I'm not going to comb over TLPS's obvious peterbogdanovichian flaws. Instead, I shall take a look at the positive aspects of this overrated celluloid pygmy of a film.<br /><br />1. Peter Bogdanovich managed to make a movie that can be endured in its entirety. This fact alone places the movie high up above and all the way up to the top of his lame filmography.<br /><br />2. Bogdanovich had shown how amazingly generous some lucky boyfriends can be, by sharing Cybill Shepherd's (his then-gal) fabulous body and breasts with his male audience - and not just on one but on two occasions. Brava! The unquestionable highlights of this cinematic festa del siesta.<br /><br />3. TLPS has barely a scene without stereotypical country music doodling in the background. (Peter tried to make the obvious point that the movie is set in America's Deep South (as if it weren't bleedin' obvious) so he hammered that point on and on and on...) How is this an advantage, you might ask? Well, when the movie finally ends and the monotonous country music finally ceases massaging your tired ear-drums, you start experiencing a strange exhilaration: "The movie's finally over!" It's pure joy.<br /><br />4. The movie gives all women who look like Cloris Leachman hope. Hope that they, too, may one day snatch a much younger and maybe even good-looking boyfriend.<br /><br />5. Cloris Leachman's biography (which I realize isn't technically a part of TLPS) gives hope to all women that look like that, that they too may one day win a Miss Chicago beauty pageant. (Provided they have enough money to bribe the jury with.)<br /><br />(You think I'm joking abut Cloris having won a beauty pageant, huh? Well, check out her bio and then we'll see who laughs last...) <br /><br />6. The movie was shot in black and white which spared us the sight of Cloris Leachman's face in its original, natural non-glory.