The wedding day of Dino and Muffin is more chaotic than anyone could have predicted. As the bishop is stumbling through their wedding vows, Dino’s grandmother dies in a bedroom upstairs. This news is kept a secret from the two families who spend the reception fighting with each other, looking for sex, and trying to maintain long-held secrets. Dino and Muffin disappear as the behavior worsens, and Muffn’s little sister Buffy, who has been impregnated by Dino, looks on. –Inbaseline
An iconoclast whose work acutely attacked the conventions of genre filmmaking, Altman both satirized and revitalized such warhorses as the Western, the musical, and the crime drama, waging war on the sterile artifice of mainstream storytelling by creating a singularly sprawling and deliberately messy cinematic world bursting at the seams with sounds, images, characters, and plot lines. Famed for his inventive brand of overlapping (and often improvisational) dialogue and an acknowledged master of modern camera technique, Altman’s quixotic career has been uneven at best, yet he remains a pivotal figure of contemporary cinema, a true maverick responsible for many of the defining motion pictures of his times. Born February 20, 1925, in Kansas City, MO, Altman was educated in Jesuit schools prior to joining the Army at the age of 18; over the course of WWII, he flew over 50 bombing missions in Borneo and the Dutch East Indies. Upon his discharge in 1947, Altman studied engineering at the… read more
Despite some significant similarities to "Nashville," this film is far less concerned with commenting on the big picture of American culture. Altman narrows his focus on two wealthly families and a large-scale wedding, and his stream-of-consciousness style suits the unusually grounded scenario (for him) surprisingly well. Some outstanding performances, including Carol Burnett, who has never been better on-screen.
No...it's not in league with MASH or NASHVILLE, but it's still a biting satire full of uncomfortable confrontations, oddball characters, and a typically Altmanesque tapestry of wildly diverse actors (Carol Burnett, Geraldine Chaplin, Desi Arnaz Jr., Pat McCormack, Paul Dooley, Mia Farrow, John Cromwell, etc)
Moderately funny, and not a lot else. Obviously pointless to criticize Altman for leaving loose ends, but the fact is a lot of these characters bring nothing to the film, have no discernible effect on the theme, and just add time to a movie that should have been closer to "O.C. and Stiggs" length than that of "Nashville". I mean, the security guards as comic relief was just unnecessary, even if a lot of jokes do hit.