Category Archives: Robert Altman

Short Cuts-1993

Short Cuts-1993

Director Robert Altman

Starring Tim Robbins, Julianne Moore, Lily Tomlin

Scott’s Review #1,400

Reviewed September 20, 2023

Grade: A

I am such a fan of acclaimed director Robert Altman because he typically features an enormous cast with richly composed characters all serving a story purpose. Frequently, with much character development and investment.

Short Cuts (1993) is a latter-day Altman offering set in Los Angeles, California, the City of Angels that is nearly as good as my all-time favorite of his, Nashville made in 1975.

Similarities burst to the screen with twenty-two principal characters to Nashville’s twenty-four. Their lives frequently intersect and the fun is peeling back the layers of their lives and discovering who is connected to whom.

Comparisons to 1992’s The Player (also Altman) and 1999’s Magnolia, directed by Paul Thomas Anderson can also be made for obvious Los Angeles setting reasons.

But, Magnolia is much weirder than Short Cuts.

The irony is that most characters are anything but angels as they suffer from insecurities, deaths, infidelity, and various shenanigans as they attempt to get through California life amid an earthquake and a fleet of helicopters spraying for medflies.

Altman based the film on the nine short stories and a poem by Raymond Carver.

Some of the tales include a waitress Doreen (Lily) who is married to an alcoholic limo driver (Tom Waits) who accidentally runs into a boy with her car. Soon after walking away, the child lapses into a coma. While at the hospital, the boy’s grandfather (Jack Lemmon) tells his son, Howard (Bruce Davison), about his past affairs.

Meanwhile, a baker (Lyle Lovett) starts harassing the family when they fail to pick up the boy’s birthday cake.

Dr. Ralph Wyman (Matthew Modine) and his wife, Marian (Moore), meet Stuart Kane (Fred Ward), an unemployed salesman, and Claire Kane (Anne Archer), a party clown, at a cello concert.

They impulsively decide to have a Sunday dinner date. seemingly having nothing in common.

Meanwhile, Marian’s sister, Sherri (Madeleine Stowe), is married to a cheating cop named Gene (Tim Robbins), who is having an affair with Betty Weathers (Frances McDormand), while Betty is divorcing one of the helicopter pilots, Stormy (Peter Gallagher).

There are other stories and connections to round out the fabulous cast.

The juicy and dramatic storylines play out like a terrific story arc on Days of Our Lives or As the World Turns with some needed comedic elements to balance things out.

Anyone who knows Altman will salivate with the name recognition among the cast most notably Tomlin and Robbins. Actors frequently chomped at the bit to appear knowing that he was an actor’s director.

This means he allowed his cast open range to create dialogue appropriate for their characters.

There’s no better example than when Jack Lemmon tells a story in the film. His improv and free dialogue are a dream to watch and a lesson in good and natural acting.

Despite the enormous cast everyone has something of quality to do. Nobody is languishing on the back burner with throwaway scenes or unimportant activities. All characters connect to others in some way.

Fans who fancy Los Angeles both in film and in real life with its bursting sunshine and cheery perception will revel in the down and dirty sub texture of Short Cuts.

The fun is getting there.

Some characters are wealthy but most struggle with day-to-day routine so the film contains a harsh realism. They try to find some shreds of happiness wherever they can get them.

Like real life which is part of the mastery of Short Cuts. The audience can relate to the characters because we all know people like them which makes the film a beautiful and treasured experience.

Or some may even be like us. The writing is brilliant and the characters are true to form.

One day I’ll create a list of my Top Ten Robert Altman films and I bet Short Cuts (1993) lands in the Top Five.

Oscar Nominations: Best Director-Robert Altman

Independent Spirit Award Nominations: 3 wins-Best Feature (won), Best Director-Robert Altman (won), Best Screenplay (won), Best Supporting Actress-Julianne Moore

Thieves Like Us-1974

Thieves Like Us-1974

Director Robert Altman

Starring Keith Carradine, Shelley Duvall

Scott’s Review #1,071

Reviewed October 16, 2020

Grade: A

The first time I saw Thieves Like Us (1974) I was not blown away. I have forgotten what my original gripe was, but my lackluster star rating on Netflix years ago is confirmation of such.

