen today (surprise, it’s a abysmal). Men would rather dress up as women to do a stunt than just pay them, smh.
This is a great mix of anecdote, real data, interesting history, and a premise that I haven’t come across before. It’s a shame it isn’t more well read/reviewed, imo!
This is a great mix of anecdote, real data, interesting history, and a premise that I haven’t come across before. It’s a shame it isn’t more well read/reviewed, imo!
May 28, 2016
I read “Stuntwomen: The Untold Hollywood Story” on the recommendation of a friend. We’d both worked in the film and entertainment worlds and are glad the essential histories of media industries are being rewritten. Behind-the-scenes stories are more interesting and compelling than the dogmatic focus on celebrities (and their pointless selfies). Mollie Gregory’s account of women jumping off buildings, wrecking cars, and showing the other side of “macho”—often while wearing skimpy costumes that can’t hide safety pads—is informative beyond the immediate subject and it blows away some of the myths of image and perception. Written in clear, no-nonsense fashion, it’s not sensationalistic, but it had me occasionally fist-pumping and blurting “Fuck yeah!” while drinking coffee in public.
Gregory also covers the struggles of minority stunt performers and the creep of blockbuster budgets that grossly ignored issues of safety and dignity (John Landis’ “Twilight Zone,” anyone?). Stuntwomen and stuntmen are not just daredevils; they’ve always had to know exactly what they were doing at risk of injury or death, and most of them have families to support.
I’d like to have seen more action photos but, alas, I understand the limitations of existing archives and deadlines. The continuity editing could have been a little tighter as well but, again, deadlines. These are but minor nits, and none of them get in the way of a story that lands solidly on its feet.
Gregory also covers the struggles of minority stunt performers and the creep of blockbuster budgets that grossly ignored issues of safety and dignity (John Landis’ “Twilight Zone,” anyone?). Stuntwomen and stuntmen are not just daredevils; they’ve always had to know exactly what they were doing at risk of injury or death, and most of them have families to support.
I’d like to have seen more action photos but, alas, I understand the limitations of existing archives and deadlines. The continuity editing could have been a little tighter as well but, again, deadlines. These are but minor nits, and none of them get in the way of a story that lands solidly on its feet.
February 6, 2022
Really thorough and fascinating information. Somewhere between a history and a group biography. It's very densely packed, which at times makes it read a little slowly, but there wasn't anything in there I thought could've been skipped! If anyone else is as interested in and relatively unversed in the topic as I was, you will surely find this a very satisfying read.
May 23, 2024
Every fight depicts different characters with different motives, action styles, and weapons of choice. Choreographing or performing a stunt fight is an art, but the argument persists that violent movies (at which Tarantino excels) feed the audience's unwholesome appetite for savagery.
But what's a movie without conflict? Some spectators still object to women being punched out or thrashed with a TV antenna, but movies and action are no longer the exclusive terrain of men. For centuries, real-life women have been well acquainted with violence in their homes, on the streets, and in war; they've been raped ,beaten, tortured, and murdered. Now, onscreen and off, women do not suffer in silence; they take action. The horrific movie stunt fights described here represent a blend of aggression and femininity, an equal match of strength and skill in combat that is both intimate and lethal as it destroys everything around them in the most satisfying way.
~~Zoe Bell, a stuntwoman from New Zealand, doubled Uma Thurman for much of the action in Kill Bill . The above screen shot from the movie illustrates the above quote perfectly.
Vital statistics: Year written: 2015
Length: 274 pages (plus 39 pages of detailed notes)
Genre: non-fiction; more specifically, historical non-fiction centered around Hollywood/movie making with a focus on stunts, and the untold contribution of women
Read if: You like learning more about the history of brave women in general, and women breaking the glass ceiling in various careers throughout the 20th century in particular
My two cents: Mollie Gregory put painstaking research into bringing us this untold story, starting with the first stuntwomen in silent movies in the 1910's to the modern age of CGI. Along the way she examines various challenges, biases, prejudices, and progress. Stunts are done so flawlessly, and integrated into the storyline of movies so wall (at least, in A level productions), that it's easy to sink into the magic of cinema. We believe the characters are in mortal danger. But we rarely think about the work that went into producing those scenes while minimizing the risk to the humans involved. Gregory brings us into that world, and showcases the contribution of women over the years. Female stuntwomen have had to fight for the right to represent actresses (as opposed to male stunt doubles in wigs). They've had to fight for the right to be in guilds. And they've had to fight for fair representation. Along the way, they've helped to change preconceived notions of gender roles in our culture. Women do not have to be passive. We can fight back if necessary. "We are what we are perceived to be." These trail-blazing women are changing society's perception of women, one kick-ass scene at a time.
