THE LAST PICTURE SHOW (1971)

Title: THE LAST PICTURE SHOW

Year of Release: 1971

Director: Peter Bogdanovich

Genre: Drama

Synopsis: Life in the small Texas town of Anarene over the course of 1951-1952, culminating in the closure of the town's only cinema.

Within a film history context: Portraits of Americana, generally set in small towns, have been a staple of cinema for years since the silent era. In many instances these were nostalgic recollections of American life, but sometimes with more caustic narratives. One of the first major films in this vein was Henry King's TOL'ABLE DAVID (1921). The story of a young man from a farming family seeking to be taken seriously as an adult, and life's events assisting him to achieve his wish, was a showcase for silent screen star Richard Barthelmess, and a popular film of its time. It was later remade as a sound movie in 1930 with Richard Cromwell in the lead role of David Kinemon. Another important film was ALICE ADAMS (1923), directed by Rowland Lee, and starring Florence Vidor as the eponymous protagonist. The story of an ambitious young woman wanting to change her financial status, but coming against hurdles, it was later remade in a better known version with Katharine Hepburn in 1935. Another notable film was Irving Cummings' THE JOHNSTOWN FLOOD (1926). A drama concerned with a love triangle, and the imminent consequences of a flood on a town, it starred action player George O'Brien as the male lead, with Janet Gaynor as one of his romantic interests. The 1930s featured many interesting films on the Americana theme for audiences.

POLITICS (1931), directed by Charles Reisner, was a vehicle for Marie Dressler, where a woman, upset with the political corruption in her small town, decides to become a mayoral candidate. Supported by Polly Moran, Karen Morley, and many others, it was an entertaining movie showcase for the actress. Stephen Roberts' ONE SUNDAY AFTERNOON (1933) was more in a romantic style. A dentist looks back on his life, particularly his lost love, who married his best friend. With a trio of attractive players, Gary Cooper as the dentist, Fay Wray as the object of his desire, and Neil Hamilton as the best friend, it was a sentimental journey for the characters. OUR DAILY BREAD (1934), directed by King Vidor, was a drama about unemployed workers who seek work, making a farm successful after a severe drought. One of the liveliest of Americana films was Richard Boleslawski's THEODORA GOES WILD (1936). Starring Irene Dunne as Theodora, it marked a turning point for Miss Dunne in her portrayals. Usually dignified in action and speech, the film allowed Miss Dunne to act opposite to her usual behaviour, with some wacky antics effortlessly combined with more somber interludes. Several other films were notable in the 1930s for employing the Americana theme.

OF HUMAN HEARTS (1938), directed by Clarence Brown, was a drama that contrasted a father and son's lives. The father was a reverend, and the son studying to be a doctor, with Walter Huston, and James Stewart, respectively, in the lead roles. Norman Taurog's THE ADVENTURES OF TOM SAWYER (1938) was an adaptation of the classic story with Tommy Kelly in the lead role of the adventurous young boy, with support from May Robson as Aunt Polly, and Walter Brennan as Muff Potter. In a similar classical vein was YOUNG MR. LINCOLN (1939), directed by John Ford. The story of a young Abraham Lincoln gearing up for one of his best cases, it starred Henry Fonda in one of his most memorable roles. The 1940s had equally interesting meditations on the Americana theme.

Religion received a workout in ONE FOOT IN HEAVEN (1941), directed by Irving Rapper. The biography of Methodist minister William Spence was given a suitably sympathetic treatment by the director, with Fredric March in the lead, and Martha Scott as his wife Hope. Entirely different in tone was Michael Curtiz's YANKEE DOODLE DANDY (1942). The life of composer and actor, among many talents, of George M. Cohan, was vividly brought to life with the inimitable James Cagney lighting up the screen as Mr Cohan, and earned James Cagney a much-deserved Oscar for best lead actor. Darker in its execution was SHADOW OF A DOUBT (1943), directed by Alfred Hitchcock. Presenting the underside of the Americana theme, it followed a young girl who begins to suspect that her uncle is a psychopathic murderer. A tense film with excellent performances by Teresa Wright as the girl, and Joseph Cotten as her uncle, it was another great film from the director. Irving Rapper's THE ADVENTURES OF MARK TWAIN (1944) was a look into the life of the renowned American novelist, with Fredric March in the titular role. Fondly remembered by both critics and audiences was MEET ME IN ST. LOUIS (1945), directed by Vincente Minnelli. The story of a family at the beginning of the century, its warmth and dignity made it a favourite, and with an excellent cast headlined by Judy Garland, with Margaret O'Brien and Mary Astor in support, fine family fare. Several other films made in the 1940s also explored the Americana theme in an irresistible manner.