All is now forgiven and like a fine wine, this film gets better and better with each viewing.

It’s a gangster film, but a heart-wrenching story containing one of the sweetest romances in cinema history.

Based on the novel of the same name by Edward Anderson, director Robert Altman, famous for allowing his actors to ad-lib their lines to their heart’s content and peppering his films with overlapping, “real-life” dialogue, limits this technique this time around.

His stars, Keith Carradine and Shelley Duvall, regular fixtures in his films, are the main attraction, but supporting players like Louise Fletcher, Bert Remsen, and John Schuck give tremendous performances.

Set in the 1930s United States, Deep South Mississippi, the time-period and location are key elements to the success of the film.

Having never set foot in this geographical area, I nonetheless found myself escaping there and ruminating about what it would have been like to live there in the Great Depression era.

The many outdoor sequences with trees, forests, country roads, and home-cooked meals provide a luminous atmosphere and texture.

Small-town living never felt so good and cozy.

Wisely, Altman steers clear of any racial overtones or dialogue within the film. The film is not about that.

There appear many black characters mostly in the background, townspeople scenes, or as prisoners which add flavor. But they are represented as living among other folks without any aggression or stereotypes. They simply are and it feels like the South.

Altman crafts an experience of understated, good storytelling, proving a quality film can be quiet and proud, not needing explosive bells and whistles to prove showy. The dialogue crackles on its own and is smart.

The plot is compelling. Bowie (Carradine) is an escaped convict who embarks on a crime spree with fellow former prisoners Chicamaw (John Schuck) and T-Dub (Bert Remsen). While in hiding between bank robberies, Bowie meets a young woman named Keechie (Duvall), and the two quickly fall in love.

A life of crime doesn’t sit well with Keechie, however, so she and Bowie try to settle down, but the law is determined to bring him to justice.

The fun is in watching romance blossom between Bowie and Keechie. Despite Bowie being a criminal, his character contains sweetness and purity that match like a glove with the whimsical truth and simplicity of Keechie.

Throughout the length of the film, I compared the characters to the legendary icons, Bonnie and Clyde, from the self-titled cinema masterpiece.

They are similar but different. The pair sit quietly on the front porch talking about life and the future, optimistically planning their lives together unaware of what fate has in store for them. Their innocence and their goofy humor made me fall in love with them.

The relationship between the three men is apt. They have each other’s backs and are loyal to a fault. The men are convicts and cause death and injury, but there is a humanity that Altman gives to each character.

We do not think of them as derelicts.

When Bowie poses as a sheriff to break Chickamaw from prison, we root for the escape and not for the warden. Bowie kills the warden, shocking Chickamaw. Even with dispute comes caring between the men.

It does take patience to get into this film, probably I did not give the film its due on my first watch. Once the film ended I was left with a feeling of having experienced something of value and an artistic cinematic visionary story.

The homespun characters eating a feast of meat and southern biscuits and discussing the day’s events are rich and atmospheric.

Carradine and Duvall would reunite a year later in another Altman masterpiece, Nashville (1975) playing vastly different characters, both unlikable, so a recommendation is to watch both films back to back to appreciate the dizzying morphed characterization.

Thieves Like Us (1974) is no mere opening act for Nashville but of a different ilk.

The film is a treasure.

A Prairie Home Companion-2006

A Prairie Home Companion-2006

Director Robert Altman

Starring Meryl Streep, Kevin Kline, Woody Harrelson, Lily Tomlin

Scott’s Review #1,033

Reviewed June 16, 2020

Grade: B

The final film by legendary and influential director Robert Altman is not his greatest work. If I were to compare A Prairie Home Companion (2006) to another of Altman’s pictures it would be Nashville (1975) both having grassroots entertainment similarities.

The latter combines satire amid a political rally in a southern city while the former celebrates behind-the-scenes events at a long-running radio show in Minneapolis.

Difficult to criticize anything a genius does, my expectation was much more than was given.

The film plods along with little excitement or juiciness ever happening so the experience is to enjoy the standard Altman fixtures like a huge cast, overlapping dialogue, and witty chatter.

A melancholy effort since no new material will ever be released by the cinema great, but a chance to celebrate his achievements all the same.

