The End (1978)

Burt Reynolds’ 1978 black comedy The End is one of the more unusual entries in his filmography—a surprising mix of gallows humour, satirical absurdity, and heartfelt introspection.

While Reynolds was then at the peak of his box office popularity, known primarily for charming, mustachioed rogues in hits like Smokey and the Bandit or Deliverance, The End showcases a more off-kilter, risk-taking side of his artistry both as an actor and director.

Plot Summary

Reynolds plays Wendell Sonny Lawson, a self-absorbed real estate developer who is diagnosed with a terminal blood disease. Rather than face a slow and painful death, Sonny decides to take control of his fate and kill himself. However, his many comically failed attempts at suicide only underscore his fundamental ambivalence about death—and life.

Along the way, he ends up in a psychiatric hospital where he meets Marlon (played by Dom DeLuise), a dangerously unhinged but well-meaning fellow patient who enthusiastically offers to help Sonny achieve his goal. Their escalating, often slapstick misadventures blur the line between tragedy and farce as Sonny lurches from botched suicides to surreal encounters with friends, family, and medical professionals.

Themes and Tone

What sets The End apart from most comedies of its era is its unapologetically dark subject matter. Suicide, terminal illness, and existential despair are not typical comic fodder—especially in mainstream late-1970s cinema—but Reynolds treats them with a disarming blend of irreverence and genuine pathos.

The tone wavers between screwball and serious, which can be jarring. Some scenes lean heavily into Looney Tunes-style chaos (especially those featuring DeLuise’s manic energy), while others quietly ponder life’s meaning. This tonal inconsistency is both a strength and a weakness: it gives the film its daring, unpredictable spirit, but it also results in uneven pacing and confused emotional messaging.

Performances

Burt Reynolds delivers a sincere, layered performance as Sonny—less cocky than usual, more vulnerable, and surprisingly restrained in moments of emotional collapse. He captures the fear, confusion, and deep-seated loneliness of a man reckoning with his mortality, while still maintaining the sardonic wit audiences expect from him.

Dom DeLuise, a frequent Reynolds collaborator, is the film’s comedic engine. His portrayal of Marlon is delightfully unhinged—equal parts terrifying and endearing. Their chemistry together adds levity to even the bleakest scenes, though DeLuise’s antics sometimes border on cartoonish in a film trying to navigate serious themes.

Supporting players include Sally Field (uncredited), Joanne Woodward, Myrna Loy, Carl Reiner, and Norman Fell, all offering solid work in roles that mostly serve to reinforce Sonny’s alienation from the world.

Direction and Style

Reynolds directs with confidence and clarity, showing a willingness to experiment visually and tonally. While The End isn’t overly stylish, it’s competent and clever, especially in its use of comic timing and pacing. There are moments of surprising beauty—particularly the final scenes at the ocean, where comedy gives way to a haunting sense of quiet resignation.

Legacy and Impact

The End wasn’t a major box office hit, and its critical reception at the time was mixed—many were unsure how to categorize or interpret its unusual tonal balance. But over the years, the film has developed a modest cult following for its audacity and emotional honesty.

In retrospect, it stands as one of Reynolds’ most personal and unconventional works—a forerunner of later black comedies like Heathers, Death to Smoochy, or even The Banshees of Inisherin, where humour serves as a vehicle for existential exploration.

Conclusion

The End is an odd, bold, and frequently funny film that tackles taboo topics with irreverence and surprising heart. Though uneven and occasionally too zany for its own good, it earns points for its originality and for showcasing a more vulnerable, daring side of Burt Reynolds. For fans of dark comedy and '70s cinema that refuses to play it safe, The End is a flawed but fascinating gem.

Rating:

A strange but affecting meditation on life, death, and the absurdity in between.