LOVERS AND OTHER STRANGERS (1970)

Title: LOVERS AND OTHER STRANGERS

Year of Release: 1970

Director: Cy Howard

Genre: Comedy

Synopsis: Mike and Susan are preparing for their upcoming marriage, but their family and friends have their own marital, and other issues with which to deal.

Within a film history context: There have been a great variety of movies over the years with an Italian-American male central character. One of the first was Reginald Barker's silent THE ITALIAN (1915). An Italian man seeks to build a new life in America, awaiting the arrival of his love from Italy. Their life together in the United States, though, is filled with heartache and pain, in this affecting early movie. Into the sound era, THE GUILTY GENERATION (1931), directed by Rowland Lee, had two Italian-American gangsters battling it out for supremacy, but their feud takes a surprising turn when their son and daughter, respectively, fall in love. One of the most famous movies about an Italian-American was Howard Hawks' SCARFACE (1932). The life and times of a violent, and unrepentant gangster was the focus here, with Paul Muni in a top role as the complex Tony Camonte. 

Decidedly different in tone was HUDDLE (1932), directed by Sam Wood. A young Italian-American man working in a steel mill yearns for a better life, winning a scholarship to Yale, but his family background may work against him in this romance. Charles Reisner's THE WINNING TICKET (1935), was a comedy about an Italian-American barber who purchases a lottery ticket, which turns out to be the winning one, but the subsequent loss of the ticket causes nothing but mayhem in this light film. MAN OF THE PEOPLE (1937), directed by Edwin Marin, featured an Italian-American attorney in a difficult predicament - he tries to be of assistance to those who need it, but mobsters are the ones who can make it happen for him. Bernard Vorhaus' FISHERMAN'S WHARF (1939), followed an Italian-American fisherman, and his personal troubles, particularly those incited by others. 

With THEY KNEW WHAT THEY WANTED (1940), directed by Garson Kanin, an Italian-American vintner sets in motion a twisted chain of events in his pursuit of a young woman via a letter, which conceals his true identity. In contrast, Robert Siodmak's CRY OF THE CITY (1948), was of a power struggle between a policeman, and his opponent, an unsparing criminal, two Italian-Americans who were former friends, over the latter's unseemly activities. In a similar yet different vein was KNOCK ON ANY DOOR (1949), directed by Nicholas Ray. A lawyer defends a young Italian-American man of murder by painting a picture of a disadvantaged youth drawn into crime, but the effectiveness of this is at the core of this picture. Joseph Mankiewicz's HOUSE OF STRANGERS (1949), revolved around an Italian-American man whose three brothers allow him to go to prison, and his retaliation when he leaves jail.  

Crime again made its mark in BLACK HAND (1950), directed by Richard Thorpe. A man whose father was killed by the Mafia years ago comes to avenge his death in New York City. Fritz Lang's CLASH BY NIGHT (1952), had an Italian-American fisherman becoming involved with a mysterious woman, who may have designs on another man, being his friend. FROM HERE TO ETERNITY (1953), directed by Fred Zinnemann, was a World War II drama with an Italian-American supporting character, Maggio, played to perfection by Frank Sinatra in this pungent, highly popular movie. Another serious movie with an Italian-American character was Delbert Mann's MARTY (1955). The touching story of a butcher, and a teacher was a triumph for its lead, played by Ernest Borgnine, winning Oscars not only for Mr Borgnine but also for Best Picture, Director, and Screenplay. SOMEBODY UP THERE LIKES ME (1956), directed by Robert Wise, was the biopic of Italian-American boxer Rocky Graziano, charting his early life, to his prizefighting as an adult. Elia Kazan's racy BABY DOLL (1956), was the story of a young Mississippi woman who wraps men around her little finger with utter ease. The main one in this position was her husband, the other, an Italian-American cotton farmer, to whom she takes a shining in this controversial film. 

THE MIDNIGHT STORY (1957), directed by Joseph Pevney, featured an Italian-American policeman whose father figure, and friend, a priest, is killed, and sets out to discover who committed this crime. Phil Karlson's THE BROTHERS RICO (1957), followed an Italian-American man who thought that he was done with the Mafia, but whose brothers force him into involvement again with the mob. WILD IS THE WIND (1957), directed by George Cukor, was a move away from crime themes into character-driven territory. An Italian-American farmer brings a woman from Italy, the sister of his late spouse, to be his second wife, but his treatment leads her to fall for her new husband's ranch hand. Crime once again made its presence felt in Richard Wilson's AL CAPONE (1959). The life of the infamous criminal was dissected here, with Rod Steiger in the lead role. INSIDE THE MAFIA (1959), directed by Edward L. Cahn, was yet another crime saga with an Italian-American protagonist. This time, a crime kingpin back in America pulls strings to dispatch his opposition, subsequently ingratiating himself into other situations. 