Otto Preminger's CENTENNIAL SUMMER (1946) was similar to MEET ME IN ST. LOUIS but in this instance, set in 1870s Philadelphia. It centered around a couple and their family, with the Centennial exposition a key backdrop to the many comic, and romantic incidents. As with MEET ME IN ST. LOUIS, it also gave Dorothy Gish, Constance Bennett, Linda Darnell, Jeanne Crain, and Cornel Wilde plenty of glowing moments. TILL THE END OF TIME (1946), directed by Edward Dmytryk, was a contemporary drama of World War II marines adjusting to civilian life, presented with candor for the time. A finely rendered, sensitive drama with Robert Mitchum and Guy Madison as the brawny former marines, and Dorothy McGuire and Jean Porter as their love interests. Henry King's MARGIE (1946) was a romance about a young woman who falls for her good-looking professor in the 1920s. With Jeanne Crain in the eponymous role, and Glenn Langan as her amour, it was another pleasant trip into nostalgia. One of the most cherished movies about returning soldiers was THE BEST YEARS OF OUR LIVES (1946), directed by William Wyler. An intensive study of the soldiers and their families, and the affect of serving in the armed forces had on them, it had a wonderful cast consisting of Myrna Loy, Fredric March, Dana Andrews, Teresa Wright, and many others. A film that deserved its high box office returns, it was a singular viewing experience, and still carries weight more than seventy years after its first release. With the advent of television films about Americana were not as easily in evidence as they were in the 1930s and 1940s, but there were still quite a few memorable films made after the 1950s.

Abby Berlin and Norman Foster's FATHER IS A BACHELOR (1950), set in the late 1800s, mined comedy and romance territory with success. A young man arrives in a small town to discover five siblings in a cabin, and acts as their uncle in order for them to avoid being separated. He becomes friendly with the local school teacher, but to keep the children, there is a catch; he has to marry. In a much more dramatic vein was I WANT YOU (1951), directed by Mark Robson. An examination of the effect of military conscription on a town's characters, specifically regarding the Korean War, it was another taut film for Mr Robson, with an illustrious cast including Dana Andrews, Dorothy McGuire, Farley Granger, and Mildred Dunnock. Vincente Minnelli's THE LONG, LONG TRAILER (1954) was completely opposite in nature, a comedy about an engaged couple who have a difference of opinion - he wants to buy a house, while she wants a house, on wheels. This was a sprightly film for real life couple Lucille Ball and Dezi Arnaz, with scenic photography and many humorous moments. Rousing was the word for OKLAHOMA! (1956), directed by Fred Zinnemann. Based upon the Rodgers and Hammerstein stage musical, it was a joyous ride filled with action, colour, comedy and music, and the easy-going pairing of Shirley Jones and Gordon MacRae. As the years progressed several more movies employed the Americana theme in diverse ways.

George Stevens' GIANT (1956), based upon Edna Ferber's novel, was a film about a Texas cattle rancher, his wife, and, especially, the iconoclastic handyman, played with passion by James Dean. A great box office success filmed in beautiful colour, it earned Mr Stevens an Oscar for best direction, and plaudits for its many fine performances. At the end of the 1950s SOME CAME RUNNING (1958), directed by Vincente Minnelli, arrived on screens. A drama about a war veteran returning to his home town, and finding much action and intrigue with the locals, gave Frank Sinatra a meaty role, with Dean Martin and Shirley McLaine also coming off well. Into the 1960s came David Swift's POLLYANNA (1960). The tale of a young girl in a 1910s small town, it was previously filmed with Mary Pickford in the lead role in 1920, but this time around with Hayley Mills as the orphan Pollyanna. 1963 brought forth one of the best films with an Americana theme, HUD, directed by the reliable Martin Ritt. The adaptation of Larry McMurty's novel was an excellent showcase for actors Paul Newman, Melvyn Douglas, Patricia Neal, and Brandon de Wilde, in this strong tale of a Texas cattle rancher and his ne-er-do-well son, and their simmering conflict. THE LAST PICTURE SHOW was in keeping with multi-character narratives such as THE BEST YEARS OF OUR LIVES, where the audience can relate to a large number of characters, offering different viewpoints, but also, shared similarities to Americana films with smaller casts, such as HUD.

