Altman. It’s an incredible filmography. Altman has 16 archiveable films, 6 top 500 films, and 9 top 100 films of their respective decade. His 1970’s decade was incredible—a whopping 9 films in the archives and 6 in the top 100 of the 1970’s (a considerable decade in film). He might not be Scorsese behind the camera but he’s a stylish director in his own right. I think the problem is my drop-off after Nashville is pretty substantial. Atlman only has one film in my top 200 and at this level (and higher) that’s pretty rare.
Best film: Nashville is just a giant masterpiece (#61 of all-time and completely emblematic of Altman’s visual and narrative stylishness). Simply put, it’s one of the best films of the 1970’s. Affecting, hilarious, well-acted, and of course, Altman at the height of his aesthetic and storytelling powers as a director.
total archiveable films: 16
top 100 films: 1
– dp Vilmos Zsigmond
top 500 films: 6 (Nashville, McCabe & Mrs. Miller, MASH, Gosford Park, The Long Goodbye, The Player)
top 100 films of the decade: 9 (Nashville, McCabe & Mrs. Miller, MASH, The Long Goodbye, California Split, 3 Women, The Player ,Short Cuts, Gosford Park)
most overrated: Short Cuts chimes in at #485 on the TSPDT consensus list and I couldn’t quite find a spot for it in my top 500 but I appreciate the greatness of the film.
most underrated: MASH is #247 for me and #891 all-time on the TSPDT list. No way in hell there are 890 better movies. MASH has some of Gould and Sutherland’s best work right off the bat in the 70’s Altman is firing with overlapping dialogue, zooming all over the place, and a big middle-finger at the establishment. I’m guessing the slapstick football ending is what isn’t aging well for some viewers… I mean it’s very good slapstick- if people don’t like slapstick that is a taste preference. It’s certainly in step with the film’s form, that genre’s great history (winking at everyone from Harold Lloyd’s The Freshman to the Marx brothers’ Horse Feathers) and the greater point and criticism Altman is trying to get across (the absurdity of all of this).
gem I want to spotlight: The Player. Robert Altman’s The Player was a major comeback for the artist who was right there on the Mount Rushmore of the American new wave of cinema in the 1970’s with Coppola and Scorsese. I’ve seen the film at least a half dozen times. It’s a solid top 10 film of 1992 even if it falls short of Spike Lee’s Malcolm X, Eastwood’s Unforgiven and maybe even Reservoir Dogs, The Last of the Mohicans and Twin Peaks: Fire Walk With Me. What struck me most about this most recent viewing of The Player is the opening long take which is, deservingly, quite famous. It’s a wonderful long take that pays tribute to other famous long takes with the characters dialogue (mainly Fred Ward) during the scene. It’s both breathtaking and damn funny. What stuck out to me while watching it this time was how Altmanesque this long-take is. There’s overlapping dialogue (another Altman trait), satire (of course), and tons of camera zooms. It’s not fluid like Ophuls and it doesn’t frame faces at fantastic angles like Iñárritu (which you could argue he got from Kalatozov). It really shows that not all “oners” or long-takes are the same. Compare this one with Welles’ Touch of Evil (which Altman mentions in the text as an overt homage), Cuaron in Children of Men. or Bela Tarr, Joe Wright, De Palma, Godard (Weekend), Antonioni’s Passenger, Scorsese, Hitch or Kubrick…..They are all subtly different and I take great satisfaction in seeing that Altman can pay tribute to Welles but still make this shot his own. His long take isn’t beautiful like many of the others—it’s pure Altman—which really is better.
stylistic innovations/traits: Redoing genres (war film, western, gangster film (Thieves Like Us), noir/detective,) is a good start. Many of Altman’s films were sprawling ensemble narratives (Nashville, Gosford Park, Short Cuts). Visually he had those beautiful zoom shots that allowed him to pick and choose which characters from his ensembles to eavesdrop in on. Married to the zooms is the overlapping dialogue (or “cross talk”)– the multitrack sound has got to hurt his reputation abroad with non-English language critics. I’ve written about this before but on a list like TSPDT that is incorporating more and more lists from other continents typically overlooked (which I have mixed feelings about) I feel like Altman suffers (he’s rated 44th on TSPDT director list). I mean look at his films- they are so quintessentially American (obviously Gosford Park and Vincent and Theo are the exception). Many depict the nuance of a city (Nashville, Kansas City, Short Cuts) or the celebration (or satirizing of Americana itself (Prairie Home, Buffalo Bill). I’d be remiss if I didn’t acknowledge how much I appreciate Altman’s dedication to “middle-finger cinema” like Bunuel (takes the “last supper” shot from Viridiana for MASH) or Pasolini. Nashville, The Player, Buffalo Bill, McCabe, MASH (sometimes shockingly so), Thieves Like Us…all a big middle finger to the establishment, Hollywood, America, the church, politicians, etc. For the record, I don’t care what his (or Bunuel’s or anyone else’s stance is—I just like that he’s committed to it as an artist.
top 10
- Nashville
- McCabe & Mrs. Miller
- MASH
- Gosford Park
- The Long Goodbye
- The Player
- Short Cuts
- California Split
- 3 Women
- Buffalo Bill and the Indians
By year and grades
| 1970- Brewster McCloud | R |
| 1970- M.A.S.H. | MP |
| 1971- McCabe & Mrs. Miller | MP |
| 1973- The Long Goodbye | MS |
| 1974- California Split | HR |
| 1974- Thieves Like US | R |
| 1975- Nashville | MP |
| 1976- Buffalo Bill and the Indians | R |
| 1977- Three Women | HR |
| 1982- Come Back to the Five and Dime Jimmy Dean | R |
| 1990- Vincent and Theo | R |
| 1992- The Player | HR/MS |
| 1993- Short Cuts | HR |
| 1999- Cookie’s Fortune | R |
| 2001- Gosford Park | MS |
| 2006- A Prairie Home Companion | R |
*MP is Masterpiece- top 1-3 quality of the year film
MS is Must-see- top 5-6 quality of the year film
HR is Highly Recommend- top 10 quality of the year film
R is Recommend- outside the top 10 of the year quality film but still in the archives
Study Summary: Robert Altman
Robert Altman is one of the great American auteurs. I emphasize “American” not only because Altman came along during the “American New Wave” but also because much of Altman’s films have elements or themes associated with Americana. His most highly acclaimed film, Nashville, has a storyline that is set around America’s 200th anniversary. Nashville also is set around country music, a distinctly American music genre. Several of Altman’s films subvert the well-known American film genres of Westerns and Film Noir
Altman excels at camera movement including his signature zooms, overlapping dialogue, and editing. The zooms are effective in capturing crucial details as well as increasing the context of a particular image. The overlapping dialogue puts the viewer in the room with the characters they are watching on screen. I love John McCabe’s entrance at the opening of McCabe and Mrs. Miller to use one example
Altman is the king of the ensemble in my view. Nashville (1975), The Player (1992), Gosford Park (2001), and Short Cuts (1993) in particular are able to jumble the stories of numerous characters. Especially Nashville and Short Cuts. It is unbelievable how seamless those two films are as they move between characters and stories lines in a way that feels so natural
McCabe and Mrs. Miller is Altman’s best film in my opinion. The consensus has Nashville (1975) as his single best work, and I certainly do not have a problem with that. Nashville is not only a remarkable achievement when viewed as an isolated work but is perhaps the most emblematic of Altman’s entire filmography. When I update my greatest films list both films will be in the top 100. McCabe and Mrs. Miller is Altman’s most beautiful film and that is not ordinarily one of his strengths. Between the gorgeous imagery, compelling lead performances, along with Altman’s audio and visual hallmarks make it an all-time great film
As stated above, Altman has an extensive filmography, so I tried to capture his top-level work. I am certainly not implying that all of his other work is not unworthy of a viewing. I intended on covering Thieves Like Us (1974) but I could not find a version with a decent transfer quality
The Long Goodbye (1973) is perhaps the greatest neo-noir outside of Chinatown (1974). And by neo-noir I am referring to films released outside of the 1941 to 1958 Film Noir era. The genre label neo-noir seems to be used far too frequently as I have seen this label applied to films such as Mulholland Drive (2001) and Heat (1995) despite by some critics even though they really are not true neo noirs
Altman tried his hand with more character driven psychological dramas as well. In particular Images (1972) and more importantly 3 Women (1977) which feels like a fever dream. These films are less plot focused and instead are more character driven
Altman’s films are extremely rewatchable so I will definitely watch the majority of these in the future
Final Ranking and Grades:
# 1 McCabe and Mrs. Miller (1971) – MP
# 2 Nashville (1975) – MP
# 3 The Long Goodbye (1973) – MP
# 4 Gosford Park (2001) – MP/MS
# 5 M*A*S*H (1970) – MP/MS
# 6 Three Women (1977) – MS
# 7 The Player (1992) – MS
# 8 Short Cuts (1993) – MS
# 9 Images (1972) – HR
# 10 California Split (1974) – HR/R
# 11 Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (1976) – R
# 12 Secret Honor (1984) – R (Fringe)
@James Trapp- this is really good work- and you made the right call waiting on some if you can’t find a decent transfer copy
@Drake – thank you, hopefully I captured his most essential films
Gosford Park (2001)
Notes:
Starts during a gloomy rainy day in British countryside set in 1932
5:58 shot of exterior of lavish countryside manor of Sir William McCordle, his wife Lady Sylvia, and their daughter Isobel
8:14 Mrs. Wilson taken aback upon hearing the name “Robert Park”
8:32 reverse tracking shot through narrow manor hallways
8:44 camera pans over bottle of poison
9:33 interiors of manor with various paintings and portraits on the walls
11:03 Clive Owen’s character arrives
14 min Emily Watson as Elsie
11:17 zoom in on Ryan Philippe’s character
15:35 Maggie Smith as Constance, Dowager Countess of Trentham, Lady Sylvia’s aunt and a truly miserable character
17:09 orange/red décor inside Manor
17:44 the servants less glamorous looking surroundings
20:10 Ryan Phillippe as Henry Denton
22:15 zoom out to beautiful symmetrical shot of dinner table complete with candles and the fireplace with paintings on each side
23:13 camera very slowly panning over the dinner table
25:36 Kelly Macdonald as Mary, she is serving Constance
27:10 dog is a Brussels Griffon
28:20 beautiful shot of guests in the living room
30:17 series of tracking shots of lower level of the house
31:31 door window used to frame shot of servants eating dinner
