[QUOTE=wolf_meister] scotandrsn
You brought up some movies made during Burt Reynolds’ decline: (“Stroker Ace” “Smokey and the Bandit 3” (yes he only made a cameo appearance in that one but it was enough to add to Burt’s decline. That movie was rotten.)
Anyway, I thought I’d list hs films from the very first 1980 release to 1987 to show just how bad his films were getting even before “Stroker Ace” and after:
(source IMDB)
Rough Cut (1980)
Smokey and the Bandit II (1980)
The Cannonball Run (1981)
Paternity (1981)
Sharky’s Machine (1981)
The Best Little Whorehouse in Texas (1982)
Best Friends (1982)
Stroker Ace (1983)
Smokey and the Bandit Part 3 (1983)
The Man Who Loved Women (1983)
Cannonball Run II (1984)
City Heat (1984)
Stick (1985)
Uphill All the Way (1986) (uncredited)
Shattered If Your Kid’s on Drugs (1986) (TV)
Heat (1986)
Malone (1987)
Rent-a-Cop (1987)
There seems to be a pattern developing there don’t you think?
[/QUOTE]
I have to admit I liked Best Little Whorehouse, but then I’m a rabid Dolly Parton fan.
I had no idea Burt was in Smokey & the Bandit 3- I thought he sat that one out.
The incredible thing to me is that he was paid millions up front and pieces of the profits for these pieces of dreck and he wound up broke. That takes talent.
[QUOTE=wolf_meister] scotandrsn
You brought up some movies made during Burt Reynolds’ decline: (“Stroker Ace” “Smokey and the Bandit 3” (yes he only made a cameo appearance in that one but it was enough to add to Burt’s decline. That movie was rotten.)
Anyway, I thought I’d list hs films from the very first 1980 release to 1987 to show just how bad his films were getting even before “Stroker Ace” and after:
(source IMDB)
Rough Cut (1980)
Smokey and the Bandit II (1980)
The Cannonball Run (1981)
Paternity (1981)
Sharky’s Machine (1981)
The Best Little Whorehouse in Texas (1982)
Best Friends (1982)
Stroker Ace (1983)
Smokey and the Bandit Part 3 (1983)
The Man Who Loved Women (1983)
Cannonball Run II (1984)
City Heat (1984)
Stick (1985)
Uphill All the Way (1986) (uncredited)
Shattered If Your Kid’s on Drugs (1986) (TV)
Heat (1986)
Malone (1987)
Rent-a-Cop (1987)
There seems to be a pattern developing there don’t you think?
[/QUOTE]
Yes: the pattern is that as his star descended, he was offered fewer and fewer decent properties.
[QUOTE=wolf_meister] scotandrsn
You brought up some movies made during Burt Reynolds’ decline: (“Stroker Ace” “Smokey and the Bandit 3” (yes he only made a cameo appearance in that one but it was enough to add to Burt’s decline. That movie was rotten.)
Anyway, I thought I’d list hs films from the very first 1980 release to 1987 to show just how bad his films were getting even before “Stroker Ace”
[/QUOTE]
Reynolds did his share of lousy movies before Stroker Ace but at least they were commercially successful. In fact, before that movie, Reynolds seemed to have hit upon a foolproof formula for remaining the #1 box office draw by balancing every “good ol’ boy” car-chase movie like Smokey and the Bandit or Cannonball Run with a romantic comedy like Starting Over with a cop thriller like Sharkey’s Machine thrown in every once in awhile. With the failure of Stroker Ace, the formula stopped working and his career was sent reeling. It also didn’t help that Reynolds opted to do that movie rather than play the role of the over-the-hill astronaut in Terms of Endearment that rejuvenated Jack Nicholson’s career and won him an Oscar.
[QUOTE=lissener]
Yes: the pattern is that as his star descended, he was offered fewer and fewer decent properties.
[/QUOTE]
To be fair, he didn’t really help himself much during his decline. Compare John Travolta, who has rescued himself from deep career doldrums more than once, by swallowing his pride and taking a risk on an offbeat role in a fringe project: as a fairly dim heroin addict in Pulp Fiction, most famously, and most recently the Divine role in the film version of Broadway’s Hairspray musical.
You’re right that Reynolds wasn’t getting the same plum offers he was used to, but as NDP says, he did have opportunities to revitalize his career, by setting aside his ego and taking character-oriented roles in ensemble pieces instead of leads. Clearly, he was unable to do either until he was forced to.
As long as we’re wandering a bit, I have a question. Why did Reynolds misspell his own name when he wrote it in front of Grauman’s (or whoever is in charge of the theater) Chinese Theater. Was he just drunk? Was it some sort of in joke or what?
