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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 »
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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
After seeing the first footage of her work in the traffic jam scene, Barbara Harris reportedly ran out of the projection room, went home, and asked Robert Altman to meet with her immediately. Unhappy with her performance, Harris offered to put up her own money to have the scene re-shot. Altman told her no. See more »
Howard K. Smith does a report on Hal Phillip Walker, including that he had won three primaries and was close to winning the primary in Tennessee. In the movie, Walker was not running as a Democrat or Republican, but is a third-party candidate running as the "Replacement Party". He therefore would not have participated in any other party's primary and could not have been reported as having won any primaries. 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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