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 »
In 1984, British newspaper reporter Arthur Stuart is investigating the career of 1970s glam rock star Brian Slade, who was heavily influenced in his early years by American rock singer Curt... See full summary »
Jonathan Rhys Meyers,
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
In response to those who believed the film was almost totally improvised and had little or no script, screenwriter Joan Tewkesbury insisted that there was a solid script written by Robert Altman and herself that dictated all the actions of all the characters, and that the improvisational elements added by the actors were solely in aspects of the dialogue. See more »
When attempting to interview Tommy Brown, Opal says that she is from the BBC. When questioned, she explains that this stands for the British Broadcasting Company. It actually stands for the British Broadcasting Corporation. This was intentionally done to insinuate that Opal doesn't actually work for the BBC and was an impostor. Geraldine Chaplin confirmed this in a 2000 interview in Premiere magazine. See more »
Hal Philip Walker:
Who do you think is running Congress? Farmers? Engineers? Teachers? Businessmen? No, my friends. Congress is run by lawyers. A lawyer is trained for two things and two things only. To clarify - that's one. And to confuse - that's the other. He does whichever is to his client's advantage. Did you ever ask a lawyer the time of day? He told you how to make a watch, didn't he? Ever ask a lawyer how to get to Mr. Jones' house in the country? You got lost, didn't you? Congress is composed of five ...
See more »
The song "It Don't Worry Me" continues to play long after the end credits have stopped rolling. See more »
Nashville couldn't understand "Nashville," and no wonder. Anyone who watches "Nashville" for insights to country music probably views "The Godfather" for tips about olive oil. Altman's 1975 film uses country music and the people who perform, listen to and produce it as a metaphor about America in the '70s, when, as Warren Beatty said in "A Parallax View," released a year earlier, "everytime you turned around, one of the best people in the country was getting shot." Anyone who has seen the film and visits the Parthenon, where the final scenes are filmed, may feel a sense of unease. Listen closely and you can hear Haven Hamilton pleading to the stunned crowd, "Show them what we're made of! They can't do this to us here! This isn't Dallas; this is Nashville!"
The ending is astonishing, tidying up some plot lines and leaving others open ended. A star is born when the Albuquerque character and a gospel group minus its leader belt out a Nashville standard, "It Don't Worry Me." The Sueleen Gay character, meanwhile, suffers one final indignity; Albuquerque, on the same stage and with the same ambitions, achieves the fame that might have gone to Sueleen, a waitress/stripper/wanna-be recording artist, had Sueleen gotten the microphone first.
We never know what caused the Kenny Frazier character to crack; perhaps like Mark David Chapman (John Lennon) he was obsessed with the Holden Caulfield character in "Catcher in the Rye," although we can feel fairly certain that he did not share John David Hinckley's (President Reagan) obsession with Jodie Foster since "Taxi Driver" would not be released for another year.
Watching "Nashville" for the first time, you may feel protective of Barbara Jean's character for reasons you can't immediately explain but will learn all too well. I feel the same urge to shout at the screen, warning her character of possible danger, that I experienced in "From Here to Eternity," knowing that Pearl Harbor was imminent and would change everything.
Characters transform before our eyes. Del Reese (Ned Beatty), bored with his marriage to a Nashville superstar and as a father to hearing-impaired children, cares enough at the end to lead a wounded Haven Hamilton to safety. Hamilton (masterfully played by Henry Gibson) would stomp anyone in his path to create a hit record but is the first to care for Barbara Jean in her moment of need.
Sure, some of the songs are terrible -- some country music is terrible -- but could anything be more poignant than Barbara Jean's rendition of "My Idaho Home" or Keith Carradine singing "I'm Easy" in a nightclub where four of his conquests look on equally with lust and bewilderment. Country singers, like stock-car drivers, inspire tremendous loyalty and jealousy among their fans, which Altman depicts beautifully when Scott Glenn, a devoted fan of Barbara Jean, leaves the Opry as Connie White appears to sing a tribute to her ailing rival. Hamilton's character is never better than when between songs he asks listeners to send Barbara Jean a card and "tell her that Haven told you to write."
Altman would rate among the greatest directors -- as the American Fellini -- if this were his only effort. Despite its convoluted plot structure, "Nashville" achieves greatness and searches for truth. If the 1970s shaped your life in any respect, this is a movie experience not to be missed.
46 of 65 people found this review helpful.
Was this review helpful to you?