Further Reading: A long list of stuntwomen in Hollywood, with links to their individual pages. https://m.imdb.com/list/ls002634780/
Other favorite quotes: American movie production was centered mostly in the East, around New York, until a few producers fled to Southern California in 1910. There, they found "every variety of natural scenery from the Sahara Desert to the Khyber Pass"--mountains, deserts, ocean beaches--and constant sunshine. Bustling Los Angeles, a religious and conservative little town, offered a supply of cheap labor as the "nation's leading open-shop non-union city." [...] Citizens complained loudly, but by the end of World War I, West Coast moviemakers were cranking out 80 percent of the world's movies, and Hollywood became synonymous with the art and business of motion pictures.
~~[May Boss's] father had owned and trained race horses in New York, and she really wanted to be a jockey. "I was a great size for it," she said, "but those jocks did not like women on the racetrack. They told me, 'We'll box you in, we'll knock you over the rail.' They don't fool around. They're nasty. It was a hostile environment and they still don't like women."
~~In walks Barbara Jordan, the first African American congresswoman from the Deep South. "A young woman was offering coffee or tea," Nolan recalled, "and Barbara Jordan said in her incredible voice, 'I will do that. I will pour my own.' Then she explained 'They say we're making tremendous progress. We will never make the progress we are after until things change for her .' She put her arm around me. I was blown away because she's this powerful presence. Mayor Daly asked, 'What did you mean by that?' Jordan said, ' She represents the women that appear on screen, and we are what we are perceived to be. Until things change for her , they will not change immeasurably in the United States for any of us.' She was talking about the influe3nce of film and television," Nolan said. She was pointing out "that roles and attitudes on screen have to change before anything else will change. That stuck with me, 'We are what we are perceived to be."
~~One studio head joked about his creative bookkeeping. "There are three kinds of costs: above-the-line, below-the-line and cocaine-line," he said.
~~Stunt people are not daredevils. They are, according to john Baxter, "hard-thinking technicians who squeeze between the apparent danger of their situation and an infinitesimal margin of safety they built into it."
~~Julie's audacious class-action suit, filed "on behalf of all stuntwomen," alleged that "qualified stuntwomen are denied employment solely on the basis of their sex." Julie knew the risks. "I didn't want to bite the hand that fed me, but when it starts feeding poison, you must bite back." Years later she summed it up: "it was, simply, the right thing to do."
Stuntmen would agree. "There isn't a stuntman in the world that would look forward to the work stuntwomen do, because they go down flights of stairs in a bathing suit," said New York stuntman Vince Cupone. "The men pad up, padding protects you a lot, but nine times out of ten women don't have that luxury. I know several girls that have done car hits in tight dresses with nothing protecting them form that car except technique. Not only do they work in spite of their wardrobe, they're in a completely macho field where they have to constantly prove themselves," he said. "They don't have girl-to-girl communication because most stunt coordinators are not
~~This profession can deliver disaster and delight. Despite grueling hours, inequality, and injuries, every stuntwoman embraces the joy of the work in her own way. There are "moments of bliss," said skateboard champ Christine Anne Baur. "You picture the action in your head, you've worked it out technically, studied the actor you're doubling, you're in character for what's happening to her at that moment, which generates the stunt. They roll action, and it all comes together simultaneously in Mach one speed and super slow motion. I become what's happening, I'm the explosion that blew out the window, my body is mechanically performing as I told it to, and at that moment, I literally let go. It is magical."
But what's a movie without conflict? Some spectators still object to women being punched out or thrashed with a TV antenna, but movies and action are no longer the exclusive terrain of men. For centuries, real-life women have been well acquainted with violence in their homes, on the streets, and in war; they've been raped ,beaten, tortured, and murdered. Now, onscreen and off, women do not suffer in silence; they take action. The horrific movie stunt fights described here represent a blend of aggression and femininity, an equal match of strength and skill in combat that is both intimate and lethal as it destroys everything around them in the most satisfying way.
~~Zoe Bell, a stuntwoman from New Zealand, doubled Uma Thurman for much of the action in Kill Bill . The above screen shot from the movie illustrates the above quote perfectly.