THE LAST PICTURE SHOW is an excellent example of a film with a large cast, and where all the characters receive equal treatment within the course of the movie. Even though some of the characters do not share as much screen time as others, a prime example being Genevieve, the film is made in such a manner that the viewer never feels cheated that one character appears more than another. The use of dialogue, settings, and body language make the characters' purposes clear and transparent, no matter how brief their time is on screen. This is one of many assets that the film possesses, being how to make the most of very little time in some cases to make the maximum impact. THE BEST YEARS OF OUR LIVES is most akin to THE LAST PICTURE SHOW in this respect, fluidly moving from one character, and one situation to the next with ease. THE LAST PICTURE SHOW is also similar to HUD in several ways. While both films have been adapted from novels written by Larry McMurtry, they share the same lusty good humour, and in-depth attention to details and characters that make them thoroughly three-dimensional figures. THE LAST PICTURE SHOW is also interesting for various other reasons.

The sexual content is another factor that distinguishes THE LAST PICTURE SHOW from its counterparts in the Americana category. The majority of the films before 1960 contained subtle sexual content, more in terms of implying sexuality instead of presenting it head on. There was a more romantic and family oriented slant at play in this era, but THEODORA GOES WILD was the one film that cleverly played with issues of morality, promiscuity, and women's personal rights in both a humorous, and thought-provoking manner. Ten years later, TILL THE END OF TIME had its male actors, particularly Guy Madison, in a state of undress, with a burgeoning sexuality apparent. With THE LAST PICTURE SHOW the seal had been pulled off the wrapper, with a level of sex and nudity not seen in any of the earlier films. Where the film does hark back to the more straight-laced narratives is that none of the illicit or adulterous liaisons lead to anything except despair and unhappiness. This is one of the features that gives the movie a memorable, somber, and realistic tone. Even though the film is secular in its presentation, with hardly no mention of religion in the diegetic world, there is an unspoken nod to morality in light of the characters' hedonistic excesses in many instances, and the consequences of their actions.

The evocation of small town life is something else that THE LAST PICTURE SHOW does differently than the other films Americana films. Where movies such as THEODORA GOES WILD, with its pleasant landscapes and interiors, and others such as MEET ME IN ST. LOUIS and CENTENNIAL SUMMER, had lavish and comfortable family homes, with overt and gossipy characters in the mix, THE LAST PICTURE SHOW works on a more subtle level with its mise-en-scene. The dusty, windy landscapes can be seen as a metaphor for the characters' restless natures, thereby reflecting their bleak and rootless state of mind. In addition, there are no characters prone to conjecture who analyse their fellow residents' lives; this type of information is instead conveyed from one character to another in a more naturalistic way. THE LAST PICTURE SHOW is lacking in stereotypical characters who act a certain predictable way, thereby setting it apart from other Americana movies. These are just some of the reasons why THE LAST PICTURE SHOW is one of the most insightful motion pictures ever made, and an excellent example of film Americana.

Overview: Peter Bogdanovich is a director with seventeen movies to his credit, making his debut in 1968, with a film currently in pre-production. His motion pictures cover a wide range of territory, from nostalgic recollections of Americana, many times with filmic themes, dramas, comedies, romantic comedies, to more escapist fare. His first film, TARGETS (1968) was a drama about a horror movie actor at a drive-in cinema making contact with a psychotic Vietnam veteran on a killing spree. It was an auspicious first film for Mr Bogdanovich, with moments of sheer terror and violence blended with suspense. Next came the science fiction VOYAGE TO THE PLANET OF PREHISTORIC WOMEN (1968) which was largely devoted to female objectification. The 1970s was a decade of artistic expansion for Mr Bogdanovich, with many memorable films directed by him in this era.

WHAT'S UP DOC? (1972) was a high grossing comedy about a farcical situation; four overnight bags cause havoc when they are mixed up, leading to many wacky set pieces. Notable for the teaming of Ryan O'Neal and Barbra Streisand, and as a homage to the comedies of the 1930s, it was very popular with audiences. PAPER MOON (1973) was another film that made money, this time, charting the relationship between a man and a young girl during the Depression. Notable as the first time Mr Bogdanovich directed real-life father and daughter Ryan O'Neal and Tatum O'Neal, it was a pleasant production with nice period touches. The director's 1970s movies after PAPER MOON were less successful at the box office, but still interesting films.

