IMDb > Nashville (1975)
Nashville
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Nashville (1975) More at IMDbPro »

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Overview

User Rating:
7.8/10   14,689 votes »
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Director:
Writer:
Joan Tewkesbury (written by)
Contact:
View company contact information for Nashville on IMDbPro.
Release Date:
21 September 1975 (UK) See more »
Genre:
Tagline:
Wild. Wonderful. Sinful. Laughing. Explosive. See more »
Plot:
Over the course of a few hectic days, numerous interrelated people prepare for a political convention as secrets and lies are surfaced and revealed. Full summary » | Full synopsis »
Awards:
Won Oscar. Another 23 wins & 24 nominations See more »
User Reviews:
Does Christmas smell like oranges to you? See more (146 total) »

Cast

  (in credits order) (verified as complete)

David Arkin ... Norman
Barbara Baxley ... Lady Pearl

Ned Beatty ... Delbert Reese

Karen Black ... Connie White

Ronee Blakley ... Barbara Jean
Timothy Brown ... Tommy Brown

Keith Carradine ... Tom Frank

Geraldine Chaplin ... Opal

Robert DoQui ... Wade (as Robert Doqui)

Shelley Duvall ... L. A. Joan

Allen Garfield ... Barnett

Henry Gibson ... Haven Hamilton

Scott Glenn ... Pfc. Glenn Kelly

Jeff Goldblum ... Tricycle Man

Barbara Harris ... Albuquerque

David Hayward ... Kenny Fraiser

Michael Murphy ... John Triplette
Allan F. Nicholls ... Bill (as Allan Nicholls)
Dave Peel ... Bud Hamilton

Cristina Raines ... Mary

Bert Remsen ... Star

Lily Tomlin ... Linnea Reese
Gwen Welles ... Sueleen Gay

Keenan Wynn ... Mr. Green
James Dan Calvert ... Jimmy Reese
Donna Denton ... Donna Reese
Merle Kilgore ... Trout
Carol McGinnis ... Jewel
Sheila Bailey ... Smokey Mountain Laurel
Patti Bryant ... Smokey Mountain Laurel
Richard Baskin ... Frog
Jonnie Barnett ... Himself
Vassar Clements ... Himself
Misty Mountain Boys ... Themselves
Sue Barton ... Herself

Elliott Gould ... Himself

Julie Christie ... Herself
rest of cast listed alphabetically:

Steve Earle ... Concert-goer (uncredited)
Maysie Hoy ... Maysie Hoy (uncredited)
Bill Jenkins ... Announcer at Airfield (uncredited)
Thomas Hal Phillips ... Hal Phillip Walker (uncredited)

Patrick Reynolds ... Grand Ole Opry Performer (uncredited)

Gailard Sartain ... Man at Lunch Counter (uncredited)

Howard K. Smith ... Howard K. Smith (uncredited)
Joan Tewkesbury ... Tom's Lover / Kenny's Mother (uncredited) (voice)

Directed by
Robert Altman 
 
Writing credits
Joan Tewkesbury (written by)

Produced by
Robert Altman .... producer
Scott Bushnell .... associate producer
Robert Eggenweiler .... associate producer
Martin Starger .... executive producer
Jerry Weintraub .... executive producer
 
Original Music by
Arlene Barnett 
Jonnie Barnett 
Karen Black 
Ronee Blakley 
Gary Busey 
Juan Grizzle 
Allan F. Nicholls 
Dave Peel 
Joe Raposo 
 
Cinematography by
Paul Lohmann (director of photography)
 
Film Editing by
Dennis M. Hill  (as Dennis Hill)
Sidney Levin 
 
Set Decoration by
Robert M. Anderson (uncredited)
 
Makeup Department
Marvin C. Thompson .... makeup artist (as Tommy Thompson)
Ann Wadlington .... hair stylist
 
Second Unit Director or Assistant Director
Alan Rudolph .... assistant director
Tommy Thompson .... assistant director
 