Vital statistics: Year written: 2015
Length: 274 pages (plus 39 pages of detailed notes)
Genre: non-fiction; more specifically, historical non-fiction centered around Hollywood/movie making with a focus on stunts, and the untold contribution of women
Read if: You like learning more about the history of brave women in general, and women breaking the glass ceiling in various careers throughout the 20th century in particular
My two cents: Mollie Gregory put painstaking research into bringing us this untold story, starting with the first stuntwomen in silent movies in the 1910's to the modern age of CGI. Along the way she examines various challenges, biases, prejudices, and progress. Stunts are done so flawlessly, and integrated into the storyline of movies so wall (at least, in A level productions), that it's easy to sink into the magic of cinema. We believe the characters are in mortal danger. But we rarely think about the work that went into producing those scenes while minimizing the risk to the humans involved. Gregory brings us into that world, and showcases the contribution of women over the years. Female stuntwomen have had to fight for the right to represent actresses (as opposed to male stunt doubles in wigs). They've had to fight for the right to be in guilds. And they've had to fight for fair representation. Along the way, they've helped to change preconceived notions of gender roles in our culture. Women do not have to be passive. We can fight back if necessary. "We are what we are perceived to be." These trail-blazing women are changing society's perception of women, one kick-ass scene at a time.
Further Reading: A long list of stuntwomen in Hollywood, with links to their individual pages. https://m.imdb.com/list/ls002634780/
Other favorite quotes: American movie production was centered mostly in the East, around New York, until a few producers fled to Southern California in 1910. There, they found "every variety of natural scenery from the Sahara Desert to the Khyber Pass"--mountains, deserts, ocean beaches--and constant sunshine. Bustling Los Angeles, a religious and conservative little town, offered a supply of cheap labor as the "nation's leading open-shop non-union city." [...] Citizens complained loudly, but by the end of World War I, West Coast moviemakers were cranking out 80 percent of the world's movies, and Hollywood became synonymous with the art and business of motion pictures.
~~[May Boss's] father had owned and trained race horses in New York, and she really wanted to be a jockey. "I was a great size for it," she said, "but those jocks did not like women on the racetrack. They told me, 'We'll box you in, we'll knock you over the rail.' They don't fool around. They're nasty. It was a hostile environment and they still don't like women."
~~In walks Barbara Jordan, the first African American congresswoman from the Deep South. "A young woman was offering coffee or tea," Nolan recalled, "and Barbara Jordan said in her incredible voice, 'I will do that. I will pour my own.' Then she explained 'They say we're making tremendous progress. We will never make the progress we are after until things change for her .' She put her arm around me. I was blown away because she's this powerful presence. Mayor Daly asked, 'What did you mean by that?' Jordan said, ' She represents the women that appear on screen, and we are what we are perceived to be. Until things change for her , they will not change immeasurably in the United States for any of us.' She was talking about the influe3nce of film and television," Nolan said. She was pointing out "that roles and attitudes on screen have to change before anything else will change. That stuck with me, 'We are what we are perceived to be."
~~One studio head joked about his creative bookkeeping. "There are three kinds of costs: above-the-line, below-the-line and cocaine-line," he said.
~~Stunt people are not daredevils. They are, according to john Baxter, "hard-thinking technicians who squeeze between the apparent danger of their situation and an infinitesimal margin of safety they built into it."
~~Julie's audacious class-action suit, filed "on behalf of all stuntwomen," alleged that "qualified stuntwomen are denied employment solely on the basis of their sex." Julie knew the risks. "I didn't want to bite the hand that fed me, but when it starts feeding poison, you must bite back." Years later she summed it up: "it was, simply, the right thing to do."
Stuntmen would agree. "There isn't a stuntman in the world that would look forward to the work stuntwomen do, because they go down flights of stairs in a bathing suit," said New York stuntman Vince Cupone. "The men pad up, padding protects you a lot, but nine times out of ten women don't have that luxury. I know several girls that have done car hits in tight dresses with nothing protecting them form that car except technique. Not only do they work in spite of their wardrobe, they're in a completely macho field where they have to constantly prove themselves," he said. "They don't have girl-to-girl communication because most stunt coordinators are not
~~This profession can deliver disaster and delight. Despite grueling hours, inequality, and injuries, every stuntwoman embraces the joy of the work in her own way. There are "moments of bliss," said skateboard champ Christine Anne Baur. "You picture the action in your head, you've worked it out technically, studied the actor you're doubling, you're in character for what's happening to her at that moment, which generates the stunt. They roll action, and it all comes together simultaneously in Mach one speed and super slow motion. I become what's happening, I'm the explosion that blew out the window, my body is mechanically performing as I told it to, and at that moment, I literally let go. It is magical."