34:25 series of over the shoulder shots POV shots with objects on table in foreground partially obstructing characters
38:58 Clive Owen’s character in frame in frame in deep background looking into kitchen
41:26 medium close-up shots capture the sexual attraction between Phillippe’s Henry Denton and Lady Sylvia as she requests he bring a glass of milk to her at 1 in the morning
42:31 fade out showing two images of Henry in Morris’s room via mirrors
49:41 camera panning slowly revealing two people having sex in ironing room late at night
50:23 camera moves in on a bottle of poison shown earlier in the film
52:04 Henry bringing glass of milk to Lady Sylvia at 1 in the morning
59:50 the games begin
1:02:48 drink resembling a Bloody Mary knocked out of William’s hands
1:05:48 table candles obstructed the foreground in shot of Lady Sylvia
1:07:09 another shot with candles obstructing part of foreground
1:07:25 one of the servants, Elsie (Emily Watson) speaks out of turn in front of the guests, stunning everyone at the table
1:11:09 amazing character blocking along perimeter of frame
1:11:37 billiard room with red and green décor
1:13:56 parallel editing with 3 characters including Sir William loading a gun
1:19:46 shots of guests during leisure time at night with deep focus as characters in multiple depths of field
1:21:26 loud scream insinuating Williams’s death off screen
1:22:29 Owen’s Robert Parks in foreground in profile with other characters in background reacting to the discovery of the dead body
1:22:37 Robert Parks in foreground, he does not seem surprised like everyone else
1:23:35 Inspector Thompson, played by Stephen Fry, arrives at Manor
1:26:16 sound of Morris Weissman, the film director, talking on telephone about the murder as he is planning on directing a murder mystery set in a British Manor
1:30:10 window frame shot of kitchen; it is revealed through conversation that Ryan Philippe’s character is actually an actor preparing for his next movie role in a movie directed by Weissman
1:36:56 windowpane used to create a frame in frame
1:43:58 low angle shots of hallway with servants moving through
1:48:53 guests talk casually in a similar manner to earlier in the film, as if the death of William never happened
1:55:25 Mary believes that Clive Owen’s character is the murderer, with the reveal that Sir William was his illegitimate father even though he did not know it and that his mother was a factory worker
1:59:17 silhouette figures drag Mr. Jennings through hallway
2:04:17 the wealthy guests drive off in expensive cars
2:07:43 Mary accuses Mrs. Wilson of killing William and she does not deny it and then starts her story about the vileness of Sir William
2:11:29 Mrs. Wilson is revealed to be the mother of Clive Owen’s character
The film ends with everyone departing from the Manor after a series of character reveals
Thoughts:
Altman’s films are often deeply rooted in Americana so interesting to see him switch it up with a British old school Agatha Christie style murder mystery. Altman loves The Rules of the Game (1939) and that is one of the most obvious influences
The production design is top notch, which is not normally Altman’s strength. McCabe and Mrs. Miller had some beautiful imagery but here the focus is on interiors. It is not at the level of say Scorsese’s The Age of Innocence (1993) but impressive none the less. There are some impressive compositions via character blocking including a stunner around the 71 min mark with characters positioned along the perimeter of the frame
A strong formal choice in using two floors as a narrative and thematic device. Characters are frequently seen walking up and down stairs. The film contains high levels of detail regarding the customs of the British class system. In some shots locate at the top or bottom of the staircase function as a literal intersection of the classes
Altman with another masterful command of an ensemble cast. Altman uses parallel editing at times to compare the upper-class guests and hosts with the lower-class servants. The film’s characters are gathered for a hunt, yet the actual hunt is merely a few minutes on the screen
The camera glides at glacial speed at times but is almost always in motion. In some instances, it is almost imperceptible. There are a few tracking shots including an impressive one around the 30-minute mark
Altman is famous for subverting genres and here his target is British who done it mystery films. This particular genre puts a great deal of emphasis on who is responsible for the crime. In this film the actual murder itself almost feels like an afterthought to a film that is ultimately far more interested in examining class politics and human behavior and I appreciate the high levels of details in showing all the rules and customs of both classes. It also shows both classes as equally capable of dishonesty and resists simple depictions
The film certainly rewards multiple viewings, giving the viewer an opportunity to discover the subtle foreshadowing along tracking character motivations which is difficult to do on a first watch due to the sheer breadth of characters. Clive Owen’s character is shown as the lone character in the background or foreground in a number of shots
The framing of characters is another highlight; there are some great over the shoulder POV shots during the guests and hosts dinner scene; several of these shots contain the candles on the table partially obstructing the shots. Altman uses medium close-up shots to capture the sexual attraction between Phillippe’s Henry Denton and Lady in the scene where Lady Sylvia essentially invites Denton for sex later in the evening
I have no real complaints here, this film is excellent all around
Verdict: MP/MS
@James Trapp- I really enjoyed reading this here – thank you.
Short Cuts (1993)
Notes:
I had to watch on computer, so I did not take normal line notes
Thoughts:
Another huge ensemble cast with Altman working with many of the actors/actresses he’s worked with before including Lily Tomlins, Fred Ward, Tim Robbins, Lyle Lovett, Peter Gallagher, and a few others. The performances are solid all around, although I am not sure any of them stand out substantially over the others; this is not a criticism, it is more about the nature of the film which leans toward realism
This film is frequently compared to PT Anderson’s Magnolia (1999) with the interconnected storylines. Both of these 1990’s films are set in California and boast impressible casts. While I believe Magnolia is the superior of the two, Short Cuts might be more impressive in terms of juggling multiple storylines. Altman makes it look effortless; it is incredible how seamlessly the film transitions from scene to scene and story to story. There is also a significant difference between these two films in terms of mood and atmosphere. Magnolia is grand and operatic with its characters experiencing some of the more dramatic moments of their lives while Short Cuts leans closer to realism with characters going about their daily routines. Both films have dramatic natural disasters near the end although Magnolia’s is appropriately more dramatic, biblical really
Altman keeps the camera roving throughout the film which seamlessly moves through various interconnected stories. He uses frequent wide-angle shots which is an appropriate match to the film’s scope. The city of LA is the main character here and in addition to wide angle shots, Altman uses deep focus and natural lighting as much of the film is set during the daytime
The Bakery scene where Lyle Lovett’s character realizes the harassing phone messages, he’s been leaving are to the parents of a kid who is sadly killed following a car accident, is devastating. The sheepish look on his face speaks volumes followed by a bittersweet sequence where he sits with the parents giving them sweets from his bakery
There are not many truly beautiful shots, this is not really Altman’s strength but there are some nice use of neon lights during some of the night scenes, in particular the one in a jazz club
There is a shocking act of violence near the end of the film, immediately followed by an earthquake.
Some reviews noted the lack of explanation for why Chris Penn’s Jerry brutally beats a woman to death but there are clear signs of Jerry’s building frustration and simmering anger. The film ends with a 360 pan of the city
Verdict: MS
The Player (1992)
Notes:
Starts with tracking shot outside a fictional movie studio in Los Angeles while characters discuss famous tracking shots including Welles Touch of Evil (1958) in films while complaining about modern directors overusing cuts
2:21 inside the studio The Graduate part 2 is pitched to Tim Robbins studio executive named Griffin Mills who plays along with the ridiculous idea
3:06 Blue Angel (1930) movie poster while The Graduate (1967) is referenced
3:58 camera pushes in on threatening mail received by Studio
6:52 same two men talking about over cutting and Touch of Evil
8:16 camera panning over a threatening mail addressed to Griffin Mills breaks the long take
13:24 close up on Griffin “can we talk about something other than Hollywood for a change, we’re educated people” followed by group laughing at itself
13:46 photo of Humfrey Bogard holding a gun and threatening message on the back
17:42 camera tracking Griffin through party of Hollywood actors and power players. Peter Gallagher as Larry Levy is a hot shot executive that Griffin Mills is worried about taking his place
21:30 joke on callousness and arrogance of Hollywood big shots
23:50 slow camera push in on Griffin with score becoming a bit more harrowing
28:32 voyeuristic frame as Griffith watches David’s girlfriend, June Gudmundsdottir, played by Greta Scacchi while she is painting
29:44 superimposed image of Greta Scacchi over Griffin Mills, foreshadowing
30:06 Griffin enters movie theatre near the end of Bicycle Thieves (1948)
31:59 Vincent D’Onofrio as David Kahane, the writer who has been sending threatening messages
33:01 Griffin and David go to a Japanese bar for a drink
35:17 beautiful shot with neon lighting outside Rialto Theatre with sign for The Bicycle Thief
36:03 David taunts Griffin about Larry Levy coming into the Studio to take Griffin’s job
37:42 Griffin accidentally kills David with repeated slams in red lit puddles in parking lot
40:46 zooms past characters inside room to outside window
43:21 camera moving in on story about dead writer found in parking lot
44:10 Walter confronts Griffin to “pitch a story” about David Kahane’s death
47:52 cut from Walter and Griffin talking about David to a shot of a dead fish in water at funeral
49:40 diagonal frame of David’s funeral with Griffin in back of the frame
54:24 Griffin inside home of David’s girlfriend who does not seem to really care about him much
56:56 Griffin speaks to police officers who stop by to ask about David’s death
58:56 neon lit signs on rainy night
1:05:25 two writers pitch a movie idea to Griffin at upscale restaurant/club with LA skyline in frame
