In 1951, a group of high schoolers come of age in a bleak, isolated, atrophied North Texas town that is slowly dying, both culturally and economically.In 1951, a group of high schoolers come of age in a bleak, isolated, atrophied North Texas town that is slowly dying, both culturally and economically.In 1951, a group of high schoolers come of age in a bleak, isolated, atrophied North Texas town that is slowly dying, both culturally and economically.
- Director
- Writers
- Larry McMurtry(screenplay by)
- Peter Bogdanovich(screenplay by)
- Stars
Top credits
- Director
- Writers
- Larry McMurtry(screenplay by)
- Peter Bogdanovich(screenplay by)
- Stars
- Won 2 Oscars
- 19 wins & 22 nominations total
Videos2
Sharon Ullrick
- Charlene Duggsas Charlene Duggs
- (as Sharon Taggart)
- Director
- Writers
- Larry McMurtry(screenplay by) (based on the novel by)
- Peter Bogdanovich(screenplay by)
- All cast & crew
- See more cast details at IMDbPro
Storyline
Did you know
- TriviaAt 9 minutes and 54 seconds, Ben Johnson's performance in this movie is the shortest to ever win an Academy Award for Best Supporting Actor.
- GoofsWhen Duane returns to Anarene toward the end of the film, he is on leave from the US Army in the middle of the Korean War, around 1952. His hair is too long to pass Army regulations, which limit the length of a soldier's hair, after he has completed basic training. His hair would be too long even for today's Army. Moreover, Duane has sideburns, which the Army would never have permitted.
- Quotes
[last lines]
Ruth Popper: Never you mind, honey. Never you mind.
- Alternate versionsSpecial edition includes seven minutes of footage not included in the original release.
- ConnectionsFeatured in The Last Picture Show Re-Release Promo (1971)
- SoundtracksCold, Cold Heart
(uncredited)
Written by Hank Williams (as Hank Williams Sr.)
Performed by Tony Bennett
Top review
... worthy of its place in the list of great films of the 1970s
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.
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.
helpful•13529
- csplus
- Jan 10, 2005
Details
Box office
- Budget
- $1,300,000 (estimated)
- Gross US & Canada
- $29,133,000
- Gross worldwide
- $29,146,131
- Runtime1 hour 58 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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