May 26, 2017
Gregory did a lot of historical research, and I wasn’t aware of how female silent actors did their own stunts, indeed how women essentially drove the silent movies with the “girl in peril” serials. Stunt people don’t get no respect, but within that women and racial minorities get even less, which I knew. It was basically a compilation of facts and quotes in chronological order. An okay read.
October 16, 2020
I picked this book up at the Goodwill. When I saw it I knew I had to read it. I wasn't sure I would like it because this is the third book about women in Hollywood and the last one I picked up was so dry and read like a text book I had to put it down, and I never picked it up again. Not so with this book. I picked it up before bed time and ended up reading all it only to be shocked it was 4am! I'm a huge fan of silent and silver screen movies so that part of the book was interesting. Knowing that Buster Keaton did all his stunts still did not prepare me for how much silent era starlets did action wise on screen. What shocks you over and over again is the complete lack of safety for the stuntwomen, and men too, until around the 80s. Even then things were not great. Not shocking also was the amount of sex that was traded for work. But what bothers me is that it was labeled sexual harassment when a director demanded sex for work. Um that's blackmail and extortion, plus prostitution.
Even sadder the women that took part in sexual activity to get work. The struggles that stuntwomen faced were daunting and many. The fact that a man with a wig was always near by to take over a stunt if a female expressed the slightest concern over stunt, or as they say "gag", put pressure on a few women and cost a few them their bodies and lives. Not only that but if a man wrecked a stunk or car it was laughed off, if a woman did it, well you could not count on a woman for a stunt. Never mind that planning a stunt is hard work in and of itself and the studios tried hard to save money. Honestly I get why do many are drawn to the work, the adventure, the rush and the fun but the lack of respect and planning would have driving me away. Safely should come first and rarely seems to for these women.
The book is not so much a history on how stunts evolved, which I wish it had included more, but about how women had to be twice as better than a man and a lot more cool under pressure. Even today there is a double standard, and with stars wanting to do their own stunts I am sure the pressure will only get worse. The book has a lot of great pictures as well. I am so glad I found this book.
Even sadder the women that took part in sexual activity to get work. The struggles that stuntwomen faced were daunting and many. The fact that a man with a wig was always near by to take over a stunt if a female expressed the slightest concern over stunt, or as they say "gag", put pressure on a few women and cost a few them their bodies and lives. Not only that but if a man wrecked a stunk or car it was laughed off, if a woman did it, well you could not count on a woman for a stunt. Never mind that planning a stunt is hard work in and of itself and the studios tried hard to save money. Honestly I get why do many are drawn to the work, the adventure, the rush and the fun but the lack of respect and planning would have driving me away. Safely should come first and rarely seems to for these women.
The book is not so much a history on how stunts evolved, which I wish it had included more, but about how women had to be twice as better than a man and a lot more cool under pressure. Even today there is a double standard, and with stars wanting to do their own stunts I am sure the pressure will only get worse. The book has a lot of great pictures as well. I am so glad I found this book.
May 1, 2023
This is an extremely readable academic history of stuntwomen - not a subject I've ever spent a lot of time thinking about, but I came cross the book and thought why not, and I'm glad I took the chance. I know little more about the history of film than I do stuntwomen, so it was fascinating to discover that stuntwomen have been doing their thing for close to a century now, and that there was actually significant opportunity for them to do so in the early days of film... opportunities that tapered sharply off in the thirties or so, when studio inclinations to hire men in wigs to do the dangerous work made life a lot harder for their female counterparts.
That difficulty was compounded, over decades, by labour organisations that prioritised stuntmen, an abundance of sexual harassment, and the added difficulty of performing stunts while wearing very little, which meant that the safety padding so available to their male counterparts was frequently denied them. The slow development of industry standards, often spearheaded by a small group of women who risked (and often received) blacklisting for their efforts, is immensely frustrating to read, and no doubt would have been worse to experience. The sheer joy that these women experience in their chosen profession, however, radiates through the pages... even if I cannot possibly sympathise with the horrifying desire to throw oneself from a building onto a pile of cardboard boxes. Rather them than me on that one.
It's very well-written. I'm glad I read it.
That difficulty was compounded, over decades, by labour organisations that prioritised stuntmen, an abundance of sexual harassment, and the added difficulty of performing stunts while wearing very little, which meant that the safety padding so available to their male counterparts was frequently denied them. The slow development of industry standards, often spearheaded by a small group of women who risked (and often received) blacklisting for their efforts, is immensely frustrating to read, and no doubt would have been worse to experience. The sheer joy that these women experience in their chosen profession, however, radiates through the pages... even if I cannot possibly sympathise with the horrifying desire to throw oneself from a building onto a pile of cardboard boxes. Rather them than me on that one.
