Jeannie Epper had at least 100 screen roles, maybe even 150 — no one is quite sure. But because she was a stunt double, galloping on horseback, crashing cars and kicking down doors for the stars of films and television shows, hers was not a household name.
In her heyday, however, Ms. Epper was ubiquitous. She hurtled through the air most weeks as Lynda Carter’s stunt double on the hit television series “Wonder Woman” and mimed Ms. Carter’s leggy lope. She tumbled through a scrum of mud and rocks as Kathleen Turner’s double in the 1984 comedy-adventure film “Romancing the Stone,” which also starred Michael Douglas. She threw punches for Linda Evans in one of her many ballyhooed cat fights with Joan Collins on the frothy long-running 1980s nighttime soap opera “Dynasty.”
And, in what she often said was her favorite stunt — or gag, to use the industry term — Ms. Epper skidded a Corvette into a 180-degree turn as Shirley MacLaine’s character in “Terms of Endearment” (1983), neatly hurling Jack Nicholson’s double into the Gulf of Mexico.
Ms. Epper, whose bruising career spanned 70 years, died on Sunday at her home in Simi Valley, Calif. She was 83.
Her daughter, Eurlyne Epper, confirmed the death. She said her mother had been ill for some time and caught an infection during a recent hospital visit.
Ms. Epper was stunt royalty; her father was John Epper, a Swiss-born master horseman who doubled in westerns for Gary Cooper, Randolph Scott and Ronald Reagan. Like her five siblings, Ms. Epper joined the family business.
She was just 9 when she rode a horse bareback down a cliff in her first stunt. Her first film credit, however, as The Hollywood Reporter discovered, was “Cheyenne Autumn,” a 1964 western directed by John Ford. And she was a regular on the western series “The Big Valley,” which ran on ABC from 1965 to 1969, often doubling for Barbara Stanwyck.
“Wonder Woman,” which debuted on ABC in 1976, was a watershed moment not just for Ms. Epper but also for all women in her industry. Despite the work of Ms. Epper and others, stunt doubling had long been mostly a man’s game, with men dressing as women to do their stunts — a practice known as wigging. The series was groundbreaking for featuring a female action hero, as was another ABC series, “Charlie’s Angels,” that same year.
“Actresses didn’t want hairy-legged boys as doubles,” Ms. Epper told Variety in 2007. “They wanted pretty girls. It slowly started changing the order of things.”
The rangy, 5-foot-9 Ms. Epper was used to the rough and tumble of the brotherhood that accepted her because of her father, and also because she had her own moxie. She was savvy about the sexism of the stunt world, and the movie business.
Zoë Bell, a New Zealand-born actor and stuntwoman whom Ms. Epper mentored, described the advice Ms. Epper gave her when she was putting together her résumé for a job doubling for Uma Thurman in “Kill Bill: Volume 1,” Quentin Tarantino’s 2003 martial arts splatterfest. (Ms. Bell, a talented gymnast, had been Lucy Lawless’s double during every season of “Xena: Warrior Princess,” which was shot in New Zealand and ran from 1995 to 2001.)
“She asked me what I weighed,” Ms. Bell recalled by phone. “I said ‘145-ish.’ Jeannie, without missing a beat, said ‘OK, so put 130. You look 130 and the actresses all lie.’ She went on to talk about recognizing a broken system and devising new rules that one feels good about, in order to be able to keep playing the game.”
Ms. Epper and Ms. Bell were the joint subjects of “Double Dare,” a 2004 documentary directed by Amanda Micheli, which followed Ms. Epper as she hunted for work in her 60s and Ms. Bell, who was in her early 20s, as her career was just taking off.
“Jeannie was up against the inequity of women not getting promoted,” Ms. Micheli said. “The working life span of a stunt performer is brief, like a professional athlete’s. They’re using their bodies, they’re hitting the ground every day.
“The best stuntmen go on to become stunt coordinators, or even second-unit directors, which is a powerful role on an action film,” she continued. “Jeannie’s brother Gary got those opportunities, while she just kept hitting a wall. Instead of getting to call the shots, she was hustling for small jobs here and there, and taking hits well past her prime. I saw the pain that caused her, both figuratively and literally.”
In Ms. Epper’s youth, there were the usual mishaps. While jumping a horse off a raft in “Mackenna’s Gold” (1969), she nearly drowned when the horse floundered and flipped in the water. She was almost knocked out by Pam Grier in the 1974 blaxploitation film “Foxy Brown” when Ms. Grier smashed a painting over her head and sliced open her skull. She caught fire when a stunt went south in an episode of the late-1960s television series “Lancer.”
The years of stunts mostly took their toll in torn ligaments and battered joints. Not that she complained.
“Jeannie was bad-ass and a sweetheart,” Ms. Bell said. “A lady and one of the boys. A cowgirl and a finishing school graduate. A Christian and one of my favorite people to crack filthy jokes with.”
Jean Luann Epper was born on Jan. 27, 1941, in Glendale, Calif., and grew up in North Hollywood. Her father served in the cavalry in his native Switzerland and moved in the 1920s to Hollywood, where he opened a riding academy and trained actors who were appearing in westerns, and also where he married Frances Robertson. He got into the stunt business when he was delivering a horse to a set and ended up doing the stunt himself — the scene involved jumping the animal over a car. He taught his three girls and three boys how to ride, how to jump and, most important, how to roll and how to fall.
As a young teenager, Jeannie was sent to finishing school for a few years in Switzerland — she hated it — and when she returned, she married at just 16, became a mother and went to work.
Her marriages to Wes Fuller, Richard Spaethe and Lee Sanders ended in divorce. In addition to her daughter, who is also a stuntwoman, Ms. Epper is survived by her husband, Tim Kimack; her son, Richard; five grandchildren; and seven great-grandchildren.
Among her many other credits, Ms. Epper appeared in eight films produced or directed by Steven Spielberg, including “1941,” the 1979 slapstick comedy that imagines an alternate reality to what happened in the days after Pearl Harbor. Most of her family was cast in that film, too. In Ms. Micheli’s documentary, Mr. Spielberg called the Eppers “the Flying Wallendas of film” and added that in a bar fight scene in “1941,” “there were Eppers flying all over the place.”
Ms. Epper’s last role was not a stunt, exactly. In 2019, at 78, she was cast as a hostage in an episode of the ABC series “The Rookie” that involved being bound, gagged and duct-taped to a chair with a shotgun strapped to her shoulder and pointed at her head.
Debbie Evans, a much-lauded stuntwoman who said she considered Ms. Epper her “stunt mom,” drove her to the set. “It was a special day,” Ms. Evans recalled. “She was so high and happy.”