1:06:54 preposterously hilarious movie pitch includes no movie stars, the lead character dying at the end, not even an American movie without a happy ending
1:10:40 anaconda in Griffin’s Range Rover
1:18:52 Larry Levy says he left AAA meeting, not because he has a drinking problem but because “that’s where all the best deals are being made”
1:20:28 great character blocking around the frame as Larry Levy pitches the idea Griffin passed onto him from the writers
1:27:09 close up on Griffin’s face upon looking at card, followed by camera move in on the man who has been falling him, he turns out to be Detective Paul DeLongpre (played by Lyle Lovett)
1:31:00 Griffin talks to police again, this time at their station
1:35:26 extreme close up on Griffin as he becomes increasingly distressed by the police’s questions, followed by police laughing hysterically
1:38:06 camera slowly pushing in on Griffin sitting on the couch with smug smile as his girlfriend questions him about the status of their relationship
1:39:19 gorgeous shot of orange lit landscape; frame filled with windmills
1:42:40 Griffin in romantic getaway with June, as he explains the ins and outs of his job, and why so many people hate him
1:46:40 zoom in on Griffin taking mud bath followed by pan over to June
1:50:57 zoom in on Griffin at police station lineup
1:52:33 fake out with zoom revealing a movie within the movie which turns out to be the ridiculous movie talked about earlier with Julia Roberts
1:56:00 the movie in the movie ends differently than initially planned with the writer and everyone else fine with in except Bonnie who is fired
1:57:46 profile shot of smug looking Griffin
The movie ends with Griffin marrying June and living happily ever after as head of Studio
Thoughts:
Altman’s comeback film after a forgettable decade. Altman brings all his staples with an ensemble cast, frequent camera movement, biting satire, and incredible wit
The film opens with a brilliant 8-minute tracking shot outside a fictional movie studio in Los Angeles, showing the daily life of the studio, including a conversation where the characters discuss famous tracking shots including Welles Touch of Evil (1958) while complaining about modern directors overusing cuts. This is the beginning of the film’s self-referential style
One of the film’s strengths is the blurring of fiction and reality. This is achieved partly by the absurd number of celebrity cameos and references. The film itself has an ensemble cast making it hard to remember in some instances whether you are watching a character, or a celebrity cameo. For example, Sydney Pollack is in a scene at a party early in the film. I was not sure if he was playing himself, a fictionalized version of himself, or a character. I looked it up and apparently, he was playing a character named Dick Mellen. But that is the point, he just as easily could have been playing himself or a fictionalized version of himself. The film uses several “fake out” scenes where you are actually seeing a movie within the movie. Altman uses outward zooms in most of the fake out scenes
In addition to all the celebrity cameos are references to older films. Many of the references come in the form of ridiculous suggestions for new films such as The Graduate 2. I loved the Bicycle Thieves (1948) references including Griffin Mills actually walking into a theatre at the end of Bicycle Thieves and his proclamation that “we keep it pure”
Altman uses zooms effectively throughout the film. In particular to communicate Griffin’s state of mind, which is important because there are many scenes where Griffin is paranoia or otherwise uncomfortable after killing David and he cannot talk to anyone about it. There are close ups used in some of these scenes as well including an extreme close up on Griffin during second police interview as he starts to show outward nervousness for the first time
Tim Robbins excels at playing the smug Hollywood executive Griffin Mills. He is an impeccably dressed smooth operator who walks around calm, cool, and collected at all times flashing a confident smile even when under pressure. When talking with a detective played by Whoopi Goldberg Griffin suggests he could have been a victim of the same person who killed the writer, David Kahane. Whoopi Goldberg’s detective character gives a perfect response “no you’re too lucky”. These words prove prophetic, as Griffin ends up not only escaping the consequences for killing a man, but ends up marrying the writer’s girlfriend and having a happy ever after
The performances are excellent all around, I especially love Peter Gallagher as up and coming hot shot producer Larry Levy who serves as Griffin’s sort of rival. As said before there are too many cameos to name
While there are not many singularly gorgeous shots in this film, I love the neon lit sign outside the movie theatre where Bicycle Thieves is playing. There is a stunner around the 99 min mark of windmills covering the orange lit landscape when Griffin and June go to a resort. The expressionist use of red during the murder scene is a nice touch. I like the posters and other memorabilia to older films throughout the film
Verdict: MS
@James Trapp- so happy to see this. When I first was getting into cinema in the 1990s this film was talked about all the time- I feel like it has become lost a little somehow- good work
@Drake – thanks, this film is ultra rewatchable, perfectly paced with ideal comedy/drama ratio. But yeah I do not often see it in lists of best 90s films for some reason
Tim Robbins performance really shows off his range. His 3 top performances are so different as you have this film, Shawshank, and Mystic River
Very underrated actor (and director). Would add Jacob’s Ladder to his list of best performances
@Palmer – I need to check that one out. I want to see Hudsucker Proxy (1994) as well
Secret Honor (1984)
Notes:
Opens with a message that the film is supposed to be a fictional version of Richard Nixon
Philip Baker Hall as Richard Nixon
Red and brown décor along with portraits of past Presidents including Washington, Lincoln, Wilson and Kennedy, bookshelves, liquor bottles, green lamps, a desk, and a fireplace
2:05 shot of four monitor security system
3:08 Nixon pouring glass of scotch whiskey
5:18 close up on loaded revolver
8:52 slow pan across room and zoom in on monitors
9:19 camera push in on family photo and glass of booze
10:53 booze and gun in mise en scene
13:07 Nixon is pacing around his Study ranting as if he was a defense lawyer advocating for his client’s innocence
18:30 zoom in on exalted Nixon, whose arms drop and the smile vanishing
32:27 photograph of himself in football gear
33:47 the hand gestures increasing along with rate of speech
36:43 Nixon leaning back in chair momentarily before continuing the rambling
44:42 canted angle shot of Lincoln portrait
46:28 paranoid Nixon holding revolver while he kneels over at the monitor after it temporarily goes out, but the ranting continues
53:15 zoom in on portraits as Nixon insults them
1:02:15 camera movements increasingly chaotic
1:03:38 another close up on the grandfather clock
1:04:17 a two shot of Nixon on two monitors
1:07:58 zoom in on four monitor system until only one monitor is visible
1:11:31 POV on photo of Nixon’s mother
1:16:16 lawyer making summation
1:24:48 Watergate as diversion
1:25:30 jury finds Nixon guilty
1:27:40 Nixon drops the gun after putting it to his head
Profanity laced tirade seems an appropriate ending
Thoughts:
I have been an admirer of Philip Baker Hall’s work with PT Anderson. Of course, those are supporting roles with the exception of Hard Eight (1996) and I suppose you could say he has a “lead role” in Magnolia (1999) as that is an ensemble. Nevertheless, it is exciting to see him as a lead performer
Altman, the master of the ensemble directs a film with one character. Much of the film consists of Nixon behaving like an unhinged defense attorney who is zealously defending his client. The microphone is visible in much of the film when Nixon is ranting as are bottles of liquor and a loaded revolver
There are zooms on the portraits when Nixon starts to insult the subjects in them during his increasingly bitter and unhinged rants. POV shots are used effectively to show Nixon’s immediate focus
There is some subtle humor such as Nixon not being adept at using tape recorders
This is minor Altman but still worth a viewing just to watch Philip Baker Hall go all out for 90 minutes
Verdict: R (Fringe)
Three Women (1977)
Notes:
Sissy Spack as Mildred “Pinky” Rose
Shelly Duvall as Mildred “Millie” Lammoreaux
Janice Rule as Willie Hart
Opens with a dreamlike atmosphere with the camera drifting in and out of focus through a public swimming pool in California containing murals on the side of the pool accompanied by a hypnotic flute and pulsating bass creating a psychedelic
4:16 Altman’s overlapping dialogue present at a public pool
7:32 camera holds on Pinky with Millie talking nonsense to her uninterested co-workers
8:05 Pinky has passing resemblance to the twins
8:16 shallow focus with Pinky in background and Millie in foreground
9 min Millie teaches the job to Pinky
11:59 while Millie is holding Pinky’s legs the camera zooms in on twins from Pinky POV
13:29 both girls are from Texas originally
14:40 soft focus with chain linked fence in foreground
15:12 Pinky following the twins who are dressed identically
16:01 Millie’s yellow outfit matches her yellow-colored vehicle which is a Ford Pinto
16:44 Pinky’s apartment room is dimly lit
20:07 slow zoom out from TV to showing Pinky’s dim one room apartment
25:15 Millie clearly annoying everyone around her during lunch at hospital
27:09 landscape shot with a light purple color taking up top 75 percent of vertical frame
28:02 Pinky excited “Welcome to Dodge City Saloon” which includes miniature golf course and bar
29:01 music from opening playing while group of men ride motorcycles outside
30:47 Willie Hart
33:30 Edgar Hart
35:19 camera zoom in on Willie in bar
41:48 Pinky in mirror
42:07 shot of small aquarium and camea push in
42:25 Wille Hart through Pinky POV with the mini aquarium in foreground
43:31 soft focus two-shot with splitting of frame followed by a blurry transition
47:00 as Pinky’s eyes close the screen goes to the murals in the opening scene with the same hypnotic music from the opening
51:15 Millie in yellow suit by swimming pool
55:32 slow pan over murals
57:53 slow zoom out from Millie on phone to shot with Pinky in the foreground and Millie in the background of the frame
1:01:30 frame in frame using window
1:02:48 purple and blue in mise en scene
1:07:53 Millie tells off Pinky
1:09:21 inverted image of Pinky above the pool
1:09:41 Pinky jumps off balcony into pool
1:12:47 double image
1:14:46 double image of Millie as she cries standing outside emergency room where Pinky lies
1:15:16 Millie has trouble locating Pinky’s family
1:18:14 Millie speaks with Pinky’s family
1:25:29 target practice with triple take of Willie at gun range shooting at a target
1:27:00 Pinky wakes up but does not recognize her parents
