Cybil Shepherd modeling swimwear, 1969
Cybil Shepherd, 1971
Cybil Shepherd and Martin Scorsese on the set of Taxi Driver, 1975
1970 Cybil Shepherd
misc fanart things from the past month(s) or so
Cybil Shepherd, 1976
Loneliness has followed me my whole life. Everywhere. In bars, in cars, sidewalks, stores, everywhere. There’s no escape. I’m God’s lonely man.
When Celebs met Liz Spam and Ratings!
1979 Cybil Shepherd
Rating- A I like it
The Return VHS art (Greydon Clark, 1980)
Cybill Shepherd and Martin Scorsese on the set of Taxi Driver. 1975, during a heat wave.
Texas seems in a way a barometer for the American Dream. It’s got an independent spirit to a fault, and loads of material wealth in the form of oil reserves. But as is the case with that dream, it’s prone to decay and loss. this week’s films recognise that plight and seek to capture it in many forms.
Sexual malaise in a small town. There aren’t so many fish in the sea in a place like Anarene, and those schools have to adapt. What results is a cocktail of apathy and obsession, chastity and promiscuity. Jacy clutches her pearls and crucifix initially, speaking of holding off until marriage. She is uncomfortable initially in a skinny-dipping party, and yet after it all comes off, she has nothing but eyes for a rotating cast of men in her social circle and without. Every time she has a sexual encounter, her eyes close as if to get it over with. Yet she can’t stop herself from seeking intimacy. Men seek her, use her, and she doesn’t seem entirely certain how she feels about that from moment to moment. Sonny seems to be in a similar boat , in an on-and-off fling with Ruth Popper, an older woman and the wife of the football coach, a closeted gay man. She leads a lonely existence, bored from day to day, and seeks solace in Sonny’s romantic and sexual company. All the same, it’s with mixed emotions that this relationship deteriorates—Sonny abandons Ruth, but he is a high schooler. For Ruth to accuse Sonny of abandoning her in the film’s close seems that she is incapable of turning the lens on herself.
As with other depictions of small-town Texas, life in Anarene is stagnant and lost, seeming to fade from existence. Bogdanovich paints a nearly apocalyptic picture of the town in opening and closing sequences, nothing but the sound of the wind and swirling leaves and debris as the camera pans over empty streets and vacant storefronts, solitary figures shivering in the cold. Endless country lanes and roadside stops have no romance to them, just stumps and worn-down barbed wire. Jacy is the only sort of conventional beauty in the story and in the town, oftentimes lit by romantic soft eye lights. Whether this is the perception of her male suitors or her own forced fantasy remains up in the air.