that director and co-writer were enough. When informed that the Motion Picture Editors Guild required an editor credit, he suggested Donn Cambern, who had been editing another film, Drive, He Said (1971), in the next office and had helped Bogdanovich with some purchasing paperwork concerning the film's opticals. Cambern disputes this, stating that Bogdanovich did do an edit of the film, which he screened for a selection of guests, including Jack Nicholson, Bob Rafelson and himself. The consensus was the film was going to be great, but needed further editing to achieve its full potential. Cambern claims Bogdanovich invited him to do so, during which he made significant contributions to the film's final form. Bogdanovich obtained a rare waiver from the Directors Guild of America to have his name appear only at the end of the film, after the actors' credits, as he felt it was more meaningful for the audience to see their names after their performances. Music The film features entirely diegetic music, including many songs of Hank Williams Sr. and other country & western and 1950s popular music recording artists. Reception and legacy Box office The film earned $13.1 million in domestic rentals in North America. Critical reception Chicago Sun-Times critic Roger Ebert gave the film four out of four stars in his original review and named it the best film of 1971. He later added it to his "Great Movies" list, writing that "the film is above all an evocation of mood. It is about a town with no reason to exist, and people with no reason to live there. The only hope is in transgression." Vincent Canby of The New York Times called it a "lovely film" that "rediscovers a time, a place, a film form—and a small but important part of the American experience." Gene Siskel of the Chicago Tribune gave the film four stars out of four and wrote, "Like few films in recent years, Peter Bogdanovich's The Last Picture Show ends with us wanting to see more of the people who occupy the small town world that is Anarene, Tex. in 1951. This emotion is not easily achieved. It is a result of a Peyton Place investigation into Anarene's bedrooms, parked cars, football games, movie theater, restaurant, and pool hall." Charles Champlin of the Los Angeles Times called the film "the most considered, craftsmanlike and elaborate tribute we have yet had to