Three showgirls on their way to Las Vegas have car trouble and are stuck all night out in the desert. The next morning cheerful Andre offers them help in fixing their car. However, Andre is... See full summary »
It's 1944 in the small town of Gregory, Texas. Divorcée Nita Longley has been brought into the town by the telephone company to work as its switchboard operator, a job which requires her to... See full summary »
Several lost-soul night-owls, including a nightclub owner, a talkback radio relationships counseller, and an itinerant stranger have encounters that expose their contradictions and ... See full summary »
Lesley Ann Warren
Nick Hart is a struggling American artist who lives amongst the expatriate community in 1920s Paris. He spends most of his time drinking and socializing in local cafés and pestering gallery... See full summary »
A harrowing look at the 60s and early 70s through the eyes of Katherine Alman, a wealthy debutante who slowly, but inexorably spirals down into a fight for the causes that shook a nation, ... See full summary »
Just released from prison, a young woman arrives in town to "start a new life", but soon begins stalking a married construction worker for no apparent reason, turning his life inside out and eventually terrorizing him and his wife.
This mosaic comedy-drama tells the story of a La Ronde-like circle of romantic adventures and failed affairs centered around a songwriter named Carroll Barber and his father Carl Barber. There is a trail of Carroll's past relationship spread throughout the city of Los Angeles. Barber is an aloof womanizer who cannot commit to any relationship, and is used to illustrate the loneliness of Los Angeles big-city life. Among the women in his life are Ann Goode, a lonely real estate agent, Karen Hood, a Valley housewife addicted to taxi rides, Linda Murray, a woman prone to vacuuming in the nude and Nona Bruce, the snapshot-taking mistress of a wealthy man. Written by
You can't help but compare it to the other big L.A. Statement Movies--Altman's SHORT CUTS, and P.T. Anderson's MAGNOLIA. I like Rudolph's way better than either of those: it's gentler, humbler, more observant, truer. Limiting himself to a dozen or so L.A. habitues, Rudolph starts with one funny, correct move: no movie people. The dances of disconnection, attempted connection, failed connection, and--stunning!--connection accomplished are as tender and as finely, thinly observed as Rudolph has ever pulled off. So many beautiful moments here: the best comes when Keith Carradine, as a dupe of his sleepy-stud character from NASHVILLE, breaks up a romance to go on a healing mission with a half-crazy housewife (Geraldine Chaplin). When his philandering with her rescues her marriage during a tense phone call in his apartment, Carradine's face spreads with gladness and relief. The rightness and the unexpectedness of the moment is fantastic. Even more than the goofy, enjoyably romantic CHOOSE ME, this is the one where Rudolph got it all right. And no other movie captures L.A.'s peculiar loneliness like this one: he doesn't hype anything or play to the tourist mentality--something that could not always be said for his mentor, and the movie's producer, Robert Altman.
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