1:27:40 close up on Millie’s stunned face after seeing Pinky yell at her parents
1:28:28 another example of doubles motif in this scene as you have a reverse tracking shot with the twins, 2 other women who are best friends, and Millie at the back of the pack babbling on as usual while everyone ignores her
1:33:12 zoom in on a laughing Pinky who is showing change in personality
1:33:20 it turns out Pinky used Millie’s social security number, followed by Millie angrily quitting
1:36:16 Millie finds her yellow car after thinking it has been stolen
1:37:01 Millie sees Pinky
1:37:17 overhead shot and tilt down as Millie walks to Pinky at gun range
1:38:18 Pinky has notable personality change
1:41:48 a two shot with Mille and mirror image of Pinky
1:42:08 Pinky yells and demands to be called “Mildred” instead of Pinky
1:42:54 flute from opening
1:43:47 to 1:47:26 disturbing dream like imagery with montage of images with blue/purple
1:48:03 Pinky asks to come to Millie’s bed in the middle of the night saying she is scared
1:50:00 a drunk Edgar stumbles into Millie’s apartment and announces that Willie is giving birth to their child right now
1:53:52 slow zoom in Pinky’s face and then on Wille giving birth with Millie assisting her
1:57:00 landscape shot with purple/blue skyline and yellow vehicle driving through
1:58:12 yellow Coca Cola truck matches color of Millie’s car
Thoughts:
Altman really switches up here as he moves away from the ensemble and genre revisionism for mind bending psychological drama. While Altman did explore similar subject matter in Images (1972), this film is clearly superior in just about every way
This is a deeply unsettling film. There is no violence aside from a failed suicide attempt or characters threatening each other. It is unsettling because everything is not as it seems. The entire film feels like a fever dream. Gerald Busby’s haunting score consists of Michael Parloff’s hypnotic flute and ominous thumping bass. There is an emotional disconnect between the characters in this isolated community. The score plays a significant role in maintaining this atmosphere. The dream sequence around the 103-minute mark is haunting as it continues the blurred identity’s theme
Despite the title the majority of the film focuses on two characters, played by Shelley Duvall and Sissy Spacek as Millie and Pinky. Both women share the same first name, Mildred. Duvall’s Millie acts as a sort of older sister to Spacek’s Pinky. Millie talks her face off about a variety of mundane subjects. She has some experience with men and a social life although it is clear that her personality wears people down. Pinky has no real social life, does not drink or smoke and has likely never been intimate with a man. She is impressed with Millie and follows her around until a fight leads to a failed suicide attempt that results in Pinky being hospitalized and undergoing a severe personality change after she comes out of her coma. Eventually Pinky has taken on Millie’s personality while Millie becomes the awkward and shy one. The third woman is seen periodically throughout the film but barely has any dialogue and limited screentime
Purple/blue skyline shots similar to the color palette in the cover of the film and the shots of the pool during the opening scene. Yellow is used in the mise en scene, in particular it is associated with Millie who has a mustard yellow car, yellow clothes, and the yellow décor of Millie’s apartment
The repeated use of the pool murals is a nice formal touch. The film can be viewed as having two acts with Pinky’s failed suicide attempt serving as the inflection point. And before that inflection point there is a shot around the 43-minute mark with a great soft focus two-shot with splitting of frame followed by a blurry transition that I interpreted as a foreshadowing of the personality changes. The attempted suicide occurs at the 69-minute mark so a little past halfway. The inverted image of Pinky jumping is a stunning image with formal value. There are a number of other visual motifs such as mirrors and reflections. Water is a related motif as some of the reflections occur via water
There are identical twins who work at the Desert Springs Rehabilitation and Geriatric Center. Pinky is particularly fascinated by the twins and even wonders aloud if they ever forget which is which. At first this comment seems like the type of mindless nonsense we come to expect from Pinky, but looking back at it after makes you wonder if this is foreshadowing
Throughout the film there are shots of the barren desert the film is set around. These landscape shots have a psychological interpretation as Pinky represents a blank canvass or empty vessel that can be molded depending upon her surroundings. Pinky’s personality changes when she comes out of a coma which can be viewed as a sort of rebirth
Sissy Spacek could not be a more perfect casting choice, one year removed from Carrie (1976) and 4 years from Badlands (1973). She has this awkward, innocent loner persona nailed down. Despite being almost 30 years old at this point, she has a childlike face, which gives her character a presumed sense of innocence
Verdict: MP/MS
Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (1976)
Notes:
For this one I did not take line notes
Thoughts:
Altman goes back to Revisionist Western, only with a bit of a twist. The film is set around an entertainer who has created Revisionist Western Entertainment within the world of the film. This entertainer is based on a real-life man named William Frederick Cody who went by “Buffalo Bill”
Buffalo Bill, who is played by Paul Newman, is a blow hard who has a rather high opinion of himself despite his lack of discernable talent. There is a scene where he stands in front of his mirror and stares at his reflection apparently deep in thought
The film explores some of Altman’s repeated themes including genre revision, the nature of celebrity, and American myth making. The Man Who Shot Liberty Valance (1962) crossed my mind watching this as it pertains to the idea of western myth making
The production design is a visual highlight. Altman uses a consistent color palette with browns, oranges, and yellows in creating a consistent aesthetic of the production design of the show within the film
There is a great zoom on the face of Buffalo Bill at the very end of the film, showing his crazy looking eyes during a show where he clearly feels most alive.
The transfer quality was not amazing. It was passable so it was not a huge problem but it was noticeable
While there are some praiseworthy elements, the film overall lacks a narrative focus. The attempted humor does not really work either. Despite a loaded cast, the side characters do not seem to have much purpose
Verdict: R
Nashville (1975)
Notes:
Starts with montage of actors/actresses during opening credits
1:39 zoom out to white van with “Hal Phillip Walker” on the exterior along with speakers
2:50 “we must be doing something right to last 200 years”
5 :00 inside music recording studio where Haven Hamilton, a famous country music star, is practicing with other musicians
6:36 group of black gospel singers and Lily Tomlin character wearing blue clothing
10:03 “Welcome to Nashville” sign followed by tilt downward
18:06 American flags and the flag color in mise en scene
22:47 Keith Carradine playing popular country star popular with girls
23 min traffic jam immerses the viewer into the world of the film
28:54 split frame using door with Michael Murphy character isolated on the left side of the frame, he does not quite fit into the Nashville Country scene, and it is evident here as everyone else is trying to speak to Carla Jean, a spoiled country music superstar
32:06 live music performance at small venue with camera panning clockwise
40min dim lit small music venue with camera constantly moving
44:31 the Hal Phillip Walker political van is heard from off screen
45:57 split frame
52:34 Jack Daniels bottles in mise en scene
55:12 Elliot Gould with cameo as himself
59:25 country music concert in large arena
1:02:16 wide angle shot of Haven Hamilton on stage wearing his “nudie suit”
1:03:10 Haven singing in profile close up followed by zoom out
1:08:15 nice character blocking with camera behind the stage
1:08:45 Carla Jean’s husband eating KFC chicken
1:13:45 Carla Jean and husband have argument in hospital room
1:15:55 smaller music venue with Haven Hamilton in the audience
1:16:40 Julie Christie cameo as herself
1:20:20 Karen Black as Connie White, a glamorous country singer and rival of Barbara Jean
1:25:08 several characters introduced earlier are observed in a series of musical scenes set in several different religious ceremonies
1:28:35 high angle shot of car scrapyard
1:29:42 race car track with Haven Hamilton in the crowd
1:41:37 zoom out
1:43:31 Barbara Jean performing in front of a crowd
1:44:41 shot of audience from Barbara Jean POV
1:55:55 Lily Tomlin’s Linnea Reese goes to small venue
2:03:49 Linnea at back of frame as Tom Frank performs “I’m Easy”
2:04:57 Linnea at back of frame with other characters in soft focus
2:11:51 Linnea in bed with Tom Frank
2:15:36 red and blue neon lights reflecting off car
2:18:51 slow zoom out from TV to shots of the Hal Phillip Walker’s campaign preparations
2:21:51 longshot of The Parthenon, a massive building drowning out people near it
2:24:20 American flag taking up the entire frame
2:24:36 slow zoom out and tilt down from American Flag to Haven Hamilton and Barbara Jean performing on a stage with a band behind them and the president campaign signs in the background of the frame
2:26:58 Barbara Jean solo
2:29:54 wide angle shot of stage and lower half of the frame filled with crowd of people
2:29:57 Kenny, the loner introduced earlier, takes out a gun and shoots at the stage hitting Barbara Jean, followed by Kenny taken away by authorities
2:32:00 after brief break the concert/event continues
Thoughts:
Altman’s most highly acclaimed film is a landmark film. Certainly, there had been ensemble casts before, but Altman takes it to another level with two dozen “main characters”. The control over the narrative is incredible with seamless transitions between the various interconnected story lines that are all set around the 4th of July 1976, the 200-year anniversary of the United States. Altman tracks a wide breadth of characters with an array of personalities, occupations, social status, etc. Yet he does not really favor or elevate any of the storylines or characters above the others. While some characters have more screentime than others, he does not really seem to insinuate that certain character’s matter more than others in the storyline. Altman is capturing an entire culture as if he was an anthropologist
In Roger Ebert’s review of this film, he calls Altman “the best natural filmmaker since Fellini”. I like this description. This film is so immersive, as it puts the viewer in the room with the characters. The overlapping dialogue plays a role in this as does the constantly moving camera.
