A down on his luck gambler links up with free spirit Elliot Gould at first to have some fun on, but then gets into debt when Gould takes an unscheduled trip to Tijuana. As a final act of ... See full summary »
Two convicts break out of Mississippi State Penitentiary in 1936 to join a third on a long spree of bank robbing, their special talent and claim to fame. The youngest of the three falls in ... See full summary »
Pinky is an awkward adolescent who starts work at a spa in the California desert. She becomes overly attached to fellow spa attendant, Millie when she becomes Millie's room-mate. Mille is a... See full summary »
Robert Altman's jazz-scored film explores themes of love, crime, race, and politics in 1930s Kansas City. When Blondie O'Hara's husband, a petty thief, is captured by Seldom Seen and held ... See full summary »
Jennifer Jason Leigh,
Set in winter in the Old West. Charismatic but dumb John McCabe arrives in a young Pacific Northwest town to set up a whorehouse/tavern. The shrewd Mrs. Miller, a professional madam, arrives soon after construction begins. She offers to use her experience to help McCabe run his business, while sharing in the profits. The whorehouse thrives and McCabe and Mrs. Miller draw closer, despite their conflicting intelligences and philosophies. Soon, however, the mining deposits in the town attract the attention of a major corporation, which wants to buy out McCabe along with the rest. He refuses, and his decision has major repercussions for him, Mrs. Miller, and the town. Written by
John J. Magee <firstname.lastname@example.org>
During post-production on this film, 'Robert Altman' was having a difficult time finding a proper musical score, until he attended a party where the album "Songs of Leonard Cohen" was playing and noticed that several songs from the album seemed to fit in with the overall mood and themes of the movie. Cohen, who had been a fan of Altman's previous film, Brewster McCloud (1970), allowed him to use three songs from the album - "The Stranger Song", "Sisters of Mercy" and "Winter Lady" - although Altman was dismayed when Cohen later admitted that he didn't like the movie. A year later, Altman received a phone call from Cohen, who told him that he changed his mind after re-watching the movie with an audience and now loved it. See more »
At 1:41:38 into the film, when McCabe is hiding in the door of the hardware store, a leg and a foot of a crew-member are visible reflected in the window on the left. After the cutaway it is even clearer when the person moves. See more »
[muttering to himself]
I told you... Think I'm stupid?... S'exactly what I said. Six, six of 'em...
See more »
Filmmakers - intelligent ones - have to choose where they live in a film. The ordinary ones attach themselves to the narrative, usually the spoken narrative, so we get faces and clear, ordered speech to tell us what is going on. These are the most formulaic because there are after all only so many stories that are presentable.
Some attach themselves to characters, dig in and let those characters deliver a tale and situation. Often with the Italians and Italian-Americans, the camera swoops on a tether attached to these characters. I consider this lazy art unless there is some extraordinary insight into the relationship between actor and character.
And then there the few who attach themselves to a sense, a tone, a space. That situation has ideas and stories and talk, but they are only there as reflections from the facets of the place. Of the three, this is the hardest to do well; that's why so few try. And of those that do, most convey style only, not a place, not a whole presentation of the way the world works.
This film is about the best example I know where the world is 'real,' the situation governs everything and the primary substance is the presentation of a Shakespearian quality cosmology of fate.
The camera moves not so much with the story, but it enters and leaves. And there is not just one story, but many that we catch in glimpses. Words just appear in disorder as they do in life. Not everything is served up neat. We drift with the same arbitrariness as McCabe. It is not as meditative as 'Mood for Love' as it has something we can interpret as a story to distract us.
So as a matter of craft, this is an important film, one with painful fishhooks that stick. Beatty had already reinvented Hollywood with 'Bonny,' and was a co- conspirator in this. (If you are into double bills, see it with 'The Claim,' which is intended as a distanced remake/homage, that obliquely references Warren.)
Quite apart from the craft of the thing, and the turning of the Western on its head long before 'Unforgiven,' there are other values:
the notion that actors are imported into a fictional world as whores.
Not a new idea for sure, but so seamlessly and subtly injected here, it becomes just another one of the background stories. (Also referenced in 'Unforgiven.')
the business about the preacher trying to wrestle some old school
order from the overwhelming mechanics of arbitrary fate. This is the director's stance.
the final concept that the whole thing, McCabe and church and all is
an opium dream of the aptly named 'Constance,' dimly reinterpreting other events after the fashion of 'Edwin Drood.'
Ted's Evaluation -- 4 of 3: Every cineliterate person should experience this.
61 of 87 people found this review helpful.
Was this review helpful to you?