Starring Ronee Blakley, Keith Carradine, Lily Tomlin, Henry Gibson, and many others
Directed by Robert Altman
Music and Lyrics by Richard Baskin and the cast
While you wait for the election results to come in, here's a unique slice of life comedy-drama. This may be the definitive Altman movie. He specialized in large casts with often improvised sequences, musical numbers performed by the casts, overlapping dialogue, set (and frequently filmed) in real-life locations. Many of the situations in the film were inspired by screenwriter Joan Tewksbury's experiences as an outsider in the Music City; others were improvised on the set by Altman. How does this commentary on American life in the mid-70's look now, during an even more tumultuous time? Let's begin in the recording studio with country star Haven Hamilton (Gibson) recording a big patriotic number for America's bicentennial and find out...
The Story: The lives of Music City residents entwine during a five-day period leading up to a big political rally for an ultra-conservative independent party candidate. Superstar Barbara Jean (Blakely) returns to Nashville in a fragile state. Her abusive manager husband Barnett (Allen Garfield) told everyone she's recovering from burn accidents, but that proves to be far from the case. Even when she's out of the hospital after collapsing on her arrival, she's far from stable. Connie Blake (Karen Black) is her rival and former friend.
Gospel singer Linnea Reece (Tomlin) has an affair with folk performer Tom Frank (Carradine), but she won't leave her deaf children. Frank's making love with almost every other woman in the cast as well, including newly arrived groupie "L.A Joan" (Shelley Duvall), BBC reporter Opal (Geraldine Chaplin), and his married band mate Mary (Cristina Raines). Joan's uncle Mr. Green (Keenan Wynn) can't get her to his late wife's funeral and ends up bonding with a Vietnam vet (Scott Glenn) who came to see Barbara Jean.
Former housewife Albuquerque (Barbara Harris) and waitress Sueleen (Gwen Welles) are singing hopefuls, but only one has actual talent. And then there's Kenny (David Hayward), the young man with the guitar case who rents a room from Mr. Green and seems to be on the fringes of everything...
The Song and Dance: The cast alone makes this worth seeing. Everyone not only did their own singing, but most of them wrote or collaborated on their songs as well. Stand-outs include Tomlin's precious moments signing with her children and tearing up the floor with the gospel choir, Blakely's emotionally lost Barbara Jean, Harris' adorable scrappy wanna-be singer, Gibson as the fussy old-style country star, and Duvall's saucy, barely-clothed vamp. Chaplin gets a few hilarious monologues as the Brit who wants to know everything about this wild American music. Some of the set pieces, like the car pile-up and the tragic finale, are especially effective at showing how music and life converge.
Favorite Number: The big one here is the Oscar-winning ballad "I'm Easy," written and performed twice by Carradine. It's a perfect reflection of Frank's laid-back attitude towards life and his relationships. Blakley also does well by her own material, with "My Idaho Home" and "Tapedeck In His Tractor" at the aborted Opry Belle concert and "Down to the River" the standouts. Gibson's big song is the ultra-patriotic American history number "200 Years" in the opening, along with the intentionally cheesy "For the Sake of the Children" and the bouncy "Keep A' Goin'."
Karen Black isn't in much of the movie, but she still manages to make an impression with her Grand Ol' Opry numbers "Memphis," "Rolling Stone," and "I Don't Know But I Found It In You." Tomlin really gets the gospel group going in the opening credits with "Swing Low, Sweet Chariot," and gets the rousing "Yes, I Do" later. The movie ends with "It Don't Worry Me," written by Carradine and lauded to the literal skies by Harris during the tragic finale. The cast continues it during the end credits.
Trivia: The nifty opening credits are based after the TV commercials for the rock and country compilation records that were popular in the 70's and 80's.
Much of the film was improvised, with the actors and actresses adding their own dialogue and staying in character during breaks.
Elliot Gould and Julie Christie only have cameos because they were passing through Nashville at the time.
Filmed in and around the real Nashville, including the actual Grand Ol' Opry, the Nashville International Airport, a cabin where Altman lived during filming, and the Exit/In, a still-existing night club. Apparently, a lot of real Nashville musicians weren't thrilled with it at the time - they wanted their music to be used.
All of the musical performances are live concert stagings.
What I Don't Like: Like his later Popeye, this is not for those who aren't into Altman's epic ensemble films. Nor is it for those who prefer less complicated, more linear films with stronger plots. Many people may see it as much ado about nothing, especially those who aren't fans of politics or country music. It also seems to go on forever, particularly in the second half when the emphasis is more on the affairs and romances.
The Big Finale: Possibly Altman's best movie, and one of the best movies of the 1970's. Highly recommended for fans of country music, Altman, epic ensemble pieces, or any of the stars involved.
Home Media: Easily available on disc and streaming. (The Blu-Ray is a special edition from the Criterion Collection.)
No comments:
Post a Comment