As a 12-year-old overweight, socially awkward kid, I spent most of the summer of 1977 in a movie theater. My dad’s illness — spasmodic torticollis and dystonia — was at its peak four years in, and my parents continued to go from place to place looking for someone to help him.
My parents spent a month that summer — the summer of “Star Wars” and Elvis’ death — in Los Angeles, where my dad was getting treatment. That meant that my sister and I went to Longview, where my parents were raised and where my grandparents still lived.
Like many, I used movies as an opportunity to escape my woes, especially during those tumultuous middle school years. I saw “Star Wars” — who didn’t? — shortly after the movie was released at the end of May. But another film released that week captured, and kept, my attention, despite being shot in only 16 days on a $4.3 million budget.
It was called “Smokey and the Bandit.”
My dad was a big Burt Reynolds fan, as were a lot of people in those days. Reynolds was riding a streak of hits — albeit with the occasional flop — that made him the top actor at the box office for seven straight years. And he was a popular guest host on “The Tonight Show” that my dad — and mom, when she could stay awake — watched religiously.
With shades of Three Stooges slapstick, “Smokey and the Bandit” is not art, but it hit my then-12-year-old self squarely in the demographic. Anyone could see the chemistry between Reynolds and Sally Field, my summer of 1977 crush. And it had other “classic” elements: Jackie Gleason’s “sumbitch”; Jerry Reed admonishing his basset hound, Fred, while providing the movie’s theme song (“East Bound and Down”); and the Trans-Am, which my dad was later inspired to buy in his first non-Cadillac move.
I watched “Smokey and the Bandit” 15 times that summer, either at the Cargill Cinema in Longview or at the Tradewinds in Texas City, where it played on one of the theatre’s two screens for eons. For a long time, one of my prized possessions was an original one-sheet from the movie.
Reynolds continued to do some interesting work after “Bandit,” which was the second highest grossing film of the year behind, well, you know. By the mid 1980s, though, the hits stopped coming. With minor exceptions — TV’s “Evening Shade,” the Oscar-nominated “Boogie Nights” — his career went on a slow fade to black.
Today, Reynolds died of a heart attack at age 82, half a lifetime from the movie that made a 12-year-old boy laugh and laugh at a time when I really needed it. Thanks, and RIP.
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