| Cast overview, first billed only: | |||
| George Segal | ... | Bill Denny | |
| Elliott Gould | ... | Charlie Waters | |
| Ann Prentiss | ... | Barbara Miller | |
| Gwen Welles | ... | Susan Peters | |
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Edward Walsh | ... | Lew |
| Joseph Walsh | ... | Sparkie | |
| Bert Remsen | ... | Helen Brown | |
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Barbara London | ... | Lady on the Bus |
| Barbara Ruick | ... | Reno Barmaid | |
| Jay Fletcher | ... | Robber | |
| Jeff Goldblum | ... | Lloyd Harris | |
| Barbara Colby | ... | Receptionist | |
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Vincent Palmieri | ... | First Bartender (as Vince Palmieri) |
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Alyce Passman | ... | Go-Go Girl |
| Joanne Strauss | ... | Mother | |
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 desperation, he pawns most of his possessions and goes to Reno for the poker game of a lifetime. A film set mainly in casinos and races, as the two win and lose (but mainly win), get robbed, and get blind drunk. Written by David B-2
Of their work together, the three films reach the tops of acting, directing and just overall fine filmwork of the latest golden age of American film - MASH, The Long Goodbye and this entirely out of print gem, California Split. I have long wanted to see California Split and my local video store just got in a nice new bootleg that looks good, though it's pan /scan. The opening titles shots (which are in widescreen) and show Gould softly babbling to himself and watching a gambling instructional video are incredible - and it would be amazing to see the whole movie in proper aspect ratio. The interplay between Gould and Segal is - I think - deeper and more compelling than the taken-for-granted war-forced friendship between Gould and Sutherland in MASH. Still, I think almost nothing is better than Gould just by himself, friendless, and constantly disappointed in humanity the way he is in The Long Goodbye. All three are fantastic, and they would make a fine widescreen DVD package, but as usual Altman's best work gets only a fraction of the credit it deserves.