Art Department
Robert M. Anderson .... property master (as Bob Anderson)
 
Sound Department
Randy Kelley .... assistant sound editor
Chris McLaughlin .... sound
Richard Portman .... sound re-recording mixer
William A. Sawyer .... sound editor
James E. Webb .... sound (as Jim Webb)
Richard Oswald .... sound effects editor (uncredited)
Donald C. Rogers .... technical director of sound (uncredited)
Fred Schultz .... multi-track dailies transfer operator (uncredited)
Dan Wallin .... sound re-recording mixer (uncredited)
 
Camera and Electrical Department
Randy Glass .... electrical gaffer
Edmond L. Koons .... camera operator (as Ed Koons)
Eddie Lara .... grip
J. Michael Marlett .... electrical gaffer (as Mike Marlett)
Harry Rez .... grip
Robert Reed Altman .... second assistant camera (uncredited)
 
Costume and Wardrobe Department
Jules Melillo .... wardrobe
 
Editorial Department
Tony Lombardo .... assistant editor
Tom Walls .... assistant editor
Mark Eggenweiler .... assistant editor (uncredited)
Maysie Hoy .... assistant editor (uncredited)
 
Music Department
Richard Baskin .... music arranger
Richard Baskin .... music supervisor
Gene Eichelberger .... music recordist
Johnny Rosen .... music recordist
Daniel J. Johnson .... assistant music editor (uncredited)
Ken Johnson .... music editor (uncredited)
Dan Wallin .... score mixer (uncredited)
 
Transportation Department
Gene Clinesmith .... driver (uncredited)
 
Other crew
Stephen Altman .... production assistant (as Steve Altman)
Jac Cashin .... assistant to producer
Elaine Di Bello Bradish .... production secretary (as Elaine Bradish)
Angel Dominguez .... production assistant
Mark Eggenweiler .... production assistant
Roger Frappier .... production assistant
Ron Hecht .... production assistant
J. Allen Highfill .... production assistant (as Allan Highfill)
Maysie Hoy .... production assistant
Joyce King .... script supervisor
Kelly Marshall .... production coordinator
Dan Perri .... title designer
Thomas Hal Phillips .... political campaign
Noreen Beasley .... assistant: Dan Perri (uncredited)
Lary Crews .... production assistant (uncredited)
 
Crew believed to be complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Runtime:
159 min
Country:
Language:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
4-Track Stereo (magnetic prints)

Did You Know?

Trivia:
Each actor was required to write and perform their own songs for the movie.See more »
Goofs:
Crew or equipment visible: Two policemen directing traffic - one waving and another carrying a bullhorn - are visible in the middle of the interstate during the car crash as the bus crashes into the pileup.See more »
Quotes:
Barnett:[In Barbara Jean's hospital room] Now, where's Barnett goin'? Where am I goin'? Hmm?
Barbara Jean:King of the Road.
Barnett:Why am I goin' there?
Barbara Jean:To see Connie.
Barnett:And why am I doin' that?
Barbara Jean:To thank her for singin' at the Opry.
Barnett:Now, who am I doin' that for?
Barbara Jean:You're doin' it for me.
Barnett:That's right. Now, I'm walkin' out now. What do you say as I walk out? You say bye-bye.
Barbara Jean:Bye.
[...]
See more »
Soundtrack:
It Don't Worry MeSee more »

FAQ

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81 out of 104 people found the following review useful.
Does Christmas smell like oranges to you?, 7 December 2003
Author: Bill Slocum (bill.slocum@gmail.com) from Greenwich, CT United States

The opening shot of "Nashville" shows a van with a loudspeaker offering platitudes from Hal Phillip Walker, Replacement Party candidate for President and the perfect middleman for the movie "Nashville," which like the never-seen candidate offers a series of apparently disconnected vignettes that touch on deeper truths but remain enigmatic and yet, somehow, substantial and truthful.

