Spoilers for The Last Picture Show
Of all the New Hollywood directors, Peter Bogdanovich may be the one who carried his love of and nostalgia for Old Hollywood the most visibly on his sleeve. Before making his way out to Hollywood to be a director, he was a unquenchable cinephile, devouring the works of Ford, Hawks, Welles, and other Old Hollywood filmmakers, and quickly becoming close friends with many of them when he did arrive in Hollywood. Throughout his career, many of his films hearken back to the Golden Age of Cinema, from the Depression era nostalgia of Paper Moon to the screwball antics of What’s Up, Doc? But The Last Picture Show, one of his first major films, is special because it’s not only an imitation in some ways of classic styles (most obviously in its black and white cinematography), but it’s a eulogy to the end of an era that nonetheless pushes forward into a new era of both filmmaking and society itself.
Though the story of the film focuses on young people Sonny, Jacy, and Duane as they work through their love lives and desires to escape from small-town Texas, the heart of the film and of the town itself is Sam the Lion. Sam owns the pool hall, cafe, and movie theatre – the three major businesses in Anarene. He also acts as protector to the mentally slow boy Billy, keeping him safe and stopping others from mistreating him. Sam is the moral rock of the town, though he’s hardly a moralist – he’s just a strong presence that makes you want to do the right thing by the people around you simply because Sam is there and you know it’s what he’d want. Sam is the last Hollywood hero, the last in the line of Hawksian and Fordian heroes, men of quiet strength and personal honor.