The last picture show was one of a kind viewing entertainment. It was raw yet sensitive. It was innocent and it was authentic. Truly a unique and memorable work of art.

Americans often have a hard time watching films based on emotion and character. The Last Picture Show is as dry as the desolate Texas town it portrays. It is a startling incursion into the depths of the psyche of small town rural America, a slowly dying entity in the emergence of shopping malls and McDonalds across the nation. Sex has been described as the thread of the film and criticized as lust, but it is reallly the symbol for the desperation of connection, from Jacy's need for staus, to Ruth's cry of lonliness, to the boys seeking of self, confidence and sense of worth. Rarely has an American film pulled back the covers on the bankruptcy of the American Dream, the ones left behind. This is what lies underneath the glamor of "SharkTank", the 30,000 desperate rejected for the 80 that make it to the show. Citizen Kane explored this as did The Godfather. This film, not an easy watch, is of that rank. It is a classic.

This film is not worth watching. It's all about sex, lust, infidelity, lust, and cruelty.

Cloris Leachman was stunning in her depiction of her character. Outstanding!

The Last Picture show is supposed to be a depressing and dramatic film, and it does that. But that doesn't make it very enjoyable to watch.

A profoundly sad experience

[Thanks for the removal of all my formatting. Appreciated] It is shamelessly undeniable for this fantastic classic: Sex is the main theme of this film. It's not a thread running through a beautiful period-piece. It is the thread. Every character is driven by it, for one purpose or another. Each person has (or reminisces about) a sexual conquest at some point in the film. It is, overall, a study of how sex is used differently by different people in different stations of their lives. Love is never the driving force to sex for the main characters. It's never intimacy. It's never the culmination a logical progression of a relationship. The closest to 'love' that is experienced by anyone we meet (except for a fine reminiscence of one of the characters who is past-his-prime) is youthful-infatuation. Just as Kubrick would eventually attempt to "elevate" the universally academically-ridiculed horror movie with The Shining, Bogdanovich, in 1971 brings an incredible artistry to characters in pursuit of exactly the same thing as will eventually be hysterically exploited in Porky's. The pursuit of sex. Sophisticate critics elevate what are, at best, minor themes, or declare as a theme microscopic aspects at worst. Anything to avoid the obvious. Reviewers overwhelmingly characterize everything as 'bleak' about the town. But 'bleak' is a subjective matter -- and owing to the characters from this very small Texas town's range of experience, they don't find it bleak, at all. Should the viewer? To them, what they have seems to be enough, such that the fortunes of the High School Football Team is the shared experience from a typical Autumn Friday night in Texas. ("Do they teach you tackling?" is expressed in no less than four separate encounters with attendees the next day). Convening in the town recreation space for dancing -- they all seem to be enjoying themselves quite a bit. They do not seem to be shaking their collective fists as the lousy hand life has dealt them. And no one runs the town down. The central character, Sonny (Timothy Bottoms) is destined to merely 'be there'. All his friends, family and relationships (except with Ben Johnson -- we'll get to him) buzz around, scheming, planning, searching, while he takes any measure of good occurrences and bad without getting terribly high or low. Unless it is truly fortunate or tragic. For most of the people in his orbit, everything is either euphoric or catastrophic. He maintains an even, but not the least bit uninteresting keel. He naturally has his enthusiasms and dreads which blend in with his more dramatic friends. As the plot moves forward through the 12-months of the year, little-by-little, people and familiar things move away from him, metaphorically, but mostly literally. It is almost as if he is the personification of the town itself. He, like the town, is never much moved too far off his/its mooring. The other characters are exquisite. Each one grounded in what they are and seemingly unashamed of their limitations, even if they don't overtly acknowledge their limitations at all. He, like the town, knows everyone and they know him. (It's almost charming when one of his hidden secrets is revealed to him to be 'old news' to the rest of the town. It's a small town -- of course everyone knows.) The texture of the film is mostly the country-western chestnuts which emanate from whichever radio, phonograph player, etc. in the room or space of the scene. It is this town's soundtrack and places the viewer in that time and place better than all the dress and set pieces. And you'd better get used to it. It's also important. Every song is about love, lust, loss or longing as the movie's characters seek (or seek refuge from) one or more of these aspects of their current relationship. The best character in the film is Sam The Lion (Ben Johnson). As well-grounded in who he is and who he isn't and has the finest perspective on a life lived and a home he is caretaker of as any character in any film. Like the lead, he maintains his moorings as everyone else plots, schemes or just floats around for the purpose of being anywhere other than where they call home. In fact, for almost every central character, "home" is only a place to be trapped in. A place to be anywhere else than. But, back to the sex. None of it is romanticized or enticing. Nor is it comical. It is rarely anything except awkward. Which is the point. The viewer is a voyeur for acts which were never meant to be watched. It is the motivation of each person engaged which the viewer is supposed to consider. The viewer is left to perhaps ask "Was I ever like that?" or better "Thank GOD I was never like that!". But for the people in town, it is THE thing which, for each one of them, is what in life is to be pursued -- because sex is the prize -- or merely a means to one.

