As a story of the rise & fall of a Hollywood starlet (apparently modeled after a combo of Marilyn Monroe and Ava Gardner) this melodrama falls apart as a story, but the attention to behavior and mundane detail is remarkable. The best moments just follow the lead character as she does the simplest things: Pouring herself some cereal and then remembering to feed the cat, for example, or a late scene where she and her husband come home and get settled in, the tension between them thoroughly lived-in.
Eh. Bogdanovich was at his best when working in a classic vernacular - Picture Show, Paper Moon, What's Up Doc? all feel like they could have been made 10-20 years earlier than they were. Texasville ambles along pleasantly enough, but it has none of the patience of Picture Show, its stylistic grace, or even really its sense of place. Bridges excellent at playing one of his patented All-American Losers. But the real MVP here, amazingly enough, might be Cybill Shepherd.…
Umpteenth viewing. One of the greatest films ever. Decided to give the director's cut another go after multiple recent re-viewings of the theatrical cut, as well as all of Mann's other films, while writing my profile of him for Vulture.
Here's the thing: While the theatrical cut might be "canonical," I really really love the director's cut as well. Yes, losing the cold open in the club is wrong, but other than that, there's a lot of stuff here that…
Have seen this film way too many times than I care to admit at this point. Love it, love it, love it, flaws and all.
It's not exactly a review, but you can find a longish essay I wrote about it here: