 Released in 1971 to critical acclaim and public controversy, The Last Picture Show garnered eight Academy Award nominations and was hailed as the most important work by a young American director since Citizen Kane. A surprisingly frank, bittersweet drama of social and sexual mores in small-town Texas, the film features a talent-laden cast led by Jeff Bridges (The Mirror Has Two Faces), Cybill Sheperd (TV's "Cybill") and Timothy Bottoms (The Man in the Iron Mask). Cloris Leachman (TV's "The Mary Tyler Moore Show") and Ben Johnson (Rio Grande each won Oscars for their work in supporting roles. Available for the first time on DVD, this modern classic is a must-have for every movie lover. Storyline: In tiny Anarene, Texas, in the lull between World War Two and the Korean Conflict, Sonny and Duane are best friends. Enduring that awkward period of life between boyhood and manhood, the two pass their time the best way they know how -- with the movie house, football, and girls. Jacey is Duane's steady, wanted by every boy in school, and she knows it. Her daddy is rich and her mom is good looking and loose. It's the general consensus that whoever wins Jacey's heart will be set for life. But Anarene is dying a quiet death as folks head for the big cities to make their livings and raise their kids. The boys are torn between a future somewhere out there beyond the borders of town or making do with their inheritance of a run-down pool hall and a decrepit movie house -- the legacy of their friend and mentor, Sam the Lion. As high school graduation approaches, they learn some difficult lessons about love, loneliness, and jealousy. Then folks stop attending the second-run features at the ... Written by Mark Fleetwood Cast Notes: Timothy Bottoms (Sonny Crawford), Jeff Bridges (Duane Jackson), Cybill Shepherd (Jacy Farrow), Ben Johnson (Sam the Lion), Cloris Leachman (Ruth Popper), Ellen Burstyn (Lois Farrow), Eileen Brennan (Genevieve), Clu Gulager (Abilene), Sam Bottoms (Billy), Sharon Ullrick (Charlene Duggs [as Sharon Taggart]), Randy Quaid (Lester Marlow), Joe Heathcock (The Sheriff), Bill Thurman (Coach Popper), Barc Doyle (Joe Bob Blanton), Jessie Lee Fulton (Miss Mosey). User Comment: Jacob Rosen (bix171@comcast.net) from Buffalo Grove IL, 23 April 2002 • Peter Bogdonovich's great love of film, combined with Larry McMurtry's superior storytelling (he wrote the novel and both collaborated on the script), is in glorious evidence in this elegiac study of life in a small Texas town in the early Fifties. Bogdonovich pays a heartfelt tribute to the America of John Ford and Howard Hawks but the subject matter is contemporary, anguished, appropriate for the time in which it was made. Filmed by the great Robert Surtees in a flat black and white that perfectly evokes the bleakness of rural Texas life and peppered with a fine soundtrack of the popular country hits of the time, Bogdonovich creates a mise en scene understated and keenly observant of the details. It's also filled with McMurtry's trademark mix of humor and pathos. The cast (including Jeff Bridges, Timothy Bottoms, Cybill Shepherd, Ellen Burstyn and Cloris Leachman) is letter-perfect but it's Ben Johnson as Sam the Lion who gives the film its center: in an overwhelming (yet masterfully restrained) performance, Johnson unforgettably absorbs the town's despair, loneliness and regret; his short monologue about lost love is delivered with such deceptive simplicity that its power sneaks up on you unawares. One of the great performances and one of the groundbreaking films of the Seventies. Summary: Sublime. User Comment: jiminyglick from santa monica, ca, 10 January 2005 • Perhaps the greatest tragedy to befall any artist is to have their life become more compelling than their work; such is the sad case with Peter Bogdanovich whose meteoric rise to fame was matched only by a truly famous fall from favor and a bewildering journey through tabloid hell. (Charles Shyer and Nancy Meyers mined the not inconsiderable drama of the first act of his life to sporadically great comic effect in 1984's Irreconcilable Differences. And his tragic love affair with Playboy model turned actress Dorothy Stratten is fictionalized in Bob Fosse's astonishing, horrifying Star 80 (1983). How many directors become characters in films?) Bogdanovich's love affair with film is undeniable, though it has, in the past three decades, yielded far more perplexing misfires (The Cat's Meow, At Long Last Love, Nickelodeon) than unqualified successes. That said, The Last Picture Show is an extraordinary accomplishment and worthy of its place in the list of great films of the 1970s. 1971's other important films (Friedkin's The French Connection, Pakula's Klute, Kubrick's Clockwork Orange) are loud, angry, violent and contemporary – in-your-face reflections of a society in which rage and nihilism, engendered by Vietnam and the growing discontent over government corruption, is the currency of communication. The uncertainty coursing through the veins of American pop culture also begat in equal, if not equally graphic, measure a palpable sense of sorrow at the destruction of a simpler way of life (no matter how "true" that memory may be). Like Jewison's Fiddler on the Roof and Altman's McCabe & Mrs. Miller, The Last Picture Show is a powerful and poignant evocation of the death of a community and a way of life. Thematically rich and imbued with Bogdanovich's remarkable knowledge and passion for film, the movie works on a dazzling number of levels; and Bogdanovich's use of nostalgia and traditional, archetypal genre conventions both enriches the movie and compounds the heartbreaking loss at the heart of the story. His deft handling of a cast comprised of then (largely) unknowns (Bridges, Bottoms, Shepherd) is first-rate and he draws forth superb, often sublime performances from everyone (in particular, Johnson, Burstyn and Leachman). There isn't a false note or a misstep in the movie and there is a naturalness here that is not easily achieved or earned. The great production design (by Bogdanovich's then wife and partner Polly Platt whose contributions to his work and her subsequent involvement in the best works of James L. Brooks should not go underestimated) and the achingly beautiful cinematography by the late Robert Surtees are vital to the success (emotionally, intellectually, thematically) of the film. The Last Picture Show is a truly rare work of surprising depth and emotional resonance; and the heartache for a time and place forever gone and the desperate and quiet struggles of its very real, very human denizens is matched only by the sorrow found in contemplation of Bogdanovich's Icarus-like fall from such exalted heights. Summary: ... worthy of its place in the list of great films of the 1970s. IMDb Rating (02/11/17): 8.1/10 from 32,631 users
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