7.8/10
18,572
156 user 104 critic

Nashville (1975)

Over the course of a few hectic days, numerous interrelated people prepare for a political convention as secrets and lies are surfaced and revealed.

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Won 1 Oscar. Another 22 wins & 25 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Norman
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Lady Pearl
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Delbert Reese
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Timothy Brown ...
Tommy Brown
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Wade (as Robert Doqui)
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Tricycle Man
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Storyline

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 Reid Gagle

Plot Summary | Plot Synopsis

Taglines:

Wild. Wonderful. Sinful. Laughing. Explosive. See more »

Genres:

Comedy | Drama | Music

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

21 September 1975 (UK)  »

Also Known As:

Nashville, i polis ton ekplixeon  »

Box Office

Budget:

$2,200,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(magnetic prints)

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

During the filming of the car crash scene, drivers who were passing by stopped their cars and rushed to the scene of the "accident", carrying first aid kits and blankets. See more »

Goofs

In the conversation between Linnea and Opal in the car, Linnea is eating a popsicle while she tells Opal about her children. A moment later, the popsicle is nowhere to be seen. See more »

Quotes

Opal: Oh, you've got a Hal Phillip Walker button. No, it's Kennedy. Isn't that rather ancient? Strange. I thought that everybody in the South didn't go for Kennedy.
Lady Pearl: It's John Fitzgerald Kennedy. Well, he, he took the whole South except for Tennessee, Florida, Kentucky. And there's a reason he didn't take Tennessee but he got 481,453 votes and the asshole got 556,577 votes...
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Crazy Credits

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 »


Soundtracks

Keep A-Goin'
Written by Richard Baskin and Henry Gibson
Performed by Henry Gibson
Lions Gate Music Co. (ASCAP) / Landscape Music Co. (BMI) / Silvery Moon Music (ASCAP) / Plumbago Publishing Co. (BMI)
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User Reviews

 
Altman's Masterpiece: "The Damnedest Thing You Ever Saw"
21 May 2005 | by (Biloxi, Mississippi) – See all my reviews

Robert Altman is an extremely divisive director in the sense that you either "get it" or you don't--and those who don't despise his work and take considerable pleasure in sneering at NASHVILLE in particular. But there is no way around the fact that it is an important film, a highly influential film, to most Altman fans his finest films, and to most series critics quite possibly the single finest film made during the whole of the 1970s.

According to the movie trailer available on the DVD release, NASHVILLE is "the damnedest thing you ever saw"--and a truer thing was never said, for it is one of those rare film that completely defies description. On one level, the film follows the lives of some twenty characters over the course of several days leading up to a political rally, lives that collide or don't collide, that have moments of success and failure, and which in the process explore the hypocrisy that we try to sweep away under the rug of American culture. If it were merely that, the film would be so much soap-opera, but it goes quite a bit further: it juxtaposes its observations with images of American patriotism and politics at their most vulgar, and in the process it makes an incredibly funny, incredibly sad, and remarkably savage statement on the superficial values that plague our society.

What most viewers find difficult about NASHVILLE--and about many Altman films--is his refusal to direct our attention within any single scene. Conversations and plot directions overlap with each other, and so much goes on in every scene that you are constantly forced to decide what you will pay attention to and what you will ignore. The result is a film that goes in a hundred different directions with a thousand different meanings, and it would be safe to say that every person who sees it will see a different film.

In the end, however, all these roads lead to Rome, or in this case to the Roman coliseum of American politics, where fame is gained or lost in the wake of violence, where the strong consume the weak without any real personal malice, and where the current political star is only as good as press agent's presentation. For those willing and able to dive into the complex web of life it presents, Altman's masterpiece will be an endlessly fascinating mirror in which we see the energy of life itself scattered, gathered, and reflected back to us. A masterpiece that bears repeated viewings much in the same way that a great novel bears repeated readings. A personal favorite and highly, highly recommended.

Gary F. Taylor, aka GFT, Amazon Reviewer


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