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IMDbPro

A Última Sessão de Cinema

Título original: The Last Picture Show
  • 1971
  • 14
  • 1 h 58 min
AVALIAÇÃO DA IMDb
8,0/10
55 mil
SUA AVALIAÇÃO
POPULARIDADE
3.967
494
A Última Sessão de Cinema (1971)
HV Trailer
Reproduzir trailer1:27
2 vídeos
99+ fotos
Coming-of-AgeTeen DramaDramaRomance

Em 1951, um grupo de estudantes do ensino médio chegou à idade adulta em uma cidade desolada, isolada e atrofiada no norte do Texas que está morrendo lentamente, tanto cultural como economic... Ler tudoEm 1951, um grupo de estudantes do ensino médio chegou à idade adulta em uma cidade desolada, isolada e atrofiada no norte do Texas que está morrendo lentamente, tanto cultural como economicamente.Em 1951, um grupo de estudantes do ensino médio chegou à idade adulta em uma cidade desolada, isolada e atrofiada no norte do Texas que está morrendo lentamente, tanto cultural como economicamente.

  • Direção
    • Peter Bogdanovich
  • Roteiristas
    • Larry McMurtry
    • Peter Bogdanovich
  • Artistas
    • Timothy Bottoms
    • Jeff Bridges
    • Cybill Shepherd
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    8,0/10
    55 mil
    SUA AVALIAÇÃO
    POPULARIDADE
    3.967
    494
    • Direção
      • Peter Bogdanovich
    • Roteiristas
      • Larry McMurtry
      • Peter Bogdanovich
    • Artistas
      • Timothy Bottoms
      • Jeff Bridges
      • Cybill Shepherd
    • 243Avaliações de usuários
    • 116Avaliações da crítica
    • 93Metascore
  • Veja as informações de produção no IMDbPro
    • Ganhou 2 Oscars
      • 19 vitórias e 22 indicações no total

    Vídeos2

    The Last Picture Show
    Trailer 1:27
    The Last Picture Show
    The Last Picture Show
    Trailer 2:52
    The Last Picture Show
    The Last Picture Show
    Trailer 2:52
    The Last Picture Show

    Fotos167

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    Elenco principal51

    Editar
    Timothy Bottoms
    Timothy Bottoms
    • Sonny Crawford
    Jeff Bridges
    Jeff Bridges
    • Duane Jackson
    Cybill Shepherd
    Cybill Shepherd
    • Jacy Farrow
    Ben Johnson
    Ben Johnson
    • Sam the Lion
    Cloris Leachman
    Cloris Leachman
    • Ruth Popper
    Ellen Burstyn
    Ellen Burstyn
    • Lois Farrow
    Eileen Brennan
    Eileen Brennan
    • Genevieve
    Clu Gulager
    Clu Gulager
    • Abilene
    Sam Bottoms
    Sam Bottoms
    • Billy
    Sharon Ullrick
    Sharon Ullrick
    • Charlene Duggs
    • (as Sharon Taggart)
    Randy Quaid
    Randy Quaid
    • Lester Marlow
    Joe Heathcock
    • The Sheriff
    Bill Thurman
    Bill Thurman
    • Coach Popper
    Barc Doyle
    • Joe Bob Blanton
    Jessie Lee Fulton
    Jessie Lee Fulton
    • Miss Mosey
    Gary Brockette
    Gary Brockette
    • Bobby Sheen
    Helena Humann
    • Jimmie Sue
    Loyd Catlett
    Loyd Catlett
    • Leroy
    • Direção
      • Peter Bogdanovich
    • Roteiristas
      • Larry McMurtry
      • Peter Bogdanovich
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários243

    8,055.3K
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    Avaliações em destaque

    Jasper-12

    The lost art of American Cinema

    Adapted with director Bogdanovich by Larry McMurtry from his own novel, this film remains true to its source. A modern adaptation would no doubt have adopted the voice-over approach of narrative, but here each scene is played out from a more objective point of view. The book consists of a series of events played out over a protracted period of time, with McMurtry's sparse but effective prose acting as a bridging device between scenes. The translation to the screen loses these links, giving the film a slightly episodic feel which runs counter to modern Hollywood film making practice. This is no bad thing, and in every other aspect the film follows the book almost literally, but watching it now does highlight the difference between the formulaic approach we are now accustomed to, with mise en scene, plot turning points and climaxes crudely and obviously spelt out, as opposed to that of Hollywood's final golden age, where the director was given more of a free reign to stamp his own identity on the film, and audiences were more receptive to different styles. Here the spirit of the novel is captured perfectly; that of the desperation and claustrophobia of small town life, where generation after generation undergo the same rites of passage, living out the same lives of frustration and unrealised dreams. The films strength is that it never forces us to identify with any one character, evenly distributing the amount of screen time over the different generations and, almost like a fly on the wall documentary (though heavily stylised in its powerfully expressive monochrome cinematography). Coupled with some sturdy performances from all of the members of the cast, and some memorable images, ‘The Last Picture' comes across as an enchanting, evocative and accessible portrayal of a lifestyle most of us have never and will never experience. Now surely this is what the art of cinema is all about?
    10tavm

    I'm glad to have finally seen the entirety of The Last Picture Show just now!