DAISY MILLER (1974) was a period drama about the eponymous title character who charms and mystifies her admirer Frederick Winterbourne. Another of Mr Bogdanovich's pieces set in another age, it starred Cybill Shepherd in the lead role, with Cloris Leachman, Eileen Brennan, and Mildred Natwick in support. A different take on the 1930s musicals, and lushly produced, AT LONG LAST LOVE (1975) was, unfortunately, a critically derided film that again featured Cybill Shepherd, with Burt Reynolds and Madeline Kahn. NICKELODOEN (1976) marked one of the last of Mr Bogdanovich's films with a period background, this time a story of two men, Ryan O'Neal and Burt Reynolds, who become involved in the silent film business. The director's final film of the 1970s, SAINT JACK (1979) was a drama about a shady man who seeks to establish a bordello, with the Vietnam War offering an opportunity to do this. One of Mr Bogdanovich's more adult films in orientation, it neverthless lost money at the box office. The 1980s and beyond allowed the director to exercise his creative muscles in varied productions.

THEY ALL LAUGHED (1981) was a change of pace for Mr Bogdanovich, a comedy about intrigue surrounding a team of private investigators. MASK (1985) was a financially successful drama about a young man with a facial deformity, and his determined mother who does her best to make a life for him. Starring Cher as the mother, and Eric Stoltz as her son, it struck a chord with audiences, and was a fine return to form for the director. ILLEGALLY YOURS (1988) was a comedy about a young man summoned for jury service, but trying his very best to prove his true love innocent, and becoming involved in a complicated chain of events. TEXASVILLE (1990) was the sequel to THE LAST PICTURE SHOW, reuniting many of the characters from the first film, and introducing new ones to the audience. 

Next came NOISES OFF (1992) a comedy about a theatrical group and their zany, haphazard antics. Featuring an illustrious cast including Carol Burnett, Michael Caine and many others, it was a return to comedy for the director. Comedy, though in a less overt form, came in THE THING CALLED LOVE (1993). With a young cast including River Phoenix, Samantha Mathis, Dermot Mulroney and Sandra Bullock, it was an entertaining story about the lives and loves of several aspirants to the country music scene. THE CAT'S MEOW (2001) was a return to period pieces, this time charting the mysterious death of producer Thomas Ince aboard William Randolph Hearst's yacht in 1924. Mr Bogdanovich's final film to date is 2011's SHE'S FUNNY THAT WAY, a comedy about the goings-on surrounding a playwright, his wife, and several others that develops into a love triangle of sorts. His third motion picture, THE LAST PICTURE SHOW, is widely regarded as Peter Bogdanovich's best film, and rightfully so.

The adaptation of Larry McMurtry's novel has been given a vigorous, polished treatment by Mr Bogdanovich, retaining the best qualities of the book, and emphasizing these to great effect in the film version. He has made each and every character, scene, and story element thoroughly memorable, largely doing away with character traits from the novel which would have hampered the film on screen. Examples such as making Sonny a more sympathetic, less promiscuous protagonist than the book offered, and also, giving Duane a more fully-rounded treatment, work exceedingly well in the screen version of THE LAST PICTURE SHOW. While the film has a concentration of sexual content, it is depicted in a downcast manner, differing from the novel somewhat. The novel contained aimless sexuality that did nothing for the characters concerned; the film version toned this down, giving the film both a realistic, and tragic feel in retrospect. Sex is a means to an end that only provides the characters with angst, something they are attempting to escape through it, but it reaps them no discernible benefit. Other features of THE LAST PICTURE SHOW stand out in comparison to Mr Bogdanovich's other movies.

THE LAST PICTURE SHOW also showcases the director's ease with films set in a past age, something also demonstrated in PAPER MOON, DAISY MILLER, THE CAT'S MEOW, NICKELODOEN, and AT LONG LAST LOVE. THE LAST PICTURE SHOW, though, is just so convincing visually in every way that it is easy to become caught up in it, and believe that it may have been a documentary from 1951 Texas. The sense of honesty, sympathy for its milieu and characters, just shine on the screen with such veracity that make it a convincing, emotionally rewarding viewing experience. It is akin to PAPER MOON not only because both films were shot in black and white, but the character relationships are delineated in an equally vibrant manner. The difference is that in THE LAST PICTURE SHOW this is compounded through its multi-character narrative, and one receives a larger number of fascinating viewpoints. One of the best films ever made, and a credit to the director and his team from the movie, THE LAST PICTURE SHOW is a wonderful, thoughtful cinematic experience.