Set in present times, events take place in Saint Paul, Minnesota, a chilly city in the United States mid-west. A long-running live radio variety show, A Prairie Home Companion, prepares for its final broadcast.

The radio station’s new parent company has scheduled the show’s home, the storied Fitzgerald Theater, for demolition and dispatched “the Axeman” (Tommy Lee Jones) to judge whether to save the show. Prospects are grim as radio shows are deemed a thing of the past and irrelevant.

The many radio stars revel and reminisce in memories as they prepare for cancellation.

Led by the singing Johnson Girls, Yolanda (Meryl Streep) and sister Rhonda (Lily Tomlin), and daughter Lola (Lindsay Lohan) who are most prominent, other characters include cowboy duo Dusty (Woody Harrelson) and Lefty (John C. Reilly); pregnant PA Molly (Maya Rudolph) and the show’s creator and host, Garrison Keillor.

A spirit known as “Dangerous Woman” (Virginia Madsen) also joins the group.

Star power is not the issue here and it pleasing is to witness a bevy of A-list Hollywood stars duke it out for screen-time. Anyone possessing knowledge of Altman knows that he was an actor’s director, meaning he let his actors truly shine and interpret what the motivations of the characters were.

Garrison Keillor, who wrote the piece, follows Altman’s lead in this area letting the cast try and bring to life what is on the written page.

Unfortunately, they fail.

While meandering greatly, A Prairie Home Companion has an earthy and humanistic theater troupe quality. The stars of the radio show are like family and cling to each other for moral support during uncertainty.

This feels nice to the viewer as common compassion is endearing, many of the individuals have spent decades together. Their stories and experiences resonate warmly, and one can’t help but be sucked into their lives.

The problem with this is that the stories go on and on and quickly seem pointless. There is little doubt whether the show will close. While the people are enamoring nothing much really happens in the film and it becomes a bore.

The character interactions lack any energy and do not carry the film in any direction. They merely are what they are.

I can appreciate a slow build if there eventually is a payoff. A Prairie Home Companion (2006) never achieves full-throttle or hits the gas pedal so the film exists but doesn’t shine.

With masterpieces such as The Long Goodbye (1973), Nashville (1975), and 3 Women (1977) my expectations were soaring so that may be a part of my letdown.

Prairie Home is not included in my go-to catalog of Altman greats and would teeter at the bottom of a master ranking of his films.

Independent Spirit Award Nominations: Best Director-Robert Altman

The Long Goodbye-1973

The Long Goodbye-1973

Director Robert Altman

Starring Elliott Gould

Scott’s Review #830

Reviewed November 14, 2018

Grade: A

Nearly a full-fledged character study of one man’s moral fiber, The Long Goodbye (1973) is an edgy piece of direction by famous mastermind Robert Altman.

The setting of the Los Angeles underbelly is fabulous and effective as is dim lighting and excellent camera work prevalent throughout. The film is not cheery and rather bleak which suits me just fine given the smart locale.

Perhaps a more obscure Altman offering, but the film sizzles with zest and authenticity.

The film is based on a story written by Raymond Chandler in 1953.

Altman, however, opts to change the setting from 1950 to present times- 1970s Los Angeles and present a film noir experience involving deceit and shenanigans where all is not as it seems.

I think this is a wise move and I could not help but draw many comparisons (mainly the overall story) to Chinatown (1974), released the year after The Long Goodbye, but a film much better remembered.

Elliott Gould is wonderful as Phillip Marlowe, a struggling private investigator, and insomniac. He is asked by a friend, Terry Lennox, for a ride to the Mexico border one night and agrees to do the favor.

This leads to a mystery involving police, gangsters, and Eileen and Roger Wade after Phillip is questioned regarding his connection to Terry, who is accused of murdering his wife Sylvia.

The seedy side and complexities of several characters are revealed as the story unfolds and the plot gradually thickens.

My favorite aspects of The Long Goodbye are not necessarily the primary storytelling, though the writing is filled with tension.

As the film opens an extended sequence featuring a “conversation” between Phillip and his cat is both odd and humorous. The finicky feline refuses to eat anything other than one brand of cat food. As Phillip tries reasoning with the cat through talking and meowing, he is forced to venture out in the middle of the night to an all-night grocery store.