The 24 main characters are all introduced in the opening traffic jam/car accident, and they all appear during the final political rally. In between there are scenes that feature various combinations of these characters. It is not always clear which characters are meant to be the focus within a scene, especially since Altman rarely uses close ups
Aside from being drama comedy the film is also of course a musical. I love the soundtrack, and I am not even a huge country music fan although I am starting to come around to it. The “200 Years” song is both a catchy tune and quite humorous
Like many great auteurs Altman uses actors/actresses from his other works but what makes this a little different is how he throws in some real-life cameos of these actors/actresses such as Elliot Gould and Julie Christie in addition to fictional characters such as Keith Carradine as Tom Frank and Henry Gibson as Haven Hamilton. Altman references real life Tennessee based companies and products such as Jack Daniels and KFC. Interesting comparison to someone like Quentin Tarantino uses fictional brands
Altman uses his trademark zooms throughout the film though they are actually not quite as noticeable here as some of his other films. There is a brilliant soft focus shot just before the 125-minute mark as we see Lily Tomlin’s character in the back of the frame, from Keith Carradine’s perspective. She is the only character in focus with the other female characters are slightly out of focus
The film’s non-ending, type ending is fitting. Even after the dramatic shooting of Barbara Jean by Kenny, the film’s attention is only diverted momentarily and soon it returns to the stage as the concert continues. The fate of Barbara Jean is not revealed nor is anything about the shooter’s motive although Altman did say the bullet was meant for Walker
There are other brilliant elements such as a political van that is shown everyone once in a while driving around the city blasting messages from the campaign of Hal Phillip Walker, a character who is never actually seen
The performances feel so natural as Altman’s camera drifts in and out and past various characters throughout the film. Lily Tomlin, Henry Gibson, are Ronee Blakley are the standouts for me. I mean really there are more than that but those are my personal favorites
Verdict: MP
@James Trapp- all of this is well done- “There is a brilliant soft focus shot just before the 125-minute mark as we see Lily Tomlin’s character in the back of the frame, from Keith Carradine’s perspective. She is the only character in focus with the other female characters are slightly out of focus”
California Split (1974)
Notes:
Opens with Elliot Gould’s as Charlie Waters, an avid card player
George Segal as Bill Denny
The opening credits are in blue and orange lettering as multiple conversations occur at once with a narrator explaining the rules of poker
7:13 Charlie in argument over card going off the table
8:17 close ups on characters faces as the tempers soar and fight breaks out
11:22 similar to McCabe and Mrs. Miller you have multiple conversations inside bar
13:10 character blocking with 4 faces in the frame
16:25 robbery scene with the 2 robbers attack quick and occurring as shadowy images in the parking lot as they beat Charlie and Bill
18:27 conversation occurring on far end of right side of frame
19:06 pop culture references with Lucky Charms and Fruit Loops
21:59 close up on Charlie’s face
26:17 Bill working at office job, his injuries are noticeable in the way he walks
27:29 back and forth on phone with Charlie wearing a pink bathrobe and beige sweater
33:06 horse track gambling
37:30 extended song and dance session
45:20 Charlie and Bill at boxing match
47:24 another robbery scene, here at gunpoint in a parking lot
48 min cuts back to cardroom with overlapping dialogue as well as non-diegetic song playing
49:45 shallow focus with Bill in close up
50:45 increasingly desperate Bill on phone with bookie
53:55 red/pink lighting, contrast to more muted colors present throughout much of the film
1:04:58 Bill shot in profile, looking conflicted before leaving the room
1:07:40 carefree Charlie in sombrero like hat while drinking a Budweiser
1:11:39 pickup basketball with whistle version of Sweet Georgia Brown playing in background (this is the song used by the Harlem Globetrotters)
1:19:11 dim lit bus, captures the life of a gambler on the road
1:21:24 superstitious Charlie requires Bill to touch statue upon entering Casino
1:24:04 Charlie preps Bill who is about to enter the poker tournament
1:37:35 close up on roulette table
1:41:42 doorway frame in frame with expressive orange walls
1:43:53 another shot of Bill isolated in frame cutting back and forth with the excited Charlie counting out all the money at the Cashier’s box
The film ends with Charlie and Bill parting ways
Thoughts:
This film is low key, it reminds me a bit of PT Anderson’s debut film Hard Eight (1996) with the mentor/mentee element although unlike Hard Eight the two main characters are approximately the same age. The film’s mood is lighter than Hard Eight. The film does an effective job of immersing the viewer into their world
The film captures the highs and lows of life as a gambler. It does not glorify or condemn but does show the allure to an extent, which is really about excitement. These are relatively small-time gamblers. The film also shows the duo riding on cheap buses, cheap hotels, and making phone calls to bookies for relatively small amounts of money
Elliot Gould is always a treat to watch. George Segal is solid, but I cannot help but wish Donald Sutherland played the role after seeing their chemistry in M*A*S*H (1970). Then again maybe the dynamic works better here as Gould and Sutherland are two big personalities
I like the blue and orange lettering for the opening credits. It would have been nice to see a more dedicated use of color palette throughout the film, but a relatively minor complaint
Altman continues his implementation of overlapping audio, this works especially well in this type of environment which includes cardrooms, bars, buses, racetracks, boxing arenas, amongst other locations. It puts the viewer (audience) in the room with the characters
Verdict: HR/R
The Long Goodbye (1973)
Notes:
Opens with Philip Marlowe played by Elliot Gould looking for cat food to feed his cat at 3 in the morning and realizes he is out of the cat’s favorite “curry brand” cat food
3:50 window used as frame with naked hippy girls as his neighbors, Marlowe agrees to get brownie mix for them as he goes to store to get cat food. Marlowe is speaking in a quiet voice that almost sounds like it is voice-over narration, but it is more like he is speaking to himself
5:04 the theme song playing “the long goodbye”
5:20 Barbara Stanwyck impression from Double Indemnity (1944)
7:43 Terry Lennox driving with scratches on his face
10:43 cat does not like the brand of cat food that Marlowe bought
11:16 characters placed throughout the frame at different depths
14:06 two detectives show up to talk to Marlowe asking about Terry Lennox
18:18 Marlowe roughed up by police inside interrogation room
18:42 great composition with police surrounding Marlow in the frame in various depths of field
20:36 another composition with great blocking as Marlowe is surrounded by multiple police officers in different depths of field including reflection of officer
22:33 slow zoom out revealing Marlowe inside prison cell before he is let out
26:20 Cuts to Marlowe inside a dimly lit bar from bright sunny day, with red lighting inside
27:42 diegetic song with another version of “The Long Goodbye”
28:33 profile shot up with red lighting and blue/white light entering through the bar window
29:28 security guard doing Jimmy Stewart impression
31:25 Marlowe in foreground looking toward camera and Eileen Wade in background and ocean in deep background
31:54 slow zoom in on framed photo on the wall, Eileen visible via reflection/superimposed image
37:58 slow pan and zoom out revealing Eileen and Marlowe eating snacks
40:18 camera slowly moves into the house with the scene taking place from Marlowe’s POV
41:00 Roger Wade played by Sterling Haden who is in a mental institutional
41:45 Marlowe framed in doorway who announces he is there to bring Roger homes
46:17 Marlowe is confronted by gangster Marty Augustine (Mark Rydell) and his group of hoods
49:09 dancing hippie girls in deep background of frame while Augustine’s goons tear up Marlowe’s place and Augustine questions him about $300,000 that Terry Lennox apparently stole
52:50 Marty smashes a glass bottle over his mistress to show his potential for violence
53:47 wax candles in foreground of shot of Augustine and his goons leaving
57:03 great use of framing in this composition as Marlowe watches Marty speaking to Eileen as plants inside house create frame in frame
58:49 Marlowe humorously gives a note to the man who is supposed to be following him
59:24 Cary Grant impression
1:01:30 another shot inside the Wade house including the same window overlooking the ocean
1:03:09 immaculate shot with reflection in glass window of Wade house creating a distorted image which contains not only aesthetic beauty but contributes to the theme in that everything is not as it seems as much of the information given is distorted
1:03:50 another gorgeous reflection image superimposed image of Marlow at beach water
1:07:10 Marlowe walking along beach during daytime is complete subversion of classic noir that consists of nighttime images in places like street alleys
1:11:19 dissolve from bill to bus in Mexico
1:14:14 zoom out and pan over to funeral
1:15:15 Marlowe inside Wade house in silhouette during party on the beach, camera moving throughout the inside of the beach house, capturing the atmosphere of the party
1:19:27 camera slowly zooms into house after drunken Roger writes check
1:21:17 camera moves from beach to pan over to a candlelight dinner with Eileen and Marlowe
1:25:30 Marlowe brings Eileen back to shore after Roger runs into the ocean
1:26:41 tracking shot the beach
1:30:10 Marlowe angrily slurring words as he insults the police officers
1:34:37 everyone ordered to take off clothes by Marty Augustine
1:38:58 Marlowe chasing Eileen through traffic at night in comedic nature
1:39:38 nice use of dissolve as lights blur from Marlowe’s POV after he is hit by a car and knocked unconscious
1:43:55 dissolve from hippies to bus taking Marlowe to Mexico
1:46:36 slow zoom in on Marlowe walking down empty dirt road
1:48:04 over shoulder shot of Terry from Marlowe’s POV
1:48:42 close up on Marlowe’s face who is disgusted by his friend
1:49:20 the only on-screen death as Marlowe shoots Terry in one smooth motion
The ending pay homage to The Third Man (1949)
Thoughts:
I have actually written quite a bit on this film previously, so I used some of my prior notes along with a few changes and additional comments
Genre dissenter Robert Altman works his magic and conjures up a Neo-Noir Masterpiece using a mixture of Elliot Gould, Vilmos Zsigmond, John Williams, Raymond Chandler, Leigh Brackett, Sterling Hayden, Courry Brand Cat Food, and only one song performed a number of different ways
The very idea of using Elliot Gould as Philip Marlow is pure genius. Gould goes beyond laid back, in the opening 10 minutes he is practically sleepwalking when he goes to get the Courry Brand Cat Food and speaking in a manner that oscillates between voice over narration and mumbling. Gould’s version of Marlowe is a man out of his time; he is a man from the 40s/50s who is out of place in the nihilistic 70’s. There is a disconnect with Marlow as he is presented as loyal and principled even to friends who don’t deserve his loyalty. This could not be summed up more perfectly than the last exchange of dialogue between Terry Lennox and Marlowe
The colorful cast of characters includes an attractive woman named Eileen Wade who may or may not be trying to seduce him, and her alcoholic husband played by the great Sterling Hayden, and cartoonish mobster who makes everyone strip down at one point, a security guard with a penchant for imitating famous actors and actresses from the Golden Age of Hollywood, and sunbathing hippies living across from Marlowe
There is only one murder shown on screen and a brutal assault involving a glass bottle. The one on screen murder takes place in the second last scene and it is done in such a fitting nonchalant manner. The Final Scene is a clear reference to the ending of The Third Man (1949)
The Lighting was one of the key areas as the director of photography Vilmos Zsigmond used a technique called “Variable Flashing After Photography” which alters colors. This was used to produce a “hazy” look with more muted colors but not too hazy as he avoided using heavy fog filters (which were used in McCabe). The film frequently juxtaposes light, for example around the 26-minute mark it goes from a bright sunny California day then Marlowe steps into a bar with dim lighting. Some of the night scenes use a shallow focus with the LA skyline in the background. I like the use of shallow focus as Marlowe is a lone wolf type
Unlike classic noir, which is often set at night and in cities, much of this film is set during daylight.