Real-life crime incidents were depicted in Richard Wilson's PAY OR DIE! (1960). The life of Italian-American New York City policeman Joe Petrosino's life was the focus, particularly his efforts to quash organized crime at the turn of the 1900s. A softer approach was evident in LOVE WITH THE PROPER STRANGER (1963), directed by Robert Mulligan. An Italian-American musician has a one-night stand with an Italian-American department store assistant, their difficulties heightened when she falls pregnant, and their dilemma as to what they will do with the baby. A crime angle again infused Gordon Douglas' TONY ROME (1967). In this instance, an Italian-American private detective is assigned by a man to locate jewels stolen from his young daughter, with many twists and turns along the way. WHO'S THAT KNOCKING AT MY DOOR (1967), directed by Martin Scorsese, revolved around a young Italian-American man, and his relationship with a young woman, which is affected by events from her past that haunt him. LOVERS AND OTHER STRANGERS took a dissimilar approach to its depiction of an Italian-American man.

Many of the movies in this category were of Italian-American men linked to organized crime, or other illicit activity. LOVERS AND OTHER STRANGERS diverted from this model, firstly, with its comic orientation, and secondly, a more family-centric story structure. HOUSE OF STRANGERS and THE BROTHERS RICO were the two films which explored a family dynamic more so than others, but these were of a dramatic nature. The conflict between brothers in these was presented strongly, but in LOVERS AND OTHER STRANGERS, the brothers are decidedly friendlier in their dealings. This is in keeping with the picture's breezy, upbeat tone. This is not to say, though, that Mike's family are any less defined than the previous two examples. LOVERS AND OTHER STRANGERS is at pains to show the Italian-American Vecchio family in detail, also including Mike's parents and brother. This provides different perspectives from each family member which greatly adds richness to the film. Other facets of the movie are worth considering. 

While Mike in LOVERS AND OTHER STRANGERS is a main character, and his marriage preparations are juxtaposed to the situations of his family, and other guests, he does take a backseat somewhat to the associated narrative activity. This is as LOVERS AND OTHER STRANGERS follows a multi-character arrangement, whereby the lives of almost a dozen people aside from Mike and fiancée Susan are compared, and contrasted with the couple. The Vecchio family is shown alongside Susan's family, the Hendersons, who have a world of their own, with some marital tensions thrown in. Mike and Susan could be posited as being the most 'normal' of their family and friends as all they wish to be is together, without any complications, which do hinder some of the other couples in the movie. Mike's status as an Italian-American man, also, is not made an issue in the film. It as such downplays the race angle, with him thereby accepted by an American family for their daughter. There is not the attribution of Mike being a criminal, a hood, or a boxer in the picture, and this allows for another vision of Italian-American manhood away from stereotypical perspectives from other examples. A refreshing view of an Italian-American male character, LOVERS AND OTHER STRANGERS offers a stimulating change of pace in this respect.

Overview: Cy Howard was an American director with only two directorial efforts to his credit, being much more active on television as a writer, and producer on prime-time series, and telemovies. His final film, EVERY LITTLE CROOK AND NANNY (1972), was a comedy of errors about an Italian- American New York gangster who forces a teacher to vacate from a building he has just acquired, despite her having a long lease there. What eventuates is a twisted chain of events whereby the teacher seeks revenge by acting as a nanny, which leads to many other comic consequences for both herself, the gangster, and others. LOVERS AND OTHER STRANGERS was Cy Howard's first movie, and his finest achievement as a director.

Cy Howard has crafted a highly entertaining, engaging motion picture with LOVERS AND OTHER STRANGERS. Taking as its focus a young, engaged couple slated to be married, and surrounding this story arc with the accompanying personal events of their family and friends, it is a smoothly-rendered, astute piece of filmmaking. Mr Howard has succeeded in making his characters real and relatable, without ever slipping into caricature. The screenplay examines the minutiae of human relationships, and clearly explains to the audience exactly where the characters are coming from. The viewer becomes intimately acquainted with what is occurring onscreen, and the movie is akin to watching the lives of real people unravel. Although LOVERS AND OTHER STRANGERS is an intensive work, and attempts to cover all the bases, there are some sections which are lacking when considering the picture as a whole. 

Giving airtime to all the many relationships in the film is a good quality of LOVERS AND OTHER STRANGERS, but this does leave one of these segments less coverage than it should have received. One would expect to witness more of Mike and Susan's appealing union, but this does not happen. They appear fitfully, and while their scenes are all of a high standard, it leaves one yearning to see more of them. Mike's standoffish behaviour, and Susan's quiet spitfire nature are not utilized sufficiently. Another deficiency is the treatment of Bernice, Hal's wife. Having the spirited Bernice only function as a comic prelude to scenes of husband Hal with Kathy is disappointing. There was something special in the character of Bernice, and not finding out more about her was one of the biggest drawbacks in the movie. Aside from these flaws, and putting these to one side, some things can be said about LOVERS AND OTHER STRANGERS. It is an agreeable picture which deserves its status as one of the premier comedies of the 1970s, and Cy Howard's best movie. 