Acting: THE LAST PICTURE SHOW is one movie where the performances are all excellent, befitting the film's reputation as a classic. In the lead role of Sonny Crawford, Timothy Bottoms excels as the quiet yet strong, pensive young man with more scruples than most. A character of a more cerebral nature in the movie, Mr Bottoms does a splendid job, his work giving the film a meditative tone. Jeff Bridges is equally fine as the brash Duane Jackson, Sonny's best friend and polar opposite. The film employs his unabashed charm to advantage, but adding a darker side which Mr Bridges accomplishes well, giving his Duane great depth. Cybill Shepherd is also striking as Jacy Farrow, the object and both Sonny and Duane, and others' desires. What could have been a shallow ingenue is brought to life by Miss Shepherd, giving her both a dramatic edge, but also, a comic side that provides the character with a nerviness that works. Ellen Burstyn is showcased in the film in one of her best parts as Lois Farrow, the restless mother of Jacy. It was a revealing role as Miss Burstyn showed her character as the vulnerable, wistful woman she really was, that played with the initial displays of toughness and bravado. Cloris Leachman is wonderful as Ruth Popper, a woman of many emotional layers. Ruth's climactic scene with Sonny covers a wide spectrum of feelings, from anger, sympathy, understanding, to remorse, and is her shining hour in the film. Several other performances are worthy of analysis here, as they also contribute much to the film.

Ben Johnson's Sam the Lion is another well-drawn, authentic depiction of a man who has seen a lot in his life, and will not tolerate certain things any more. Mr Johnson's Sam is alternately tough, persistent, forgiving and patient, his hard stare filled with meaning. Eileen Brennan is utterly excellent as the world-weary Genevieve, who, apart from Sam the Lion, is one of the only people in town whose head is attached properly, but with a heart of gold. Just listening to Genevieve's dialgoue is a delight, so purely realistic but also, genuinely touching. As Abilene, Clu Galager cut a figure of inviting danger in the film. As with all the performers in the movie his face many times does all the talking without an abundance of dialogue. An actor for whom this greatly applies is Sam Bottoms, as Billy, Sam's ward. Without uttering a word Mr Bottoms makes one feel for Billy, especially during the scenes after his cruel encounter with a prostitute. The final acting of note in THE LAST PICTURE SHOW was by Gary Brockette as the tempting, intriguing Bobby Sheen. Mr Brockette mainly lets his eyes, smile, and soothing voice do all the talking as the attractive Bobby, someone adept at both winning, and breaking hearts in equal measure.

Soundtrack: THE LAST PICTURE SHOW is a film which has a substantial amount of diegetic music from the 1950s which enhances the movie as a whole. It is used to comment on the action taking place in a natural way, obviating the need for background musical accompaniment. Scenes such as Sonny in the car, listening to the radio, the music in the pool hall, the soft, romantic melodies playing in Jacy's bedroom, all provide valuable information about the characters in a subtle, pleasant, easy-going manner. More ironic uses of music are especially evident at the start of the pool party sequence, the record player blaring as Jacy and Lester enter. As with other 1970s movies, there is the playing of a tune at both the beginning, and end of the film. In this case it is Hank Williams' 'Why Don't You Love Me Like You Used To Do'. While at the film's start it is part of the diegesis, playing on his car radio, at the end it is played over the final credits in a non-diegetic manner. There is a contrast inherent between its use at these parts, showing the audience what they have learned from the film, and how expectations may have changed from initial viewings of the movie, to what they gleaned from it when it ended.

Mise-en-scene: The film begins with a black screen containing a font with the film's title in white, and the final credits are of the actors with the actors followed by black screens with the names of personnel working on the movie. This spare approach works as the film both begins, and ends in a parallel fashion, without glossiness. This is indicative of the movie as a whole, with cinematographer Robert Surtees capturing the town, and its locations, without making them glamorous, but instead highlighting their stark, harsh, and sometimes unforgiving flatness.

Notable Acting Performances: Timothy Bottoms, Jeff Bridges, Cybill Shepherd, Ellen Burstyn, Cloris Leachman, Ben Johnson, Eileen Brennan, Clu Galager, Sam Bottoms, Gary Brockette.

Suitability for young viewers: No. Infrequent coarse language, male nudity, female nudity, adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

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