    Previously, I had seen parts of this critically-acclaimed film on TNT back in the '90s. Now I have watched the whole thing with Mom who was surprised at all the nudity and sex depicted as she's been used to more old-fashioned movies we've seen recently. Me, well, I'm just glad to have finally watched the entire thing so now I can see what the big deal was about concerning story, tone, and creative output mainly on the director's part. The black-and-white photography is the perfect choice to present this particular story in and the actors chosen by Peter Bogdanovich are aces through and through: Cybill Shepard in her debut, Jeff Bridges, Timothy Bottoms, Randy Quaid, Eileen Brennan, Ellen Burstyn, and especially, eventual Oscar winners Ben Johnson and Cloris Leachman. The depiction of a dying town as many of the characters are growing up is quite a compelling drama to make. So on that note, I definitely recommend The Last Picture Show. P.S. This review is dedicated in memory of Ms. Leachman.
    10Lechuguilla

    A Sense Of Realism

    This is a character study wherein the main character is a small West Texas town, circa 1951. In the U.S., the early 1950s symbolized a transition from nineteenth century agrarian values to twentieth century urbanism. In the film, various people who live in the town must confront the reality that time moves on. Things change. Assumptions of previous generations give way to the untested assumptions of the future. The film's theme is thus American cultural change, and the personal disillusionment that such change can bring. It is a powerful theme, and the film imparts that theme with logical clarity and emotional frankness.

    In the hands of lesser talents, the subject matter of unimportant people doing unimportant things might have yielded a tiresome soap opera. But the film's script is poetic, the direction is skillful, the B&W cinematography is artistic, the casting is perfect, and the performances are superlative.

    The story draws heavily from early American individualism. Life here is mostly physical, not mental. Human relationships are direct, immediate, one-on-one. Except for schools, which are given some prominence, cultural institutions exist in the film only vaguely or not at all. For entertainment, people listen to radio, which features the mournful country-western music of Hank Williams. Or, they go to the town's decrepit picture show, where an elderly Miss Mosey kindly returns money to the kids who got there too late to see the cartoons.

    If the film has a weakness it is in the presentation of a realism that is incomplete. We see mostly stifling bleakness, though that is ameliorated somewhat by humor. What we don't see are the uplifting influences and the optimism that sustained agrarian generations through hardships and rough times.

    Nevertheless, within the film's story parameters, the film does convey an accurate account of what life was like for ordinary folks in West Texas in the early 1950s. I doubt that this film could be made today. Contemporary audiences have been conditioned to expect non-stop action, loudness, glitz, and overblown special effects, all of which are absent, mercifully, from this film.

    Low-key, perceptive, bleak, and melancholy, "The Last Picture Show" easily makes my list of Top Ten favorite films of all time.
    10bix171

    Sublime

    Peter Bogdonovich's great love of film, combined with Larry McMurtry's superior storytelling (he wrote the novel and both collaborated on the script), is in glorious evidence in this elegiac study of life in a small Texas town in the early Fifties. Bogdonovich pays a heartfelt tribute to the America of John Ford and Howard Hawks but the subject matter is contemporary, anguished, appropriate for the time in which it was made. Filmed by the great Robert Surtees in a flat black and white that perfectly evokes the bleakness of rural Texas life and peppered with a fine soundtrack of the popular country hits of the time, Bogdonovich creates a mise en scene understated and keenly observant of the details. It's also filled with McMurtry's trademark mix of humor and pathos. The cast (including Jeff Bridges, Timothy Bottoms, Cybill Shepherd, Ellen Burstyn and Cloris Leachman) is letter-perfect but it's Ben Johnson as Sam the Lion who gives the film its center: in an overwhelming (yet masterfully restrained) performance, Johnson unforgettably absorbs the town's despair, loneliness and regret; his short monologue about lost love is delivered with such deceptive simplicity that its power sneaks up on you unawares. One of the great performances and one of the groundbreaking films of the Seventies.
    10EricH-9

    A Movie Milestone

    One of my favorite films is The Last Picture Show. It is a film that was directed by Peter Bogdanovitch in 1971, yet almost 30 years later it still seems fresh and alive to me. There is a desolate, spare quality to the 1950's small west Texas town we are invited into and its desolation is apparent to us from the opening scenes. It was filmed in black and white, which enhances the dramatic quality of the town and takes us back to a simpler time. Just as our lives are discontinuous, with jarring scene changes and ridiculous episodes of embarrassing events, so is life presented to us in this small town. The film's purposely jarring editing is transformed in our minds, as we watch, from a disjointed amalgam to a stream of consciousness effect that is very lifelike. One knows, then, that you are entering an alternative world just as real in its way as your own. This movie pulls you in.

