The film may have done well at the box office, and it may have helped solidify Cher's standing as a legitimate screen actress, but it was far from a breeze for Bogdanovich to make. It was something of a shock, then, when Bogdanovich scored a critical and commercial hit with a 1985 tear-jerker called Mask. A major round of industry schadenfreude ensued. ![]() Bogdanovich's reportedly enormous ego, a very public breakup with his wife, financial problems, and a couple of irredeemable box office bombs starring his semi-talented new squeeze, Cybil Shepherd, all helped turn the boy genius into a laughingstock within the film community. In other words, the studios could go to hell. Bogdanovich even joined Francis Ford Coppola and William Friedkin in forming a company that would give them complete control and financing for any pictures they wanted to make. ![]() Then came the popular screwball comedy, What's Up, Doc? (1972), and the Howard Hawks-inspired Depression-era road picture, Paper Moon (1973). ![]() After directing a remarkably inventive, no-budget thriller called Targets (1968), Bogdanovich graduated to the majors with The Last Picture Show (1971), one of the more evocative ruminations on small-town American life ever committed to film. By Hollywood standards, Peter Bogdanovich was riding about as high as you can get in the early 1970s.
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