Altman, known to allow his actors free-reign for improvised dialogue, appears to allow Gould to experiment during this scene.

Phillip’s neighbors, a bundle of gorgeous twenty-something females, seem to do nothing except exercise on their balcony, get high, and request he buy them brownie mix for a “special occasion”.

As they stretch topless, usually in the background and almost out of camera range, they are a prime example of an interesting nuance of the film. The girls are mysterious but have nothing to do with the actual plot adding even more intrigue to the film.

In one of the most frightening scenes in cinematic history and one that could be straight from The Godfather (1972), crazed gangster, Marty Augustine (Mark Rydell), slices the beautiful face of his girlfriend to prove a point to Marlowe.

In a famous line, he utters, “That’s someone I love. You, I don’t even like.” The violent act is quick, unexpected, and fraught with insanity.

Finally, the film’s conclusion contains a good old-fashioned twist worthy of any good film noir. In the end, the big reveal makes sense and begs to raise the question “why did we trust this character?”

In addition to the viewer being satisfied, Marlowe also gets a deserved finale and proves that he cannot be messed with nor taken for a fool.

The Long Goodbye is undoubtedly the best film of Gould’s career. With a charismatic, wise-cracking persona, the chain-smoking cynic is deemed by most as a loser. He is an unhappy man and down on humanity but still wants to do what is right. He lives a depressed life with few friends and the company of only his cat.

While he is marginally entertained by his neighbors, he goes about his days only barely getting by emotionally. Gould is brilliant at relaying all these qualities within his performance.

The addition of the title theme song in numerous renditions is a major win for the film and something noticed more and more with each repeated viewing. The ill-fated gangster’s girlfriend hums along to the song playing on the radio at one point, and a jazz pianist plays a rendition in a smoky bar.

This is an ingenious approach by Altman and gives the film a greater sense of mystery and style.

There is no question among cinema lovers that Robert Altman is one of the best directors of all time.

In his lengthy catalog filled with rich and experimental films, The Long Goodbye (1973) is not the best-remembered nor the most recognizable.

I implore film fans, especially fans of plodding mystery and intrigue to check this great steak dinner of a film out.

The Player-1992

The Player-1992

Director Robert Altman

Starring Tim Robbins, Peter Gallagher

Scott’s Review #601

Reviewed January 11, 2017

Grade: A

The Player (1992) ranks up there with other Robert Altman classics such as Gosford Park (2001), Nashville (1975), and Short Cuts (1993).

The film is an excellent piece of Hollywood satire and centers around a jaded movie executive, played by Tim Robbins, who does an incredible job with his role.

Robbins plays Griffin Mill, a man with no scruples. Feeling usurped by a younger executive, played by Peter Gallagher, as well as receiving death threats, he goes on the hunt for the person he feels responsible for, which leads to murder.

The audience is unsure whether to love or hate Mill, thanks to Robbin’s performance. He is snarky, but also vulnerable and a tad sympathetic.

The film contains a slew of real Hollywood celebrities (Cher, Malcolm McDowell, Bruce Willis) playing themselves and is largely improvised (as many of Altman’s films are).

Whoopi Goldberg and Lyle Lovett star as odd police detectives.

The plot is nothing that hasn’t been done before, but it’s the realness and the direction that make this movie a must-see, especially for Robert Altman fans.

The Player (1992) is a hidden gem.

Oscar Nominations: Best Director-Robert Altman, Best Screenplay Based on Material Previously Produced or Published, Best Film Editing

Independent Spirit Award Nominations: 1 win-Best Feature (won)

3 Women-1977

3 Women-1977

Director Robert Altman

Starring Shelley Duvall, Sissy Spacek

Scott’s Review #578

Reviewed January 1, 2017

Grade: A

Robert Altman is one of my all-time favorite directors and what a pleasure it is to uncover additional gems that he has directed over the years.

I have seen 3 Women (1977) before but some films (the true greats) are like fine wines and get better and better over time, in addition to being appreciated more and more with each passing viewing.

3 Women is a prime example of this. The level of psychology and the changing personalities of the characters make it a unique and brilliant experience.