    There is no musical score in this film in the normal sense. The only time you hear music is when a radio is on or a phonograph is playing in the background. This lack of a musical score dubbed over the film enhances the illusion of reality. Another aspect of this sound editing is the choice of music that is being played by the different characters. Bogdonavitch uses song and artist selection to subtly comment on the character of the person or people who are listening to it. In the case of Sonny the music he selects is always Hank Williams and it alludes to the hardscrabble life and down to earth quality of his character. In contrast at JC's home, the manipulative teenager played by Cybil Sheppard, you hear a cover of a Hank William's song that has all of the life sucked out of it, similar to a Pat Boone cover of an Elvis Presley song. It is a direct comment on JC and her family; her family has grown wealthy by owning oil wells and they pretend they are still the same people as before. It is obvious they are not just by this simple musical selection. It is eloquent in its simplicity.

    The center of the film and the major theme – should you listen to your heart or your libido if the two don't combine in the same person? Perhaps the saddest comment in this film is that too often these two halves to a whole do not come together as a package and people are forced to chose. None of the characters are particularly happy with their mates. Everyone is on the prowl for that perfect person they know they will be happy with. Time and again they think that they've found the perfect person based on their sexual attraction but when they begin to show their authentic selves are then rejected. Those in long term relationships with an emotionally compatible mate but with no sexual interest face an equal dilemma – a lack of excitement and joy – and are destined to be the ones that reject. It exposes both sides of this human dilemma, a duality that can become split and non-integrated, and does it in a sophisticated and lyrical way. Most people experience this split at some time and in this film, as in life, there are no easy answers. That's why I love this film.

    And there is Billy, the boy who continually sweeps the street in a hopeless gesture to turn back the inevitable, representing that demented and futile longing for a past that was never quite as good as you remember it. He represents that longing for an illusion that disappears just as we are about to grasp it and the sadness of that. The broom that is never fast enough for the blowing dust of time.

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    Enredo

    Editar

    Você sabia?

    Editar
    • Curiosidades
      At 9 minutes and 54 seconds, Ben Johnson's performance in this movie is the shortest ever to win an Academy Award for Best Supporting Actor.
    • Erros de gravação
      The lavalier mic on Duane's tie is visible during the graduation scene.
    • Citações

      Sam the Lion: You boys can get on out of here, I don't want to have no more to do with you. Scarin' a poor, unfortunate creature like Billy just so's you could have a few laughs - I've been around that trashy behavior all my life, I'm gettin' tired of puttin' up with it. Now you can stay out of this pool hall, out of my cafe, and my picture show too - I don't want no more of your business.

    • Versões alternativas
      Special edition includes seven minutes of footage not included in the original release.
    • Conexões
      Featured in The Last Picture Show Re-Release Promo (1971)
    • Trilhas sonoras
      Cold, Cold Heart
      (uncredited)

      Written by Hank Williams (as Hank Williams Sr.)

      Performed by Tony Bennett

    Principais escolhas

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    Perguntas frequentes30

    • How long is The Last Picture Show?Fornecido pela Alexa
    • What is 'The Last Picture Show' about?
    • Is 'The Last Picture Show' based on a book?
    • Where is Anarene, Texas?

    Detalhes

    Editar
    • Data de lançamento
      • 25 de dezembro de 1971 (Brasil)
    • País de origem
      • Estados Unidos da América
    • Idioma
      • Inglês
    • Também conhecido como
      • La Última Película
    • Locações de filme
      • 605 South Ash Street, Archer City, Texas, EUA(high school)
    • Empresas de produção
      • Columbia Pictures
      • BBS Productions
      • Last Picture Show Productions
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Orçamento
      • US$ 1.300.000 (estimativa)
    • Faturamento bruto nos EUA e Canadá
      • US$ 29.133.000
    • Faturamento bruto mundial
      • US$ 29.146.746
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      1 hora 58 minutos
    • Cor
      • Black and White
    • Mixagem de som
      • Mono
    • Proporção
      • 1.85 : 1

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