Acting: It is undeniable that LOVERS AND OTHER STRANGERS contains many distinctive performances which ensure it remains delightful throughout its running time. As Mike, a young man slated for marriage, but uncertain if it is really for him, Michael Brandon is in one of his best early performances. A player who gets to the heart of his characters in a straightforward manner, never seeming actorish, he adds punch whenever he is onscreen. Mike's fiancée Susan is given equally formidable treatment by Bonnie Bedelia. With her intuitive edge, and charming manner of speaking, Miss Bedelia matches well with Michael Brandon as the more emotionally secure half of this couple. Bea, Mike's vocal mother, is made memorable by Bea Arthur. With her dominant voice and no-nonsense way of doing things, Miss Arthur provides some of the most touching, funny scenes in the movie. Bea Arthur is more than matched every step of the way by Richard Castellano as Frank, her impassive husband. Seeing beyond Frank's hangdog expressions and sullen behaviour, Mr Castellano makes Frank an identifiable husband, and father figure in the film, with a surprising vulnerability displayed at the end of the picture. Susan's mother Bernice is played with sweetness and light, but intelligence, by Cloris Leachman. While Miss Leachman has not been employed to full capacity here, nevertheless, her glowing presence is still welcome. Five other actors give excellent accounts of themselves in LOVERS AND OTHER STRANGERS.

The pained but sympathetic Kathy is played with utter assurance by Anne Jackson. With the ability to make her character, who appears comic on the surface, and to infuse her with a pathos which gives this other woman sheer substance, is a resounding testament to this talented actress. At the other end of the emotional spectrum, the sharp-tongued Wilma tosses her barbs with panache courtesy of Anne Meara. Miss Meara is fun either sparring with husband Johnny, grumbling about her mother-in-law, and generally adding spice wherever she is present. Wilma's macho husband Johnny is another unique acting contribution, with Harry Guardino in full force with Anne Meara, as Johnny and Wilma duke it out in this battle of the wills, and sexes. Susan's bookish cousin Brenda comes alive in the person of Marian Hailey. With her insistent tone of voice, and references to books, Brenda is another lively figure in this gallery of characters. The final acting of note is by Diane Keaton as Joan, daughter-in-law of Bea and Frank. Appearing in the final section of the movie, Miss Keaton bestows another perspective on marriage in LOVERS AND OTHER STRANGERS, which allows it to come full circle with her congenial, but astute, portrayal of a woman in a marital crisis.

Soundtrack: LOVERS AND OTHER STRANGERS has an effective soundtrack which covers all the bases in terms of the movie's intentions. The opening credits sequence has a rendition of 'Comin' Thru To Me' by Country Coalition between scenes which contain witty dialogue and action, punctuating this well. 'For All We Know', performed by Larry Meredith, is featured in the scenes leading to Mike and Susan's wedding, and also, in a different version during the closing credits. It is more reflective in tone than the previous tune, deftly emphasizing the delicacy of the relationships in the movie. This is presumably to highlight the poignancy of the main relationships in the film, but it is replaced by the livelier 'Comin' Thru To Me' once more at the conclusion of Mike and Susan's scene in their apartment.

Mise-en-scene: LOVERS AND OTHER STRANGERS creates a believable world which the characters inhabit in the picture. Cinematography by Andrew Laszlo is beautiful, the Metrocolor film stock making everything appear natural, both indoor, and outdoor sequences. Alan Hicks' set decoration is also excellent, drawing nice contrasts between Mike and Susan's apartment, the comfortable, homey Vecchio family home, and the more elaborate Henderson residence. There is the subtle reference to socioeconomic status with this, but this is not something aggressively pursued by the movie. Costuming is also another great asset to the movie, with Albert Wolsky's creations, particularly for the actresses during the wedding and reception segments, elegant, and appropriate to each character. The opening sequence is also striking, with a conversation between Mike and Susan intercut with cast and crew credits, and Wayne Fitzgerald's two colour film title nicely set against a black background.

Notable Acting Performances: Michael Brandon, Bonnie Bedelia, Bea Arthur, Richard Castellano, Cloris Leachman, Anne Jackson, Anne Meara, Harry Guardino, Marian Hailey, Diane Keaton.

Suitability for young viewers: No. Adult themes.

Overall Grade: B

Link: IMDB Page

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

Trailer