I watched this about 30 yrs ago and wasn't impressed and am still not impressed. It had many weird, boring scenes about desperate, hopeless under developed characters thrown together. I need more of a plot than this to care for a movie. I don't understand the glowing reviews.

From the desolation of the opening scenes to the hopelessness of the closing scene, The Last Picture Show creates the atmosphere of a time long past. Set in 1951, it still speaks to the efforts of people of all ages to accept or escape their dead-end surroundings. Powerful, memorable, nearly perfect.

I watched "The Last Picture Show" for the first time this evening and was looking forward to seeing this movie that had won so many awards and received overwhelmingly positive critical reviews. I'm very familiar with the writer Larry McMurtry - his "Lonesome Dove "novel and my favorite Western movie/mini series Lonesome Dove. - outstanding! The LD novel and 온라인카지노추천 miniseries had real, believable characters in rough times, nothing sugar coated there are prostitute/whores, gamblers, rapists, savage half White Indians, but there is an overwhelming sense of honor, friendship, family and respect for Nature. Peter Bogdodovitch's "Paper Moon" is one of my favorite movies set in a bleak place dust bowl Kansas during the Depression - but this movie also had characters of great love and effection - a father daughter pair who absolutely loved each other, though as in Lonesome Dove the father- daughter, father son admission was denied for a very long time I read the reviews of "The Last Picture" show and I understood this film would have a lot of depression and bleakness in a dying Texas down, but I expected the same warmth and good characters the audience could identify and root for. Instead I found probably the most negative, evil presentation of an American town, it's people and extremely sick, hateful, perverted depiction of their lives I have ever seen in any American movie. These people's lives have nothing redeeming about them - everything is about perverted unsatisfying sex designed only to demean the people involve. Truly sick and hateful. I also felt that the extremely beautiful young actress Cybil Shepherd was presented in almost a rape and way as it was starting to be done that way in "Taxi Driver". This movie was sick and extremely hateful, I don't think I could stand to be in the same room with it's hateful director Peter Bogdanovich without quickly starting a fist fight. I note that Peter Bogdanovich was directly involved in the exploitation and violent death of a similar beautiful actress Dorthy Stratton and I sense that Peter Bogdanovich had similar sexual views of our prettiest young girls, young woman as another talented but sick and hateful director Roman Polanski. I guess this movie when it came out in ~ 1971 was considered very "artsy" and gritty real like another Academy Award winning movie about sexual and spiritual American degradation "Midnight Cowboy". Sigh

If asked to name the top actresses of all time, no doubt the names Streep, Davis (Viola or Bette!), Hepburn, and Blanchett might quickly come to mind. But what about Leachman? Perhaps because she became a bit typecast by her role as Phyllis Lindstrom on The Mary Tyler Moore Show, the extensive library of Cloris Leachman's work isn't usually given the gravitas that it should be. Cloris worked to fully develop every character she would inhabit. She could easily shift gears between musical theater on Broadway to comedic and dramatic work in film and television. She fought not to be pigeonholed to any one particular genre of character or story. Leachman studied under the renowned filmmaker Elia Kazan. One of the techniques she learned, and employed extensively, is the use of objects to convey things about her character. She could have taught a masterclass on this technique. Keep your eyes out for this whenever you next see one of the plethora of her performances! What her body is doing is often equally as important as what she's saying. It should be noted that she was often recognized for her skills by her peers. She holds the record for the 2nd most Emmy Award nominations and wins of any actor (only recently losing the top spot to Julia Louis Dreyfus). She's also an Academy Award winner for Best Supporting Actress. This Award was earned for her portrayal of Ruth Popper in The Last Picture Show. The Last Picture Show is a ground-breaking coming-of-age drama released in 1971. The movie was directed and co-written by Peter Bogdanovich. The story takes place in a small Texas town in the early 1950's. The town is dying the slow death of many small towns of that era, thanks to expanding highways and the growth of metropolitan areas. Bogdanovich chose to film the movie in black-and-white, which only accentuates the bleakness that the film's characters are living through. The central cast are three high school seniors played by Timothy Bottoms, Jeff Bridges, and Cybill Shepherd. Though they form the nucleus, this movie is very much an ensemble piece, rounded out by the stellar cast of Ellen Burstyn, Ben Johnson, Eileen Brennan, and Leachman. The Last Picture Show conveys the inevitability of change and the complexity of sexuality in the lives of its primary characters. Each of them searching for some connection, but most are simply just existing… existing in a place that offers little to exist for. Ruth Popper (Leachman) is married to a closeted homosexual (this is never stated but it is clearly insinuated in just about every way possible through the filmmaking of the era). She finds herself seeking fulfillment by entering a sexual relationship with one of the film's central high-school characters. Leachman's performance is tour de force. Ruth has spent many dreary years playing a role society expected, only to find herself hollow and unfulfilled. For a brief moment she experiences more, only to have it torn from her just as she comes to appreciate it. Leachman's final scene was filmed in a single take. Leachman begged Bogdanovich to let her reshoot it, stating she could "do it better". But he refused. He insisted that the performance she gave was perfect as it was. It would seem he was correct since her performance earned her an acting Oscar. It was this acclaimed performance that placed The Last Picture Show on my must-see film list of 2023. This film is gold and holds up remarkably well. There is not a single role that is miscast. And the authenticity of the experiences in the film is boosted by the use of sad country music songs popular to the era of the movie's story. I look forward to revisiting this one again down the road.