"Nashville" is the kind of film scholars champion and no one else watches, which is a shame because it has a lot to offer, and not just to pointyheads. I avoided it for years because of Pauline Kael's iconographic reviews in the New Yorker. If she liked it so much, it couldn't be that good. It was a film where Eastern intellectuals took their shots at country yokels like so many fish in a barrel. Boy, was I wrong.

"Nashville" is an empathic, genuine-feeling soap opera set to country & western music, the kind they used to play before Faith Hill and the Dixie Chicks revamped Nashville into Hollywood East. The movie takes a while to get started, and viewers are required to stick with a seemingly random group of characters with the most tangential series of relationships to one another. Over time, however, the vignettes gel into a mosaic of related setpieces that seem to move in tandem, until by the end, they gain a sort of terminal velocity that feels almost like destiny.

There are nearly 30 characters at the center of "Nashville." Some are stars, like Ronee Blakley's fragile Barbara Jean and Henry Gibson's Haven Hamilton. Some are wanna-bes, like Gwen Welles' desperate and pathetic Sueleen Gay and Barbara Harris's red-dot-fixated Albuquerque. Some are good-hearted, like Barbara Baxley's Kennedy-loving Lady Pearl and Lily Tomlin's sign-literate Linnea Reese. Then there's folks like Michael Murphy's sleezy politico John Triplette, Geraldine Chaplin's sophistic reporter Opal, and Shelley Duvall's shallow and slutty L.A. Joan, whom one wishes weren't more representative of the human race.

The nice thing about "Nashville," actually the great thing about it, is how we see these people in such depth and richness. Haven Hamilton opens the film as a petty dictator of sorts, running his recording studio like a rhinestone Hitler as his eyes flash and roll for signs of petty trespass, but we grow to like his hokey showmanship and his genuine impulse to entertain and, at the end, see to it Nashville does not disintegrate into another Dallas. He's not a bad guy, he just has bad moments, and virtually the same can be said of nearly everyone in this film.

Is "Nashville" a political film? There's Hal Phillip Walker, and a final act of political assassination, but it seems more cultural. Certainly it's not topical, though a Washington outsider did win the Presidency in 1976. We aren't really encouraged to take Walker too seriously, not with those wild-eyed Walker girls waving placards with their frosted Manson-girl gazes. Is it a satire of Nashville, or Middle America? It's far more brutal when it takes on the smarmy Triplette, or the transatlantic twit Opal, who seem the most contemptuous of Southern values. Talk about not having a clue.

By the second half of the film, we are locked into all the personal dramas and moments of revelation, to the point we feel them more than the characters themselves. Like Linnea's moment of truth at a dive when Keith Carradine's Tom sings "I'm Easy" as a desperate come-on to her, while three other women think wrongly it is being sung to them and react in varying degrees of smugness. Tomlin can't sing gospel, and she's not as funny as she was in "Laugh In," but her reaction to his performance in that scene fully merited her Oscar nomination. Her eyes are Garbo-inert, and her head seems stapled to the wall as she wishes with all her heart this cup will pass her by.

I wouldn't say that's my favorite scene. It keeps changing with every viewing. I really reacted strongly to Barbara Harris's culminating performance of "It Don't Worry Me" after watching the film for the first time just after 9/11, though it does seem a trifle more apathetic than defiant upon reflection. Still, it has incredible power, because it's sarcastic, hopeful, and revelatory all at once. It's also a perfect note with which to end a rare film that manages to skewer and honor its subject simultaneously, yet ultimately manages to find the redeeming goodness in the blackest night.

Was the above review useful to you?
See more (146 total) »

Message Boards

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one scene that I've never been able to understand zbthunderwood
Why no blu ray? rudden
The Mr. Green and Martha storyline - spoilers Valentino55
Timeless classic that applies to today (major spoilers) Writerchamp13
what was the name of the stupid bike? rezbipul-1
Does anyone else wish they'd re-release the soundtrack w/ extra music? fakecountryallstar
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