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 »
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 film was very much improvised by the actors, who used the screenplay only as a guide. They spent a great amount of their time in character, and the movie was shot almost entirely in sequence. 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 »
What's the matter with you? Ain't you gonna talk to me? Did it go all right?
I had to do me a striptease tonight in front of all those men... in order to get to sing at the Parthenon with Barbara Jean.
Oh, shit, Sueleen, I... That's dreadful! That's terrible, girl! I mean... I don't know how to tell you this, but I been meanin' to... you can't sing. You may as well face the fact you cannot sing. You ain't never gon' be no star. I wish you'd give it up. They gon' kill ya. They ...
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In the opening credits, the featured actors and actresses are announced by a radio deejay as though they were country music stars. See more »
After having seen this film for the third time - the first was in film school many years ago - I'm struck by the amount of action going on within many of the shots. Mention is frequently made of Altman's use of overlapping dialogue in the sound but what struck me this time around is how often two or more characters, acting out different lines of the story are captured within the same shot - giving this film much of its sense of verisimilitude, a fantastic control of pace while feeling natural. Unarguably, much of its naturalism comes from the lens and cinematographic choices but part of it also stems from the choices made available in the cutting room, which give it an excellent pace and rhythm.
Add to that some wonderful performances, especially by Henry Gibson and Ronee Blakely, and you have a quintessential American Independent film that speaks about America in terms that no marketing agency of the current generation would ever tolerate.
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