Pulp International - Dyan+Cannon

Jan 31 2022

He's a two-fisted loner who sometimes has to work outside the law. But he still could use a good script.

Burt Reynolds: unacknowledged acting genius? Absolutely—and we'll fight anyone who says differently. He debuted in television in 1958, but wasn't a movie star until a decade later. He was brilliant in serious roles such as Deliverance and The Longest Yard, but also had an easy flair for comedy. Shamus, which premiered today in 1973 and for which you see a U.S. three-sheet above, is a typical Reynolds effort, an action-drama with humor sprinkled throughout. In terms of sheer performing, this is a lay-up for him. He handles the drama with no problem and charms his way through the upbeat sections with the help of equally affable foil Dyan Cannon. As a bonus, he also performs several impressive stunts we can't imagine a modern actor attempting.

Reynolds' detective character Shamus McCoy is a tribute to Humphrey Bogart’s Philip Marlowe in 1946's The Big Sleep, with two scenes lifted almost wholesale from that film—one in which he seduces a buxom bookstore clerk, and one in which he meets his client in a refrigerated office (instead of a hothouse). He's hired to solve a murder/jewel heist that turns out to be connected to arms dealing, but the caper is flat from beginning to end, failing to build much interest or momentum. Reynolds, who made several smarmy action-comedies like Smokey and the Bandit and Hooper, was not shy when assessing his own abilities. He said he was as good in those lightweight films as it was possible for an actor to be. We agree, but even Burt can't make Shamus good.

Shamus Smokey and the Bandit Hooper Deliverance The Longest Yard Burt Reynolds Dyan Cannon poster art cinema movie review

Hollywoodland

Aug 6 2011

Long before the general public knew it existed, LSD was the drug of choice among celebrity elites.

We’re back to the gossip magazine Uncensored today, with its info-packed cover telling us about gay Toronto, lesbian Hollywood, Sean Connery’s sex secrets and rumors about Liz Taylor and Richard Burton. But the standout item here (aside from the appearance of the non-word “rejuvination” and the misused term “capitol”) is the one on Cary Grant and his experimentation with LSD. Before the Beatles, Timothy Leary, and Carlos Castaneda, LSD was the drug of choice for a rarefied circle of glamorous elites who ingested it as part of their psychiatric therapy sessions. We’re talking about people as famous and diverse as aquatic actress Esther Williams, Time publisher Henry Luce, director Sidney Lumet, authors Aldous Huxley and Anais Nin, and composer André Previn.

Cary Grant never tried to keep his LSD use secret. In fact, he spoke glowingly about it in a 1959 interview with Look magazine, saying that it had brought him close to happiness for the first time in his life. He also said that LSD taught him immense compassion for other people, and had helped him conquer his own shyness and insecurity.

But by 1968 the U.S. government—which had experimented extensively with LSD in hopes of using it as a truth serum or a form of chemical warfare, and had dosed thousands of people both willingly and unwillingly—was moving toward declaring the drug illegal. Grant’s wife Dyan Cannon had famously cited LSD usage as a primary factor in seeking a 1967 divorce, and the counterculture embrace of the drug was beginning to frighten middle America and the White House. That’s the backdrop against which this August 1968 Uncensored appeared, and by October of the year LSD was illegal. But the fact that public opinion had shifted—or more accurately, had been pushed by a steady, government-initiated anti-LSD campaign—did not particularly harm Grant’s public standing.

When he died in 1986 he was still one of the most revered Hollywood actors ever. And about his LSD usage he had no regrets. Quite the opposite—he commented: “Yes, it takes a long time for happiness to break through either to the individual or nations. It will take just as long as people themselves continue to confound it. You’ll find that nowadays they put you away for singing and dancing in the street. ‘Here now, let’s have none of that happiness, my boy. You cut that out; waking up the neighbors!’ Those darn neighbors need waking up, I can tell you, constable!”