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
Under-rated later Altman that stands up well in his ouevre. All the signature Altman quirks are present in this fun tale of a gynaecologist and all the women in his life; his patients, his mentally ill wife, his daughters, his extended family and a new woman in his life who seems unlike the rest. Gere perfectly cast and really never better. Film should have ended at the wedding as twister/mexico scene not needed.
Situation comedy about an uptown Dallas gynaecologist who struggles to balance all the women in his life, in his private practice as well as in his all-sisters/all-daughters/all-nieces family. From the signature opening tracking shot, the film possesses a playful tone, which is complemented all too well by the charming rapport of the ditzy, predominantly female cast. Breezy fun.