Cláudio's Best Shot Pick: The Last Picture Show (1971)

The next episode of our series, 'Hit Me With Your Best Shot,' arrives tonight. It's focused on Peter Bogdanovich's The Last Picture Show. You still have time to participate! Here's Cláudio's entry.

Bogdanovich drops the audience inside a cold domestic scene early in The Last Picture Show. In the Farrow household, resentments and disappointments permeate the air, each individual stuck in their little bubble of dissatisfied placidity. Together yet alone, the Farrows' silence is a nervous thing, like a fly's wilting buzz as it suffocates in insecticide. Perchance to disrupt the muted disquiet, the matriarch enters her daughter's room and sparks a conversation. She tries to advise the younger woman, so she doesn't make the same mistakes her mother did. Mistakes like staying in their small Texan town, dying from boredom like the fly dies from bug spray.

"Everything's flat and empty here. There's nothing to do." – says Ellen Burstyn's Lois, her words reverberating through the film's most potent images…

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Cloris Leachman, "The Actress"

We're still thinking about Cloris Leachman (RIP) and we are thrilled to have been pointed at one of her Emmy wins last night (thanks StinkyLulu!) that we hadn't seen. Her fifth (of eight) Emmy wins came in the now defunct category of "Outstanding Individual Performance in a Variety or Music Program" The occassion was the Screen Actors Guild 50th Anniversary Celebration in 1984 and Cloris performs a mini-musical/play called "The Actress". It is very much worth your 10 minutes...

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The Best of Cloris Leachman (1926-2021)

by Nathaniel R

We've lost one of the true greats. The one and only Cloris Leachman has died at 94 years of age of natural causes. The showbiz bug hit early, as it often does with plays as a teenager and by the time she was 20 in 1946 she was a Miss America contestant. Her career developed slowly as many truly enduring careers do, with numerous small roles in film and television (and some large ones onstage) before the big breakthrough. That breakthrough was a double whammy, as befits hard-working but late-breaking fame. In short succession she made a huge impression as Phyllis the landlady on The Mary Tyler Moore Show in the 1970/1971 first season and in October 1971 she was also on the big screen, flexing very different acting chops, in the soon to be Oscar-winning classic, The Last Picture Show (1971).  

Though she is best remembered today for television sitcoms which she did on and off throughout her career, she was an actress of verve and versatility...

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Oscar Trivia: Ranking the His & Hers Supporting Oscar Wins

Moreno & Chakiris winning for WEST SIDE STORYby Nathaniel R

Only 8 times in the 92 year history of the Academy Awards have both Supporting trophies gone to the same movie. We were thinking about this factoid recently given that 1957 is the topic of next week's Smackdown (get those votes in). 1957's Sayonara wins for Miyoki Umeshi and Red Buttons (who played newlyweds) marked the third instance of both supporting trophies going to the same movie in just a seven year span. Given that that specific type of Oscar pairing has only happened five times more in the next sixty-two years of history, it's clear that "his & hers" was definitely more of a 1950s voter mindset than it is now.

[Tangent: Lead 'His & Hers' statues happen with about the same frequency but are mostly bunched up in the late 70s for some reason]

Let's rank what came before with double supporting wins in a highly unscientific fusion of the performances...

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Bogdanovich on Filmstruck

by Eric Blume

This month, Filmstruck offers up the one-two-three early 1970s punch of director Peter Bogdanovich.  Can you think of any other filmmaker who made three such incredible pictures within a three-year period, only to fade into a disastrous career afterwards?

1971’s The Last Picture Show holds up incredibly well, and ranks as one of the decade’s finest pictures. This film about various lonely souls who have no clue how to connect still resonates powerfully, partially because Bodganovich is unapologetically “adult” in his handling of these story strands. Nothing feels watered-down or soft, and all the characters have edges that make them specific and interesting. Ben Johnson and Cloris Leachman deservedly won supporting Oscars that year for their fine performances, but everyone in the cast delivers beautiful work. There’s a simplicity to the acting, in the best sense: everybody just “is”. Bodganovich has confidence with the material, and he’s passionate about the storytelling. There’s a lingering sadness about the picture that feels distinct in tone, matched perfectly to Larry McMurtry’s original prose and to the characters.

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