'Whereas New Hollywood contemporaries like Francis Ford Coppola and Steven Spielberg looked forward, advancing the medium through their work, Peter Bogdanovich carried a torch for Old Hollywood, fighting to keep its legacy alive,' writes AskDebruge
” were shot in black and white decades after the format had gone out of fashion — the first a poignant elegy to a tumbleweed Texas town, as seen through the eyes of its restless teenage population, the other a Depression-era road movie about a handsome grifter and his precocious traveling companion .
Bogdanovich occupied an unusual place in film history, in that he peaked early, artistically — after the well-deserved acclaim for “The Last Picture Show,” he never again made a film as good as that one — but remained a larger-than-life figure for another half-century, effectively inserting himself into film history as one of its stewards.
Still, it always struck me as a shame that Bogdanovich didn’t have another “Last Picture Show” in him . Set in 1951 and shot two decades later, the movie was as timeless when it came out as it feels today: a marriage of unsentimental nostalgia — the old cars, faded movie posters and frozen-in-time Texas town — and a then-fresh approach to dealing with sexuality on screen.
There’s a frank, unfussy naturalism to the “picture” that felt of a piece with the work of other directors from that period — filmmakers like Hal Ashby, Bob Rafelson and Robert Altman. That sensibility might well have been a perfect combination of Bogdanovich’s keen, early-career desire to make something capital-i “Important” and the contributions of his collaborators: McMurtry, Platt and an all-around outstanding ensemble, including the luminous Cybill Shepherd, for whom he left his wife.
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