Such a finely judged piece of film-making. Bogdanovich quietly depicts human disappointment and, most wistfully, the way in which the moments we will come to cherish pass unnoticed at the time. Stylistically it's a film that manages the unusual feat of being both aware of its own artifice yet entirely natural, unsentimental yet profoundly emotional.
Now that's entertainment. Laugh out loud, then tears in your eyes as you follow the hapless adventures of kids in a hurry to be grown ups while the grown ups yearn to be kids again. Once the pace picks up the storyline is taut, with the tension of small town monotony about to blow its lid. The ending really is something: both redemption and despair in a very human exchange at its bare bones best. A superb film.
A slice of classic 50s Americana, chronicling small-town decline amid a teenager's coming of age and the cyclical loss of youth, ambition and love. The film spins out into layered narratives surrounding its ensemble cast of characters. Shades of nuance colour every act of sexual frankness and transgression as they fumble along in their search for true tenderness and a reprieve from the monotony of their lives.
Classic. A script that mixes some pointed observatons with some corking one-liners, some great performances from many of the leads, gorgeous black and white imagery of a town that is at least ill, if not completely dying yet, and some scene-stealing work by Cloris Leachman (in what may well remain her best performance).
For me at least, one of the very, very best films to come out of the U.S during the 1970's. Stunningly written and performed. The pacing from Bogdanovich and editor Cambern is perfect, allowing the audience to drift through this quiet texan town with the protagonists. Never has coming of age felt so real, so painful.
For such an American subject, the film has a strangely European feel to it, it's steeped in ennui and emotional despair. But Bog started out as a fan of the new wave and it shows. All this beautiful youth condemned to repeat the experience of lost love in the older generation: if they make it back from the war. Sooo much better as a coming of age movie than Dazed and Confused which was on Mubi recently.
Masterpiece? Yes. A lot of times I feel 70s was last great era in American filmmaking, & my feelings are often justified when I watch the pure tripe that is turned out today. Shepard is a knockout & this is easily her best role, & all around exceptional ensemble cast gives the film added depth. Bog perfectly captures small town despair & at the same time makes a love letter to the films of Ford and Hawks. Essential.
Probably one of the greatest coming of age dramas ever made. Really shows how much attraction can complicate relationships between people at times. Should we follow our moral compass or our genitals when we're wandering through this jungle called life? So fun seeing such a young Jeff Bridges as well. 10/10 movie for me.
This is one of those cases where a single overarching conflict isn't so much in play, so much as a number of smaller conflicts that play out between characters regarding sex and love (Funny enough, Jacy is pretty much THE character responsible for moving the plot forward). But the presentation (the diegetic sound, noir aesthetic) gives the decay of town and characters so much punch. It's truly exceptional.
35mm, rewatched. "It's a summer day, / and I want to be wanted more than anything else in the world." (Frank O'Hara) The beauty of Timothy Bottoms, Jeff Bridges, Sam Bottoms and Cybill Shepherd; the poesis of Cloris Leachman, Ellen Burstyn and Eileen Brennan; the iconic dimension of lion Ben Johnson; Robert Surtees cinematography and Bogdanovich's lucid vision of an agonic classicism.
The monotony and dreariness is this film's strength and weakness. It gives it weight, but also weighs it down. Some good emotional moments, but the monologues get to be a bit much. Ben Johnson and Timothy Bottoms give good performances. Leachman, Bridges and Shepherd are good, but I don't understand the acclaim for Leachman.
(...)Während er erzählt, stellen wir fest, dass wir dem Mythos von Sams Leben zuhören. Seiner Vision von Schönheit, die ihn überhaupt am Leben erhält in der Einöde einer sterbenden Stadt: Anarene, Texas. Sam, gespielt von dem Western Darsteller Ben Johnson, ist die Seele von Anarene. Er betreibt das Diner, die Billard Halle und das Royal Theater. Die einzigen Orte, in denen überhaupt etwas los ist.(...)