In one sequence Marlowe is walking on the California beaches in the middle of a sunny day. There are night scenes, but they don’t take place in street alleys or during heavy rainfalls
The audio adds to the dreamlike nature of the film. Altman uses overlapping dialogue at times but less than most of his other work, which makes sense given that this film has a single main character rather than an ensemble. Marlowe speaks in a low voice and as noted above, speaks in a manner that alternates between voice over narration and mumbling. There are several consistent sounds/music that occur throughout the film including the Piano and Jazz music and in particular they return to the same song over and over, just played a little differently each time. The film doesn’t use any soundstages and was shot in several locations throughout California and Mexico in order to produce a more authentic setting
The camera is extremely active throughout the film; there are dollies, slow zooms, pans, and tilts. The camera movements are effective in matching the pacing of the film’s narrative. The camera moves in and out of rooms giving a voyeuristic nature, almost as if the audience is being given secretive information. I noticed this element of the film before but did not realize just how active the camera was, it almost never is static
Throughout the film Marlowe spends a great deal of time looking at characters through windows, glass doors that produce a distorted image, and other mediums. This element is similar to Chinatown as Nicholson’s JJ Gittes is always seeing events through various filters and mediums implying what he is seeing might deviate from the truth. Some of the film’s most stunning shots involve characters reflected off the glass windows and doors of the Wade house. This seems appropriate since the Wades are deceiving Philip Marlowe
The final scene pays homage to the Third Man (1949), which is one of the greatest films ever. There is a similar narrative element connecting these two films. In The Third Man the Joseph Cotten character is told that his good friend is actually a terrible human being, but he refuses to believe and is confrontational in defending his friend’s reputation only to feel betrayed when he learns that his friend actually did do the terrible things he has been accused of. Obviously, you have the same dynamic in this film as Marlowe learns that Terry Lennox, the man he vigorously defended, did indeed kill his wife. I love the single smooth movement of Marlowe retrieving his gun and shooting Terry Lennox to death while saying “I even lost my cat”
The film succeeds at every level as you have a brilliant genre revision, constant camera movements, colorful characters, effective satire, consistent mood and atmosphere, and a brilliant performance from Gould. This film does not work if he is trying to play Marlowe like Humfrey Bogart
Verdict: MP
Images (1972)
Notes:
Opens with a woman shot in frame in frame via window. The woman seen is an author and the voice over narration is actually a book she is writing
1:45 overhead shot of woman typing followed by opening credits without breaking the audio including unsettling music
The woman is revealed to be a wealthy author named Cathryn who is played Susannah York
4:40 two images of Cathryn with her reflection in the background of the frame
5:30 another shot with Cathryn appearing twice
7:01 strange woman calls asking about Cathryn’s husband in a taunting tone, the surroundings are completely white with painted walls
7:41 Altman uses a series of zooms on various objects in the house including eyeglasses
11:47 nice splitting of frame and use of foreground/background as Cathryn’s husband Hugh comes home at night. Hugh is played by René Auberjonois, who played in McCabe and Mrs. Miller
13:07 soft focus of glass chimes near the bed
14:00 Cathryn confronts husband asking about a possible affair which he denies
14:31 rapid zoom out from close up on Cathryn’s face, the zoom out occurring simultaneously with Cathryn screaming upon seeing her husband as someone else for a moment
16:30 beautiful shot long shot along mountainside with dark clouds filling up the rest of the frame
17:58 beautiful low angle shot of Cathryn with sunlight creating silhouette like imagery
19:50 high angle shot with Cathryn looking down and seeing a double of herself
20:06 low angle long shot with Cathryn shown in silhouette
21:18 another effective splitting of the frame
25:36 close up followed by a zoom out showing deer head
26:13 another impressive shot with foreground/background work
28:18 Marcel Bozzuffi as René makes his first appearance
31:52 revealed that René is dead from plane crash and is a ghost
35:25 two-shot René in background of frame René’s head off screen while Cathryn talks to herself
37:08 montage of zooms showing previous images
37:42 staircase used in foreground of two-shots of Cathryn and Hugh playing a jigsaw puzzle
43:45 Hugh Millais as Marcel makes his 1st appearance
44:18 Cathryn Harrison as Susannah makes her 1st appearance
46:01 split frame with the two men and two women on extreme opposite ends of the frame
53:47 slow zoom from high angle shot to close up
54:14 frame in frame using doorway and deep focus
55 min hazy lighting makes sequence more dream like. There are shaky camera movements and soft focus adding perplexing nature of this sequence which ends with Cathryn seeing a double of herself lying naked on the bed
1:02:52 landscape shot including trees with twisted branches
1:04:00 interesting composition with waterfall in background and group of farm animals midground
1:08:39 another zoom in on character resembling an older Cathryn
1:09:40 zoom in through camera lens followed by Marcel shown in two reflections with frame in frame leading to Marcel attacking Cathryn in bedroom
1:13:13 triple reflection via mirror
1:13:37 4 images of Cathryn with 3 via mirror reflections
1:21:47 brutal violence with Cathryn stabbing Marcel
1:22:31 zoom in on the blood which pervades through the frame
1:26:06 camera holds on dead man in foreground
1:32:05 Cathryn driving along the countryside passes a double of herself who appears to be hitchhiking
1:33:33 Cathryn’s double confronts Cathryn
1:34:42 Cathryn’s double falling off cliff and down waterfall
1:39:23 another confrontation between Cathryn and her double, this time in the bathroom when she is about to shower, there is soft focus used giving off a dreamlike vibe
Thoughts:
Altman with a psychological horror film that is quite different from his other work in some ways but still with many of the Altman traits, in particular the use of zooms. Unlike many of his other works there are only a few key characters and one main character
There are similarities with Roeg’s Don’t Look Now (1973) and Performance (1970) as you have the doppelganger theme as well as fractured realities. Another film which I thought of was Polanski’s psychological horror masterpiece Repulsion (1965). In that film Catherine Deneuve played a woman who clearly suffers from a mental illness making her an unreliable narrator to an extent and that is present here
There are scenes where the characters are playing with a jigsaw puzzle and really that is an excellent motif as the film is a sort of jigsaw puzzle as we are given pieces of information on Cathryn’s life through her perspective. However, due to potential mental illness, she is an unreliable narrator. Along with the jigsaw puzzle you also have mirrors as another motif
The zooms are crucial to the ever-changing scenarios that are present throughout the film which feature only a few characters and locations, yet the relationship between characters and physical reality is constantly changing. The zooms are also effective in some of the best jump scares, only instead of boogey men jumping into view from off screen, you have Cathryn seeing something off screen that is not immediately visible to the audience
John Williams, with an impressively eerie score, this is key in capturing the uneasy feeling present throughout the film. Altman uses hazy lighting and soft focus at times to create a dreamlike atmosphere
Altman uses windows and doorways to frame shots throughout the film. He also splits the frame in several scenes, with characters in foreground and background acting independently of one another
Verdict: HR
McCabe & Mrs. Miller (1971)
Notes:
Opens with Leonard Cohen song “The Stranger” and sweeping shot of unnamed town in the pacific northwest with Warren Beauty’s John McCabe riding on a horse into town wearing a huge bear coat. The desaturated brown and green along with the rain create a powerful location as character
2:12 low angle shot of McCabe getting off his horse
4:35 bridge creates a frame within frame as McCabe lights up cigar before walking over
7:11 McCabe sits at card table
9:41 zoom in on McCabe smoking cigar
11:46 myth making with Patrick Sheehan asking if McCabe goes by” Pudgy McCabe” as he is rumored to have shot a man named Bill Roundtree
14:14 raw egg and beer
16:02 Leonard Cohen played again as McCabe rides off
16:32 a pile of logs of cuts down trees in background throughout the snow filled landscape
18:48 soft focus with leaf’s, matching the 2nd Cohen song used “Sisters of Mercy”
19:16 cinematic painting during sunset
23:21 zooms and Lonard Cohen score used synchronously
28 min Julie Christie as Mrs. Miller makes 1st appearance
32:32 McCabe and Mrs. Miller at Sheehan’s with Mrs. Miller aggressively making pitch to make deal with McCabe for partnership on whorehouses
39:34 slow zoom out during heavy rain with gray/blue tint
42:49 green and brown, and white with trees, wood, and snow
45:30 Leonard Cohen and Mrs. Miller walking
46:13 McCabe and Mrs. Miller on diagonally opposite side of frame
49:17 beautiful reflection inside whorehouse with red and yellow lighting
49:53 first sighting of two men working for mining company
51:43 red and yellow lighting inside whorehouse as they make a cake
53 min McCabe talks with two men representing Harrison Shaughnessy Mining Company in Bearpaw who are looking to buy out McCabe’s properties
55:01 McCabe called “town’s leading citizen” hilarious as he makes immature jokes throughout the encounter with the agents
1:01:11 slow zoom out from candle followed by shot of Mrs. Miller smoking opium in a room in isolation
1:02:04 close up two-shot of men from McCabe’s POV as the try to seem more intimidating
1:04:24 zoom in on Mrs. Miller as McCabe is obviously interested in her by this point
1:05:25 slow zoom in on money that McCabe places in basket to sleep with Mrs. Miller
1:07:21 cut to gravestone followed by a slow zoom out to small group gathered for a funeral
1:09:50 on Keith Carradine as the Cowboy looking the whorehouse
1:18:30 McCabe enters Sheehan with Butler (Hugh Millais), Breed, and Kid who are 3 hired guns
1:20:50 back and forth between McCabe and Butler with Butler sizing up McCabe with Butler shown in close ups and McCabe in over the shoulder shots
1:25:07 McCabe standing in dim lit room talking to himself
1:26:38 tracking shot through town
1:31:11 a smile on McCabe’s face when he sees how upset Mrs. Miller becomes at the possibility of McCabe getting killed by the Mining Company
1:34:41 the cowboy is shot to death by the kid on the bridge with the kid falling into the water
1:36:10 a rare moment in which McCabe is emotionally vulnerable as he confesses his feelings to Mrs. Miller, he faces away from the camera and Mrs. Miller
1:38:38 profile shot of Mrs. Miller held for several seconds in dark blue
1:39:09 there is a quick cut to gorgeous ariel shot of the town during snowfall followed by a quick zoom in on the three-gunman approaching
1:42:38 slow fade out with high angle shot of the three-gunman breaking into three separate paths
1:49:34 McCabe wounded from bullet
1:51:10 the steam engine from earlier during the scene with town putting out the Church fire
1:54:51 McCabe in middle of frame lying in snow intercut with town putting out Church fire
1:56:10 McCabe shot by Butler
1:56:41 double cut of McCabe shooting Butler to death via headshot
Ends with McCabe dying alone in the snow and intercut with Mrs. Miller getting high smoking opium all while the town celebrates putting out the Church fire
Thoughts:
Altman’s revisionist western is an all-time great film that works on several levels: revisionist genre work, beautiful visuals, incredible soundtrack, authentic performances, and great characters
Vilmos Zsigmond worked as the Cinematographer here. The film has a dreamy look using fog machines along with a muted color palette consisting largely of shades of browns, yellows, and orange. Orange and amber is associated with Mrs. Miller, most of these are set in interior locations. The film’s interior sequences consist largely of reds and oranges which are an effective contrast with the more muted colors of the scenes outside