It's very well-written. I'm glad I read it.
January 27, 2019
I really enjoyed the cool behind the scenes look at the work stuntwomen did, the stuntwomen themselves, and their fight for equality and recognition over a century of filmmaking. There are now several new movies I want to check out! There was a chapter or two that dealt directly with court cases, SAG rules, and policies that were incredibly important to stuntwomen's fight for equality, though I found these chapters fairly dry - not sure what more could have been done, though.
The author also makes a point to address the difficulties of racial minority stuntmen and stuntwomen, and addresses this issue well. Lastly, it was harrowing to read of all the accidents and injuries in the history of stunts. Overall though, this was a lot of fun and incredibly interesting!
The author also makes a point to address the difficulties of racial minority stuntmen and stuntwomen, and addresses this issue well. Lastly, it was harrowing to read of all the accidents and injuries in the history of stunts. Overall though, this was a lot of fun and incredibly interesting!
March 3, 2025
This is an in-depth, well-researched look into a Hollywood profession that I never gave much tought to before: stuntwomen! From The Perils of Pauline to Wicked, women have been taking risks behind the scenes to bring more excitement to the silver screen. It's all here, the history, the challenges, the discrimination and even the litigation that women have braved to fly through the air, fight with their fists, fall off of cliffs and jump from speeding cars or trains, proving that women too can excel at daring movie stunts. Jeannie Epper was one of these pioneering stuntwomen, and sadly, she was in the In Memoriam segment of the Oscars yesterday.
April 19, 2018
I don’t regularly read nonfiction, but I found this to be a fascinating read! A great way to learn about the history of Hollywood and stunts, both of which fascinate me. The only reason I did not give it five stars is because I found it to be occasionally repetitive (I would have appreciated the refreshers if I had been reading slowly, but since I was taking it fairly regularly, it felt unnecessary). But, otherwise, it’s a great read: well written, fascinating subject matter, and fun pictures to boot. Well worth the read t anyone with an interest in the subject.
January 3, 2025
I’m biased on the subject of stunts after spending many years training for a career as a stuntwoman and getting very involved with the community, but this book provided an excellent comprehensive overview of the industry and many of the challenges faced by stuntwomen and in stunts in general, focusing on highlighting the accomplishments of some of the stuntwomen who made it all possible. Highly recommend to anyone who wants an inside glimpse at the world of stunts and stuntwomen in particular!
January 16, 2024
Really interesting history of Stuntwomen. Their struggles - sexism, racism, Hollywood scene nastiness - and successes.
April 24, 2024
Very interesting and informative. After finishing it, I look at movie stunts differently. If you like action movies and shows, this book is well worth reading.
January 31, 2016
The first third moves a little slowly. The author, in an attempt to honor the early stuntwomen, names everybody. It was hard to follow who was who.
The middle third is the story of civil rights in the US during the 29th century. It was interesting to hear how those particular social issues played out in the stunt world. Nothing surprising, but interesting.
The last third tackles the ins and outs of stunt work, like falls, car stunts, and today's computer generated graphics.
There is a brief return at the end to where the industry is now in terms of opportunities for stuntwomen.
While there were areas that are hashed and rehashed (when female characters are scantily clothed in television and film, the stuntwomen can't wear protective pads; people assume men are better at doing stunts than are women), overall the newness of the content carried me to the end.
I expected to see at least a mention of lesbians, especially given how much stunt women were expected to sleep with the men in the production, but there was none. If lesbians had issues in the stunt world, it was important to mention it. If they had none, that was as equally important to mention.
The middle third is the story of civil rights in the US during the 29th century. It was interesting to hear how those particular social issues played out in the stunt world. Nothing surprising, but interesting.
The last third tackles the ins and outs of stunt work, like falls, car stunts, and today's computer generated graphics.
There is a brief return at the end to where the industry is now in terms of opportunities for stuntwomen.
While there were areas that are hashed and rehashed (when female characters are scantily clothed in television and film, the stuntwomen can't wear protective pads; people assume men are better at doing stunts than are women), overall the newness of the content carried me to the end.
I expected to see at least a mention of lesbians, especially given how much stunt women were expected to sleep with the men in the production, but there was none. If lesbians had issues in the stunt world, it was important to mention it. If they had none, that was as equally important to mention.
May 28, 2025
I was only interested in the chapters about the early years, and that was only about 20% of the book. The four stars are for those chapters, which were well-written and entertaining as well as informative. The bibliography was also useful.
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