Remembering Robert Altman
Altman’s career was remarkably long, and he successfully reinvented himself more than once, but his greatest achievements nearly all came in the seven year period that started with M*A*S*H (1970) and ended with Three Women (1977). He made seven brilliant movies in that time, and only he could have made them: McCabe & Mrs. Miller, The Long Goodbye, Thieves Like Us, California Split, and Nashville, bookended by and M*A*S*H and Three Women (the first half of which is quite wonderful). He even made a few other movies during the period that are generally less highly regarded: Brewster McCloud, Images, and Buffalo Bill and the Indians. A Wedding, which directly followed Three Women, was skillful but rather pedestrian and ordinary, and a long dry period followed.
I was in film school at USC during the 1976-78 period, and several of the professors at that industry-oriented school were openly contemptuous of Altman: “He lets actors improvise…He’s being irresponsible with other people’s money.” That he could make a wide-ranging masterpiece like
Where did that unique ‘70s Altman style come from? Nothing before M*A*S*H had prepared anyone for it. Howard Hawks had successfully used overlapping dialogue in several great films of the thirties and forties, and there is some of that spirit in Altman, combined with a hippie/antiwar/anti-establishment attitude. (He pioneered the use of Dolby Stereo and multilayered dialogue tracks, enhancing the "everyone talking at once" atmosphere with cutting-edge technology.) There’s also a lyricism that balances the hard satire. This is especially apparent in McCabe & Mrs. Miller.
Then there is the unique visual beauty of the films, the wide, wide Panavision images with their slow glides and zooms. Vilmos Zsigmond’s cinematography in both The Long Goodbye and McCabe provides some of the most innovative visual highlights of that decade.
The use of music is also enormously creative. Nothing could complement McCabe & Mrs. Miller better than Leonard Cohen’s songs. John Williams creates brilliant and amusing variations on the title song of The Long Goodbye to accompany different scenes and moods. The actors created their own songs in
Last but far from least are the actors. Actors loved Altman and lined up to work with him. The results of the improvisations could be variable, but when they worked, amazing performances could happen: Elliot Gould in M*A*S*H, The Long Goodbye and California Split; Warren Beatty and Julie
Of the movies that came later, everyone has a few favorites, but not many would argue that the work comes close to that first flowering (made mostly when Altman was in his mid to late forties). I like best among them Vincent and Theo, a marvelous biography of Van Gogh that too few have seen, and the smashing entertainment
I grew up 50 miles from
And Minnie was right. Brilliant as the film is, it is not a realistic depiction of
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