3 Women is a psychological feast and the study of three complex characters, hence the title.

How fantastic how Altman claimed to have dreamed the entire film, complete with Duvall and Spacek in the roles, and then attempted to recreate the dream on film- he has done a masterful job.

The film is dream-like with an interpretive element that will leave the viewer pondering not only the relationships between the three women but who exactly each woman is- consciously and sub-consciously. Lots of questions will abound as the film concludes.

The main relationship is between the characters portrayed by Duvall and Spacek.

Duvall plays Millie Lamoreaux, a chatty and confident woman, who works at a California health spa for elderly clientele. She is statuesque and gorgeous, but surprisingly not well-liked by her colleagues, two of whom are mysterious identical twins.

New employee Pinky Rose is a shy and vulnerable mousy type, who takes an immediate liking to Millie, becoming somewhat obsessed with her. The pair eventually move in together and begin to engage in a mysterious and sometimes volatile friendship dripping in jealousy and lust.

Eventually, they switch personalities, only adding to the mystique of the film. They reside in the Purple Sage Apartments, run by Edgar and Willie Hart.

Willie is the third woman referenced in the title and is a pregnant painter, creating unsettling murals marveled at by Pinky.

It has been argued that 3 Women was an influence on the David Lynch masterpiece, Mulholland Drive (1992), and the more I ponder this the more that I agree with it.

The dream-like, surrealistic qualities are prevalent in both films.

Peculiar, strong-willed women are the central characters in both films and psychology and amnesia are the main themes. The southern California setting is identical as are the interpretive elements, and the fantastically odd characters- both lead and supporting.

When Pinky’s elderly parents are introduced, this is uncanny to a pair of grandparents featured in Mulholland Drive. Both are superior films so the comparisons are a joy to think about and ponder the complexities.

Ingmar Bergman’s 1966 psychological film Persona is most certainly a large influence on 3 Women. That film dared to explore merging personalities among women.

The final scene of 3 Women is intense and thought-provoking. The lives of the women carry on following a tragic event, but each takes on a certain persona and role within the family unit that they have forged.

Among other qualities, I view 3 Women as a feminist film, despite being directed by a male. Altman was famous for allowing his actor’s free reign in dialogue and development and this most certainly had to be the case with 3 Women.

One of Altman’s masterpieces.

Altman is a genius in nearly every film that he creates, but 3 Women is probably his most cerebral, and the film that can be talked about and analyzed more than the others.

What a pure treat for a complex film lover to explore. 3 Women (1977) is not for mainstream audiences nor is it meant to be.

A Wedding-1978

A Wedding-1978

Director Robert Altman

Starring Carol Burnett, Mia Farrow, Paul Dooley

Scott’s Review #539

Reviewed December 17, 2016

Grade: A

A Wedding (1978) is an obscure, brilliant gem penned and directed by Robert Altman- a film genius and one of my most adored directors.

I love most of his movies and A Wedding is no exception. The creative way that Altman weaves intersecting storylines and dialogue, thereby creating a real-life tone, gives immense realism to his films.

In A Wedding, he takes a basic life event and turns it into a well-nuanced, fascinating, comical, yet dramatic story.

He is known for having enormous casts (in A Wedding it is forty-eight principles), but every character serves a purpose.

The viewer will feel that they are a fly on the wall of a real wedding.

Altman’s actors primarily improvise the dialogue, speaking at the same time, bringing a realistic edge. I adore this quality.

The film is a satire- people either love or loathe attending weddings and Altman’s film caters to the latter. He creates a setting, from the ceremony to the reception, riddled with awkward moments, and social guffaws.

In pure satirical, soap opera fashion, two wealthy families gather at a lavish estate for the ceremony to commence. Hilarity ensues when the corpse of the matriarch of one family lies in her bed, nobody realizing she is dead.

Other hi-jinks, such as the revelation of a nude, life-size portrait of the bride, the caterer falling ill, and a tornado wreaking havoc.

Slowly, secrets are revealed by the families, as the alcohol flows and the characters become involved in the perilous situations.

Altman does it again as he creates a masterpiece based on real-life situations that most can relate to.