Warren Beauty gives an excellent performance, but I feel that John McCabe is one of the more underrated film characters or perhaps overlooked is the more fitting word. McCabe likes to think of himself as a bigshot and easily dominates the men inside Sheean’s, but things change when more dangerous characters infiltrate his world later in the film. And before that you have Mrs. Miller who easily gets the upper hand on McCabe in their first meeting together. McCabe likes to drink, smoke cigars, play poker, and crack jokes. It always cracks me up when the two men trying to buy him out refer to him as “the town’s top citizen”. I don’t know if they mean it genuinely or are simply using flattery, which would seem to be effective considering his personality. McCabe is essentially a relatively small-time gambler who enjoys being viewed as something bigger. This plays into another of the film’s themes which is the myth making present in Westerns. Of course, Altman is subverting the Western so it is only natural that McCabe’s reputation is clearly not an accurate assessment of how he actually is
Leonard Cohen’s impact cannot be overstated, in particular the opening sequence which establishes the mood for the next 2 hours. There are 3 songs of Leonard Cohen in the film and they fit so well you would think they were created specifically for this film but surprisingly that was not the case. Not only do the lyrics seem to specifically reflect what is happening in the film, but they match the film’s dreamlike nature and hazy visuals
Lonard Cohen’s score is crucial as noted but silence is used effectively as well. The cut to the three-gunman approaching town to kill McCabe around the 99 min mark also cuts out the song played during the previous scene so all you can hear is the wind during snowfall. Altman maintains this audio throughout this sequence which includes POV shots from McCabe’s perspective, it is masterful use of suspense
In my experience, violence in films is always most potent when used sparingly. It also is more impactful when it occurs later in the film. This is no different, the first murder takes place in the last 30 minutes when the kid shoots the Keith Carradine character to death on the bridge. It is such a cruel and pointless act that would not have hit nearly as hard if there were 10 deaths prior to that one. And it is not even due to character build up as the Keith Carradine character is a minor character
There are beautiful shots, around the 19-minute mark there is a stunning cinematic painting during sunset. Around the 99-minute mark there is a beautiful arial shot of the snow filled town right before the three gunmen are starting out to kill McCabe
Altman uses framing effectively, especially in regard to McCabe’s interaction with other characters. In the back and forth between Butler and McCabe; Butler shown in close ups and McCabe in over the shoulder shots, making Butler more intimidating as he sizes up the clearly intimidated McCabe. In regard to Mrs. Miller the camera holds on her face from McCabe’s POV as he becomes increasingly enamored with her. High angle shots are used throughout the film showing the progression of the town which is still in its early stages but growing through the film
Two of Altman’s most well-known Cinematic traits, zooms and overlapping dialogue are both present throughout the film and used effectively. The overlapping dialogue is especially impactful during the opening 15 minutes when McCabe enters Sheehan’s bar as a complete stranger. The overlapping dialogue creates an environment where you the viewer feel like an outsider
Not a factor in the grading but it has one of the very best Criterion Covers with McCabe in his giant bear coat
This film has skyrocketed up my greatest films of all time as it is now in the top 60
Verdict: MP
@James Trapp- really well done here – from Cohen to the zooms and dialogue. It is also just a very good movie for the winter on top of everything else.
@Drake – thank you, great point about Winter. I would not want to watch this film in the middle of Summer. It has such as strong seasonal atmosphere. It is funny, from the first time I watched it I immediately felt like it was set in the northwest.
What are some other great films set it that part of the country?
@James Trapp- not sure about set in that part of the country. But certainly this, Fargo and The Shining are 3 I like to see in winter. Maybe Dr. Zhivago as well. I’m sure there’s more
I posted this on the 1970 Site, meant to post here:
MASH (1970)
Notes:
The basic set up revolves around a group of officers working at a medical facility for the US army in South Korea during the Korean War in 1951. Two new surgeons, Donald Sutherland as Captain Benjamin Franklin “Hawkeye Pierce Jr. and Tom Skerritt as Captain Augustus Bedford “Duke” Forrest
Opens with shot of helicopter airlifting soldiers
2.35 to 1 aspect ratio
6:57 overhead shot of Jeep driving through area
7:46 zoom in on face of attractive woman
10:26 characters meeting one another with multiple conversations taking place at once without Altman focusing in on any one in particular
13:00 slow pan across the room with surgeries taking place at Mobile Army Surgical Hospital Units
14:57 Robert Duvall as strict, religious man, Major Frank Burns
19:54 Hawkeye with 1st Lieutenant Maria “Dish” Schneider
21:10 zoom out from Elliot Gould as Captain John Francis “Trapper John” McIntyre
22:25 characters shot in insolation during this sequence as Hawkeye and Duke meet Trapper
24:27 character blocking during surgery scene is filmed in tight space putting the viewer in room
25:19 throwing football around lackadaisically as counterpoint to the previous surgery scene
27:00 rare static camera as shot of Army helicopter is held leading to Sally Kellerman’s character Margaret “Hot Lips” Houlihan exiting the helicopter
32:18 zoom out and tracking shot showing officers during down time
34:11 overhead shot in surgical hospital showing officers operating in a casual atmosphere, the lights go out at one point, there is singing and joking around
37:43 zoom in on the appalled looking face of Hot Lips due to casual sexist comments and the general crudeness of many of the officers
39:27 light bulb in foreground swinging around during an almost sex scene
42:52 microphone placed in tent where Frank and woman having sex, with montage of soldiers listening on for entertainment
44:34 the montage of listening to sex continues with shots of regular duties going on
49:45 the camera movements are swift yet forceful
51:10 frame in frame followed by zooming out
54 min hilarious and strange conversation about a Dentist who is nicknamed, “Painless”. He believes that he is gay after not being able to perform sexually, then casually announces he is going to commit suicide followed by discussion over methods to do it, the matter-of-fact tone gives otherwise serious discussion a humorist tone
59:01 cinematic wide angle shot of “The Last Supper” with Painless in the center of the table
1:00:16 wide angle shot of “The Last Supper” with song in the background
1:01:05 another great wide angle shot, this one Painless is in the foreground with the other soldiers in the background of the frame shown from the chest down
1:03:57 red/orange lighting with Painless lying on his potential death bed
1:05:27 Lt Dish lifting the white sheets over Painless followed by a sort of match cut to a shot of the tent from the outside with “Officer’s Club” with phallic shapes
1:06:30 zoom on Lt Dish before helicopter flies off
1:12:29 bet solved via cruel prank as Lt Leslie is shown showering, this results in her becoming infuriated at the actions and indifference when she complains to superiors
1:19:48 surveillance angle shot as Hawkeye and Trapper arrive in Japan
1:21:15 reverse tracking POV shot as Hawkeye and Trapper force their way into hospital and bark out orders including more sexist behavior
1:22:35 zoom in on operating table
1:25:45 triangle composition with Hawkeye and Trapper casually putting in the office of the hospital director as they continue their disrespectful behavior
1:28:28 photograph montage of hospital commander in a compromising position to blackmail him
1:29:47 overlapping dialogue in operating room
1:35:19 one of the best zooms with zoom out to transition to football practice
1:38:00 football scenes begin with the camera altering between the field and the audience
1:41:56 quick cuts with shaky camera movements on football field
1:46:32 nice overhead shot of players setting up at the line of scrimmage
1:47:27 frame filled to brim with characters, nice use of blocking
1:50:41 bottle pop noise and other sound effects after the game in addition to the band’s music
1:51:28 poker game in dimly lit army tent
The film ends with Hawkeye and Duke leaving in the same Jeep they steal in the beginning
Thoughts:
Great film, I believe this was only my 2nd viewing. My dad was a big fan of the TV Series, I watched the first time with him years ago and really enjoyed it
This was not Altman’s first film, in fact he had already made several features and had considerable experience working on TV. None the less this is considered to be his real breakthrough with his particular cinematic style; zooms, overlapping dialogue, ensemble cast even if there are 3 main characters, and satirical humor
The zooms become more prevalent in some of later works but the zoom is quite noticeable here. The zooms work so well with ensemble casts as they can quickly and forcefully alter the focus or perspective from one character to another
The 2.35 to 1 aspect ratio is especially effective with the cinematic “Last Supper “scene which uses a brilliant wide angle shot
The film uses slightly desaturated palette consisting largely of green and browns matching the uniforms worn. The orange/red lighting stands out during the resurrection scene when Painless is “saved” by having sex with an attractive woman
Altman wanted the film to be set around Vietnam but the Studios hardlined against it. The film none the less contains commentary that is aimed at the American involvement in the Vietnam War. Altman uses humor to accentuate the subversive elements of the film. Many of the officers, especially the male ones, behave like teens at a summer camp. Using religion for laughs, in particular the entire “Last Supper” scene with Private Seidman singing “Suicide is Painless”, accompanied by Bandini on guitar. There is also the use of Robert DuVall’s hypocritical character, the uptight and religious Major. Duvall’s casting in Apocalypse Now (1979) interesting as the character he plays in that film would have been right at home with Hawkeye and the other immature pranksters
The surgery scenes are quite graphic but serve as an effective contrast with the juvenile behavior of the main characters that is present throughout the film. You have pranks, vile language, sexist jokes, and general disrespectful behavior
The overlapping dialogue is an Altman trait that is used throughout his work, and it is present here. It works especially well with tracking shots or sweeping pans where the camera is not focused on any particular character. This is particularly effective in placing the viewer in the room with the characters
The late great Donald Sutherland is always a treat to watch as well as Elliot Gould. They have such great chemistry together and you get the sense that these two actors could make anything entertaining. The film is filled with offensive jokes, Pranks, etc. but the humor is intelligent
The pacing is perfect as the film moves along without a distinct plot although the film moves along without ever feeling stagnant. It is funny that the final scene revolves around a big football game as there is no way anyone watching could possibly guess that halfway through. I do not know if Tarantino liked the film or not, but it does seem to fit into what he calls “hangout movies”. Altman subtly moves the film along even when it seems like the characters are just lounging around like when Painless makes a confession to Hawkeye leading to the hilarious “Last Supper” scene
Verdict: MP
Interesting to also see the MP grade here. Even as a big fan of works like McCabe, Nashville, and 3 Women this particular one was certainly one of the Cinema Archives MPs I had the most challenge with on my first viewing. I do see that the Altman-isms are here and I definitely appreciated the overlapping dialogue when it was there but I feel like its usage is largely confined to the first segment of the film (at least that’s when it was most prominent). At the very least, it’s tough to call this and the zooms a super consistent style choice in this work. Furthermore, I felt the football game was a funny choice for the ending and pretty well-done comedy but it’s a decidedly long stretch with relatively limited cinematic value.
