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 »
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
Robert Altman originally wanted Susan Anspach to play Barbara Jean, but she refused because she wanted more money. Ready to film in Nashville with no one cast in the role, Altman at the last minute offered it to Ronee Blakley, who was working as a back-up singer in Nashville at the time and had contributed some songs to the film. Blakley ended up receiving an Academy Award nomination for her performance. 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 »
And then comes Bobby. Oh, I worked for him. I worked here, I worked all over the country, I worked out in California, out in Stockton. Well, Bobby came here and spoke and he went down to Memphis and then he even went out to Stockton California and spoke off the Santa Fe train at the old Santa Fe depot. Oh, he was a beautiful man. He was not much like John, you know. He was more puny-like. But all the time I was workin' for him, I was just so scared - inside, you know, just scared.
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The song "It Don't Worry Me" continues to play long after the end credits have stopped rolling. See more »
An often-misunderstood masterpiece - full of life like no other movie
Much like some of the other comments about "Nashville" that are circulating around IMDB, the reviews I've seen of Robert Altman's 1975 Oscar contender have been completely adulatory or completely dismissive. Contrary to some comments I've read, "Nashville" looks as prescient and magnificent now as it appeared to some critics nearly thirty years ago. Dated? Absolutely not. "Nashville" is a movie about people more than anything else, but a political campaign van that appears throughout the movie shows the unavoidable nature of politics in people's lives in the 70's. Has that changed since then? It's even more true now, with our war in Iraq and all of the conflicting viewpoints that exist. Annoying overlapping dialogue? To dismiss this unique trait of "Nashville" is to hate the trademark of director Robert Altman. Do people wait their turn as if reading from a screenplay in real life? Muddy cinematography? Certainly not - to show a Nashville vibrant with colors that don't really fit (a crime that most visually overachieving movies commit) would distract from Altman's amazing focus on the relationships of the characters that he builds so well. And the characters....the dozens of cast members lend terrific support to a film that moves forward constantly while never seeming to move too fast, leaving time for moments of poignancy and heartbreak, as well as unintentionally hilarious moments (as every good pseudo-documentary film has). Who can forget Lily Tomlin gazing at her deaf children tenderly as their father completely ignores them as they speak? Or the moment Keith Carradine performs his Oscar-winning "I'm Easy" in front of a night club crowd? Really, "Nashville" is filled with great moments ALL the time that make the nearly three-hour film unmissable, but nothing in the world can prepare the patient viewer for the film's breathtaking finale which seems even more moving today in the midst of everything. Forget the "National Anthem" or "The Battle Hymn of the Republic." The gospel-esque strains of "It Don't Worry Me" make it the American song for the ages, in an American film that ranks among the best of its kind.
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