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
All songs were recorded live rather than being prerecorded in a studio. See more »
In the conversation between Linnea and Opal in the car, Linnea is eating a popsicle while she tells Opal about her children. A moment later, the popsicle is nowhere to be seen. 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 song "It Don't Worry Me" continues to play long after the end credits have stopped rolling. 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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