I’ll rewatch this one in the future sometime surely, hopefully it clicks more then. Maybe my brain was too preoccupied with how much better Altman got at wielding his style tools in the future, but it also simply didn’t feel like a film with consistent enough excellence for me to call it a masterwork.
@ga – Those are fair points. I do think it is a lower level MP and I was close to MP/MS. The grades next to “Verdict” are not set in stone and occasionally will be slightly different when I post the final rankings/grades section
I just scanned the football section, so it lasts about 13 minutes, perhaps a few minutes could have been cut out without altering the overall impact but I still think it fits into the film’s pacing. Altman uses a variety of camera angles and some shaky camera to capture the chaotic nature of the sport. But the overlapping dialogue is not really present in these scenes nor are zooms.
RIP Shelley Duvall – 7 films with Altman
Brewster McCloud
McCabe & Mrs. Miller
Thieves Like Us
Nashville
Buffalo Bill and the Indians, or Sitting Bull’s History Lesson
3 Women
Popeye
And of course the legendary performance in The Shining (1980)
@James Trapp-RIP. A unique talent. I think she is in Annie Hall(1977), Time Bandits(1981), Roxanne(1987) and The Portrait of a Lady(1997) too.
My ranking of Altman`s films that I`ve seen:
1. Nashville MP
2. McCabe & Mrs. Miller MP
3. M*A*S*H MP
4. Gosford Park MS/MP
5. The Long Goodbye MS/MP
6. Short Cuts MS
7. 3 Women MS
8. The Player MS
9. Images HR
10. California Split HR
11. Buffalo Bill and the Indians R/HR
10 Best Performances
1. Gould- The Long Goodbye 5
2. Beatty- McCabe & Mrs. Miller 5
3. Christie- McCabe & Mrs. Miller 5
4. Tomlin- Nashville 5
5. Spacek- 3 Women 5
6. Duvall- 3 Women 5
7. York- Images 5
8. Sutherland- M*A*S*H 4.5
9. Mirren- Gosford Park 4.5
10. Gould- M*A*S*H 4.5
[…] 34. Robert Altman […]
Have you seen Pret-a-Porter, and if so, how bad is it?
@Zane- It is pretty good actually. I bet a second viewing gets it into the archives.
Just had the opportunity to revisit Short Cuts (1993) and made me wonder:
Is Altman the King of the Ensemble? Is there any other director who can so naturally handle films with casts that have legit like 20+ actors/actresses? I mean there are 22 names on the Criterion cover. Obviously PT Anderson is capable of handling large casts and is a known Altman acolyte but even so I am not sure if even he is superior in this regard (I do think PT Anderson is a better overall auteur to be clear).
@James Trapp- Linklater with Slacker, Dazed and Confused and more? Wes Anderson seems to be sprawling out more and more. Certainly you have to talk about Renior and The Rules of the Game. I’m sure I’m missing a few. But I would have to agree with you that Altman is the king
@Drake – and the ensembles flow so naturally. I do think Magnolia (1999) is superior to Short Cuts overall but I actually think Short Cuts is more seamless from a narrative standpoint even if it is not as impressive on a visual level and does not have a performance that can match Cruise’s in Magnolia (although it has some fine performances none the less)
From what ive seen i really hate his movies: Mash, Nashville, The Long Goodbye. I saw The Player, Gosford Park, and Short Cuts in the past and never liked them. Oddly enough I watched 3 Women a few days ago and thought it wasn’t bad, 2nd best of 1977 that I’ve seen, was quite good, not nearly as good as Suspiria though. I saw his ratings on imdb and 3 Women is actually his highest ranked so maybe my opinion isnt that weird. Although on this site and Flickchart 3 women is on the lower tier of his rankings..
So, after a second watch, I’m here to talk about McCabe and Mrs Miller. It is a masterpiece. I think I will agree that besides Nashville, it is his best movie. My thoughts:
1) McCabe is one of the more interesting characters in film history. Warren Beatty is great, simply great and manages to get the audience on his side right from the start. He is a rare protagonist. Essentially, he is a cowardly man, a “phony” (even if I dislike that term with a passion) with a generous heart and a sense of honour that if taken into account with his other traits, creates a very layered character. We get the idea that the reason for his pretence and the tough persona he has adopted is the need for survival. I drew parallels between McCabe and the unfortunate cowboy that got shot on the bridge for asking for socks. That man could be McCabe, had he not created a mask for himself (and here comes the critique but I’ll get into that later on). He is a good ordinary man, caught in an extraordinary situation, out of his depth.
2) Mrs. Miller is even more complicated. Julie Christie is mesmerising and makes for the perfect canvas for this mysterious character. Poetic indeed. She is a woman who cannot stay. Even if we never get to know that much (the film doesn’t delve into sexual subjects), we could draw parallels between Mrs. Miller and the character of Sabina in the Unbearable Lightness of Being. She flees and is the “travelling woman” that we hear about in Cohen’s soundtrack. She loves McCabe and she tries to protect him. But as soon as she realises he is in danger, she leaves. Her self preserving intelligence shows in her leaving yet again (as we can assume she has always done) – she fears his death, and thereby prevents herself from getting hurt. Is she strong or isn’t she? What does it really mean to be strong? To survive in the animalistic Western world we see here (or, in her case, to protect herself from pain), or to stay and possibly lose? In that vein, which one of the two leads is stronger, and essentially, who is more honest? The final zoom of her captures it all (along with Altman’s touch).
3) it is possibly my favourite western of all time. Not objectively the best, but surely the most unique (Meek’s Cutoff is in the same group as well). It criticises sharply the way things work in western world – the survival of the strongest, the unlawfulness of it all. However, the movie achieves something very rare; it shows the human side of all the things. The critique is there, but we do get to really feel the characters and feel FOR the characters. Never have I been more eager for someone to succeed than for McCabe to escape his enemies.
4) the movie is gorgeous. Harsh winter blueish and cold colours, with bold reds and yellows for contrast. Zooms of course. Nobody can do zooms as well as Altman.
@Georg – wonderful review. Thanks for sharing. You hit it all- a very nice addition to the page here.
@Georg- thanks for sharing. Agreed all the way around (and on 3 Women)- I recently caught Images and it would be in the same camp– probably not for everyone but a great film. https://thecinemaarchives.com/2020/04/16/images-1972-altman/
@oz- Most accessible? Hmm. MASH or The Player would be my choice
Thanks for the recommendations. I will get into Altman now.
@Drake – wow great recommendation! Your notes on the film really got me hyped up about it – I loved the eerie atmosphere all over 3 women and Images seems to use it as well. I think it is very impressive how Altman was able to pull off tension and dread so well, all the while being so talented in comedy etc. Though I am really fond of the little glimpses of his dark edge in other films as well, Nashville notably.
As for how to begin a study, I am not sure about MASH. I haven’t caught the Player yet (hoping I soon will), but I found the slapstick in MASH a little hard to digest. Of course I admire the critique that is present in the movie and I can realize its importance, but I don’t think I ever really really liked it. I just understood why it was a seminal and objectively masterful film. To be honest, from what I’ve seen, I’d say Gosford Park is one of his more accessible movies, with everything in it, ensemble and criticism and zooms of course. It is not set in America though, which is pretty much a very prominent element of his 70’s run as I perceive it.
I think what I love the most about Altman is how enjoyable, accessible (3 women could be a minor exception – a film which I love btw) and dedicated to some kind of satire he is, all at the same time. The shot of Tomlin in Nashville is just so iconic it gives you chills when thinking of it in context (plus, it is telling of his trademark style).
Most accessible Altman film to start an Altman study?
My Ranking of his films that I’ve seen
1.Short Cuts (A Masterpiece imo and a top five film of the 90s and one of the best films ever Lemmon steals the show)
2.MASH
3.Cookies Fortune
4.Gosford Park
5. The Gingerbread Man
6.Quintet
7.Dr. T and the Woman
I might be forgetting something but this is my ranking so far. My favorite Director after PTA