Un drama controversial incluso despues de 50 años.

This film was a fantastic, coming-of-age and end-of-age story. The characters illustrate a lot of nuances between dichotomies, such as innocence vs. experience, and different shades of innocence and experience.

Maybe its 50s nostalgia was liked by people in 70s, but I personally couldn't get into it, watched in 2022, I just appreciate the cinematography. Good to see very young Jeff Bridges.

This movie was not entertaining.

It was ok but a big letdown given the reputation this has. The acting was very well done and kept things engaging with strong chemistry and dialogue throughout the run time. The acting was easily the highlight of the film overall. The cinematography is ok feeling very obnoxious at times trying to give a very isolated and hopeless feel. But I always felt it could've been accomplished in a more subtle way. The black and white was cool. The editing & pacing for me were the biggest problems here as they felt like they were more short stories being chained together without any continuity. I can appreciate that the message all of these stories were trying to convey was feelings of hopelessness and defeat but it came across as more pretentious and abstract. This made the pacing really suffer as I felt every scene was just trying to drive home the same point and message and it got repetitive by the second half of the film. These short stories never came across as part of a bigger story for me. It was interesting to watch the characters stories at times as some scenes were more interesting than others. I felt sometimes some scenes had no point for the actual plot though and was just confused and frustrated at times. Unfortunately I'd have to say it was an ok experience and average overall but definitely unique. If your a fan of New Hollywood Era Films give this a try, maybe you'll see something I didn't.

Not a lot would be absorbed due to the generally precepted pacing, but it provokes the thought through the realized filmmaking revelation being purposefully atmospheric with mostly monotonously impressive performances patiently picking up partially amid its finely ideal societal commentary. There's definitely a reason why this picture is considered one of the greatest films of all time because of its aforementioned reflection bookended by narrative poetry filled with reasonably decisive production merits and connective performances, fulfilling the attempted authenticity felt and silently spoken over its setting. (B+)

I'm 69, so I graduated HS the year this picture came out and I saw it then. I thought it was a terrific picture at the time, as I'd seen nothing like it. I'd still give it three or four stars for cinematography, direction, and a few of the performances, but one star for the story which is disjointed throughout and pointless at the conclusion. Just too damn many implausible incidents stitched together. OK, Jaycee's looking to ditch her virginity but she's going to do it with a boyfriend who just spent a drunken weekend in Mexico? Next she's going to screw the guy who's doing her mother? Then there's the affair between Sonny and Ruth; everyone in town knows about it but the husband does nothing? This was Texas in 1951; that sum'bitch was gonna get his head blown off! The village idiot is run over by a truck and half a dozen men treat the incident as no worse than had a stray dog been killed. Sorry, but this budding genius of a director didn't need to take two hours to tell an audience: "Life sucks, then you die."

A down to Earth gritty film about Life in Texas in the early 50's. Many great performances and a realism that captures the naivety of youth.

"The Last Picture Show"  is atmospherically shot in black and white. This adds to the depressing , almost mapped out boring lifestyle, of the teenagers growing up in 1951 and living in a fading Texan small town. The film concentrates on the adolescent experiences of Best friends Sonny ( Timothy Bottoms )and  Duane ( Jeff Bridges ) along with Duane's girlfriend Jacy ( Cybill Shepherd ). There is also interjection from the older generation who offer advise to the teenagers  ( not generally the right advise ), take advantage of their naivety and spend time looking back at their own golden years. The only source of fun in the town for the teenagers are an all night cafe, pool hall and the run down movie house. All three of these rare escapes are run by the town's old cowboy and businessman Sam the Lion ( Ben Johnson )  who becomes somewhat of a father figure to Sonny until his untimely death.  After  jilting Duane and going out with multiple boyfriends, Jacy sets her sights on Sonny. This results in the one and only fall out between the two best friends and ends in Duane leaving town to join the army. Director Peter Bogdanovich is unafraid of showing sentiment resulting in some of the best moments of "The last Picture house" "The last Picture House " gives its audience a snapshot of the beginning of change in the early 1950's. It takes the view the mistakes and path chosen by the older generation is pretty much how it was and how it will be for the younger generation unless radical change happens. A great soundtrack and brilliant performances,  along with clips of old movies to contrast the drab lives of the towns folk,  deliver a wonderful experience.