The familiar tragic story of Vincent van Gogh is broadened by focusing as well on his brother Theodore, who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.
A parody and satire of the U.S. political scene of the time, HealtH is set at a health food convention at a Florida luxury hotel, where a powerful political organization is deciding on a new president.
A fashion show in Paris draws the usual bunch of people; designers, reporters, models, magazine editors, photographers. Lots of unconnected stories which all revolve around this show, and an all-star cast.Written by
Robert Altman filmed extensively during the real Parisian fashion catwalks, capturing the real spring collections of that year and a host of real-life celebrities. Altman and his writer Barbara Shulgasser then integrated several different storylines into the footage that they had acquired. See more »
In the hotel room, Anne Eisenhower lifts a glass of wine from Joe Flynn's dining cart with her left hand and takes a drink. Joe makes a comment and it can be seen that Anne's left arm is up to her face (she is visible from the chest down), but when we cut back to Anne the glass is in her right hand as she puts it down. See more »
[subtitled version - opening lines are in French, the English subtitles are a very rough translation]
Olivier de la Fontaine:
Moscow? What's this about? Put that on the desk. Dear Mr. de la Fontaine: blah, blah, blah, blah... blah, blah, blah, blah...
Isabella de la Fontaine:
Robin. Robin. I told you not to! It's dirty. You shouldn't do that. Not in the house.
[to Olivier de la Fontaine]
Isabella de la Fontaine:
You're a shit.
See more »
The film's opening scene where Mastroianni buys the 2 Dior ties is set in Moscow's Red Square and the first 2 lines of credits (a Miramax production and a Robert Altman film) appear solely in Cyrillic characters See more »
When you think of a Robert Altman film, what *should* come to mind are elements like bitingly sharp satire, clever takes on human interaction and a brilliant portrayal of the subject matter; in other words, a mirror is held up to the topic examined and reflected back to the audience with maybe a tweak, a twist or a knowing wink.
That's not the case with "Prêt-à-Porter" or "Ready To Wear," as it was released in its US theatrical run.
The problem with this film is a complete lack of focus and understanding about what happens during Market week in the fashion industry, what is important about it, and for this film, most crucially, what's interesting about it! The result shows that this time, the Auteur didn't do his homework.
The plot of the film is multi-layered, like all of Altman's work, so there's a lot going on, but each layer is more preposterous than the previous. Perhaps had only one of the threads been so off track, it could have still worked. However, with every element being a farcical storyline, it is simply too much to stomach.
Even with the all-star cast gathered on location in the City of Light, dealing with theft, love, murder, manipulation, a bald tattoo, a lot of champagne and a cliché about the sidewalks of that European capital, and... oh yeah! the world of fashion... you can confidently skip this chapter of the Altman story and know you didn't miss anything.
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