A Decade Under The Influence-2003

A Decade Under the Influence-2003

Director Ted Demme, Richard LaGravenese

Starring Francis Ford Coppola, William Friedkin

Scott’s Review #392

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Reviewed April 5, 2016

Grade: B+

Produced by the cable network Independent Film Channel (IFC), A Decade Under The Influence explores the decade of 1970s film, a decade that was arguably the most creative and liberating to filmmakers and audiences alike.

A period in film defined by the directors securing creative freedom instead of the studios, where artists instead of corporations finally ruled the roost. A Decade Under The Influence gives us an overview of the era.

Despite some conspicuous omissions, I enjoyed this informative piece a great deal.

The documentary is divided into numerous segments including sections on women in film, the transition into a different period in Hollywood, and the subsequent close of the decade.

The interviews are plentiful including a who’s who of stars: Martin Scorsese, Ellen Burstyn, Clint Eastwood, Robert Altman, Julie Christie, Francis Ford Coppola, and numerous other influential directors, actors, and filmmakers.

Each individual describes his or her perspective on 1970s cinema, and personal anecdotes of experiences or challenges are shared.

Ellen Burstyn, for example, describes how the success of The Exorcist afforded her a plethora of other film offers, but all of the roles were of prostitutes, dutiful wives, or women in peril.

She needed roles more stimulating than those so she chose to star in Alice Doesn’t Live Here Anymore, which was a much better-written role. What I found a bit sad is how there are still limited, layered roles for women in Hollywood to this day unless one goes the independent film route, which this documentary touts as a savior.

Francis Ford Coppola relays how The Godfather was never expected to be a success, but rather, how he was chosen to direct the film merely because he worked for cheap and was Italian-American.

How ironic that the film became such a monumental success and influential to film making as a whole for generations to come.

The documentary, at times, seems like an overview of the decade, with many clips of classic 1970s cinema interspersed with the talking points.

Despite being three hours in length, I still felt that there was so much more than the documentary could have explored. Not surprisingly, the stars granting interviews were granted heavy screen time for their films.

The documentary was fine, but could have delved much deeper- I could see a multiple-disc set totally of ten or more hours dedicated to the decade.

One conspicuous omission was Robert Altman’s Nashville, arguably, the best film of the decade. While it was briefly mentioned, and a still frame of a scene from it did appear, I felt that it warranted more dissection and discussion.

This was more surprising given that Altman was interviewed for the documentary.

Another miss was Halloween or any mention of John Carpenter films. Halloween influenced many horror films to come and The Exorcist received heaps of coverage, undoubtedly because star Burstyn and director William Friedkin appear at length throughout the production.

Additionally, in the horror genre, Black Christmas (a highly influential horror film) was not mentioned at all.

A celebration of my favorite decade of cinema, A Decade Under the Influence is a documentary that is a basic must-see for fans of 1970s cinema, or film students perhaps immersing themselves into the world of great film for the first time.

Gosford Park-2001

Gosford Park-2001

Director Robert Altman

Starring Maggie Smith, Helen Mirren, Ryan Phillippe

Top 100 Films #68

Scott’s Review #350

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Reviewed January 9, 2016

Grade: A

Somewhere between the brilliant PBS series of the 1970s and the ultra-modern cool of Downton Abbey (also PBS) lies the masterpiece that is Robert Altman’s 2001 gem, Gosford Park.

Ironic is that the creator, writer, and executive producer of Downtown Abbey, Julian Fellowes, wrote the screenplay of Gosford Park.

No wonder, combined with Altman’s direction, they created genius.

The period is 1932 and the wealthy, along with their servants, flock to the magnificent estate of Gosford Park, a grand English country home. The guests include both Americans and Brits and everyone is gathered for a shooting weekend- foreshadowing if ever there was.

Following a dinner party, a murder occurs and the remainder of the film follows the subsequent police investigation, and the perspectives of the guests and the servants as a whodunit ensues.

Many of the character’s lives unravel as secrets are exposed.

Sir William, the murder victim, is a powerful industrialist. After he announces he will withdraw an investment, the ramifications affect many of the guests so that the set-up is spelled out for the audience.

At the risk of seemingly nothing more than a plot device- it is so much more than that.

During a pheasant shoot, Sir William receives a minor wound thanks to a stray birdshot- is this intentional or merely an accident? When Sir William meets his fate that evening, the potential suspects pile up.

