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. Millie is ... See full summary »
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 »
A fictionalized former President Richard M. Nixon offers a solitary, stream-of-consciousness reflection on his life and political career - and the "true" reasons for the Watergate scandal and his resignation.
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 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 »
Altman's Masterpiece: "The Damnedest Thing You Ever Saw"
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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