In 'Round Midnight, real-life jazz legend Dexter Gordon brilliantly portrays the fictional tenor sax player Dale Turner, a musician slowly losing the battle with alcoholism, estranged from ... See full summary »
Biswambhar Roy is a zamindar (landlord) and the last of his kind. With the title, he has none of the perquisites, inheriting diminishing lands that are being eroded by the neighbouring ... See full summary »
This movie tells the intersecting stories of various people connected to the music business in Nashville. Barbara Jean is the reigning queen of Nashville but is near collapse. Linnea and Delbert Reese have a shaky marriage and 2 deaf children. Opal is a British journalist touring the area. These and other stories come together in a dramatic climax. Written by
The role of Linnea Reese was created for and by Louise Fletcher, who herself was the daughter of two deaf parents and knew sign language. The role was eventually played by Lily Tomlin. Tomlin concluded that things worked out in the end because she was offered the role of Nurse Ratched in One Flew Over the Cuckoo's Nest (1975) and turned it down, which enabled Fletcher to eventually get it, so in a sense they simply traded roles. See more »
Two policemen directing traffic - one waving and another carrying a bullhorn - are visible in the middle of the interstate during the car crash as the bus crashes into the pileup. See more »
You're supposed to wear the blue dress when I wear this.
I don't want to dress like twins anymore.
We're not twins. We're a trio.
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The opening credits are modeled after a 1970s era TV commercial for a "greatest hits" record album compilation, with the actors in the film announced by a DJ as if they were artists whose songs were featured on the album. See more »
I saw Nashville when it was first shown, billed as Altman's "birthday card" to America on the occasion of the bicentennial. The greatest tribute I can pay is that, despite its frequent shifts of location, many individual scenes and characterizations, as well as the overarching story line, remained vivid in my mind over the years before I was able to purchase the film on video. When I taught Film History at my college I used Nashville as the final examination for the course. After having viewed the film, students were instructed to identify the elements of film technique previously studied(such as overlapping dialogue, jump shots, widescreen, etc) in order to forward the narrative, as they were employed by Altman. In general, they did very well; even those who disliked the film. There are too many admirable performances for me to mention; however, those that remained most vivid in my mind over the years were those of Gwen Welles, Ronee Blakley, Henry Gibson, and Lily Tomlin. One last note of appreciation regards the fact that all the characters were introduced within the first twenty minutes at the airport; their personalities brought out in the highway scene;and their being brought together again, cyclically, during the last twenty minutes at the "Parthenon". It has been several years since I used Nashville for pedagogical purposes. When I purchased the DVD recently I found that, despite my numerous viewings and classroom analysis, the impact was virtually the same as when I first saw it in 1976. For me, it did not "murder to dissect" this personal milestone.
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