Tag: Robert Altman

We excitedly countdown to the 72nd Festival de Cannes with a different prize winning film each day. Images, 1972 Prix d’interprétation féminine – Susannah York…

If one were to consider the case, it is almost interesting to consider where Robert Altman fits in the pantheon on the American cinema canon,…

– – – Contains Spoilers – – – America has always been obsessed with the doomed romantic tale of the bank robbing couple on the…

Completed just one year before his passing, the tale of the last days of a long-running public radio show seems rather ironic fodder for Robert…

Podcast 33 is dedicated to the one and only Robert Altman. Part of the 10 Days of Altman series, we brought the publishing date forward…

The appetiser with Gosford Park is carving out an immediate set of finely-tuned, immaculately-drawn characters. Academy Award winner Julian Fellowes ought to still be held…

Altman manages to treat the subject of schizophrenia in a sensitive manner without glamourizing it or mocking the illness. Images remains one of Altman’s strongest pieces, and has become forgotten in his vast filmography.

3 Women came to Altman mostly in the form of a dream that the director felt possessed the qualities and shape of a film…it is one of Altman’s most captivating  pictures whose images, just as a dream, return to haunt us, each time adding layers to our initial reading.

Robert Altman really didn’t want to make M*A*S*H (Mobile Army Surgical Hospital) with a lead actor or one particular plot. This was to be an…

Altman handles all the various parts with masterful care. This film is never boring, and it very well could be. The lack of a cohesive storyline could wear out its welcome fast, but Altman infuses each scene with enough flair to keep your attention. And the performances hold you there.

Popeye wasn’t the commercial bomb that many believe. In fact the film grossed $6 million on its opening weekend in the U.S., and made $32,000,000 after 32 days. Although the film’s gross was decent, it was nowhere near the blockbuster that Paramount and Disney had expected, and was thus written off as a flop.

”Quiet on the set,” are the first words we hear in the opening of Robert Altman’s The Player (1992), and instantly we know that we’re witnessing something that seems rare, and seldom heard of  by those outside the film industry.

The musical became Nashville, the private dick, The Long Goodbye, and the psychodrama, Images. Thieves Like Us was the deglamorized gangster flick, California Split the chaotically atmospheric gambling pic. The language of American film had begun to evolve again, after a very long nap.

He broke every rule in the standard cinematographers’ catechism – and caught much flack for it early in his career. Then people began to catch on. This was a new visual language, an impressionistic wash that Zsigmond applied that elevated the films – and the directors he worked for – into a unique category, all their own.