If there are two compelling aspects to a great film, they are a good old-fashioned whodunit and an enormous cast, all potential suspects.

What makes Gosford Park exceptional is that every character is interesting in some way and all are written well.

Secrets abound for miles in this film and are revealed deliciously. Torrid affairs, sexuality secrets, and blackmail abound as revelations make their way to the surface and Altman knows exactly how to cast doubt or suspicion on many of his characters.

The compelling relationship between American film producer Morris Weissman and his valet, Henry Denton (Ryan Phillipe), along with the domineering head housekeeper, Mrs. Wilson (Helen Mirren) are my favorite characters and dynamics.

How clever that Maggie Smith would play similar roles as stuffy aristocrats in both Gosford Park and Downton Abbey.

Rich in texture is the balancing between the haves and the have-nots and how those characters mix (sometimes in secret rendezvous!)

Typical of Altman films, the character dialogue commonly overlaps, and the actors largely improvise the script. In addition to being an actor’s dream, this quality gives a dash of realism to his films and Gosford Park is no exception.

Since there are so many characters and so many plots and sub-plots going on at once, my recommendation is to watch the film at least twice to fully comprehend the layers of the goings-on.

Gosford Park (2001) will become more and more appreciated.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Helen Mirren, Maggie Smith, Best Screenplay Written Directly for the Screen/Original Screenplay (won), Best Art Direction, Best Costume Design

Nashville-1975

Nashville-1975

Director Robert Altman

Starring Lily Tomlin, Keith Carradine, Karen Black

Top 100 Films #7

Scott’s Review #47

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Reviewed June 19, 2014

Grade: A

Nashville (1975)  is a brilliant film.

I have found that with each subsequent viewing, it creeps higher and higher on my list of favorite movies of all time.

The style is unique (largely improvised) and epitomizes creative freedom in the film during the 1970s.

Director Robert Altman lets his actors express themselves, even allowing them to write their songs, the dialogue overlaps at times, which results in a natural feeling as the viewer watches the cast of twenty-four principles intersect over five days at a political rally/country music festival.

It is pure Robert Altman at his finest.

Nashville is a satire of the political arena of the early 1970s and the Vietnam conflict and politicians, specifically.

The film certainly questions and challenges the government with an ironic patriotic setting (Nashville).

The country music industry was in an uproar upon the initial release of the film. It is a layered film that can be discussed and appreciated and every character is cared about.

I cannot adequately describe the multitude of nuances in each scene that are noticed over time.

Each character- even some with limited screen time is important to the story as are the political elements- the questions of wars, policies, etc. abound.

The chaotic bits and individual storylines come together at the end and many background happenings are incredibly interesting to watch and take note of throughout each viewing.

With each experience, the audience will notice more and more. I certainly do.

Lily Tomlin, for example, plays Linnea, a haggard mother of deaf children with a supportive husband, a woman who on the surface is heroic, yet she is a complex character; she is bored with her life and falls in love with a young musician despite the guilt and repercussions.

The musician in question is Tom Frank, played by Keith Carradine. Handsome, and self-absorbed, he arrives in Nashville to dump his bandmates in hopes of a solo career and beds many willing females.

He also lashes out at a soldier at the airport, saying, “Kill anyone lately?”

Despite his unlikeable character, Carradine gives one of the most beautiful performances in the film when he sings “I’m Easy”.

Several of the female characters assume he is singing the song for them, but who is he truly singing it for…if anyone?

Another character to analyze is Barbara Jean, played by Ronee Blakley. A frail yet very successful country singer, she is in and out of hospitals as she frets about her replacement singer stealing her thunder.

Her insecurities rise to the surface.

Insecurity is a common theme among the characters. Many of them are either unsure, afraid, or not confident about their musical talent, their relationships, or even themselves.

These are only three examples of the twenty-four richly layered characters- some ambitious, some falling apart, others meandering through life.

Many songs throughout were created by the actors themselves.

Nashville (1975) is storytelling and filmmaking at its best. A creation by Altman that is deservedly admired, revered, and heralded as a major influence.

It is studied in film schools as it should be.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Ronee Blakley, Lily Tomlin, Best Original Song-“I’m Easy” (won)