Where exactly is the “universality” in several sad, lonely, frustrated Texans listening to Hank Williams and making do with life in a small, one-horse town that’s on the verge of extinction?

Yes, Peter Bogdanovich conveyed compassion for Cloris Leachman‘s character while Mike Nichols allegedly conveyed a certain contempt for Anne Bancroft Mrs. Robinson, but how or why does that make Bogdanovich’s film better?

I’m thinking of that “let’s talk about art” / “let’s not talk at all” hotel room scene between Bancroft and Dustin Hoffman. Raw, scalding and quite sad.

TLPS is slower, artier and more poignant and windswept, okay, but Nichols’ film connected with tens of millions back in the day. It touched a major nerve — strongly echoing what boomers felt about their materially driven, greatest generation parents and their mid ‘60s values — while TLPS was…I don’t know, more solemn and lethargic.

I adore Ben Johnson’s “old times” soliloquy at the fishing pond. But then, of course, Sam the Lion succumbs to a stroke.

Where are all these residents of Anarene, Texas headed? How much more humdrum and downish can their lives get? What’s life without a dream, right? What are they gonna do, commit mass suicide with grape juice cyanide in paper cups?