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 »
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 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 »
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 »
When the Mercedes bus (model O 309) breaks the gate-arm at the Nashville Airport (21:00 in), there is clear right-front damage, the bumper is bent, headlight broken, and there is no sign on the right side of the bus. But, at the freeway accident scene (22:12 in; on I-24 near Shelby Avenue), the passengers act like the damage just happened (saying: "Oh no." And looking at the damage), and now there is a sign on the right side that reads: "Connie White" and has her image. See more »
[In an automobile junkyard]
I'm wandering in a graveyard. The dead here have no crosses, nor tombstones, nor wreaths to sing of their past glory, but lie in rotting, decaying, rusty heaps, their innards ripped out by greedy, vulturous hands. Their vast, vacant skeletons... sadly sighing to the sky. The rust on their bodies... is the color of dried blood. Dried blood. I'm reminded of... of an elephant's secret burial ground. Yes. Cette aire de mystère. Cette essence de I'irréel. These cars are ...
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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 »
Can't believe I've taken this long to reply re: Nashville. It is simply the movie that has had the biggest influence on my life since I first had the honor of viewing it one hot August day in Seattle in 1975. Leaving the theatre dazed, numbed and shattered, in a way only a truly great work of art is able to accomplish, at having seen something so unique and so powerful it helped this then 21 year old Canadian see life and the possibility of film in an entirely different light. That's a pretty lofty thing for a movie to do, but Nashville is the most defining movie of my lifetime, the one that all others were judged by or compared to. Over the years I have viewed this movie countless times in second-run, revival houses, and even on television where it's impact is of course diluted by commercials and indifferent presentations It was the first movie I bought on DVD, even before I owned a player and have scoured newspapers, books and magazines long before the access of the internet to read everything available on this film. Unfortunately, Nashville's reputation suffered during the dark years of the 1980-90s (the complete exclusion from the AFI's list of 100 greatest films of all time was especially vexing but rallied a bit with its availability on DVD. True, it is a love it or hate it movie, most great works of art do bring out these strong emotions and I have experienced both during the close to 30 years since the movie's release, but for those of us who love it, there are very few others that compare.
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