Considered to be one of Altman’s most accomplished feature, this explores the intersecting lives of various people connected to the music business in Nashville. Their stories tie together with a dramatic climax.
এই ফিল্মটি এখন প্লে না করা হলেও অন্য 30টি অসাধারণ ফিল্ম MUBI তে দেখানো হচ্ছে। এখন কী দেখানো হচ্ছে তা জানতে এখন দেখানো হচ্ছে এ যান
There is a sense in which Nashville represented a last bit of Sixties utopianism — the idea that a bunch of talented people might just hang out together in a colorful environment and, almost spontaneously, generate a movie.
Most epics are merely crowded; Nashville is multifarious. [It’s a] deft societal cross-section, a carousel of studies in musical performance, a caustic satire of show business and politics, a reckless formal gambit, and the biggest canvas Altman ever painted on.
In Nashville, the background is just as important as the foreground, and this diffusion of focus allows Altman and his collaborators to build a whole world out of minuscule interactions. As its bits and pieces accumulate, Nashville bustles like a Brueghel cityscape.
NASHVILLE was Altman's first ensemble film, with no single main character or main story line, a style he employed with great success in future films such as SHORT CUTS and GOSFORD PARK. Fabulous ensemble cast here, and great photography. I am subtracting a star however, because with the exception of the two Keith Carradine songs, the film is chocked full of really bad music, deliberately bad and lots of it.
What endures as one of the five best films of the 1970s still provides a dark mirror to the modern world; the idolisation of celebrity, the double-dealing, the shifty politicking & divides it creates between left & right, the broken dreams, the slow crawl towards inevitable gun violence. Altman captures everything in a relaxed, observational, improvisatory way, which allows stories to grow & develop. This is America.
"The price of bread may worry some, it don’t worry me. Tax relief may never come, it don’t worry me.
Economy’s depressed, not me, my spirit’s high as it can be and you may say that I ain’t free, but it don’t worry me."-Barbara Harris
Although I consider The Long Goodbye to be Altman's greatest film, Nashville runs a close second. This is not only a time capsule of 1970s America but it is also the greatest ensemble film ever made. Altman worked best with a lot of people and the ending is one of the most powerful ever committed to film.
The audio layers of this film (and of Altman's movies in general) are utterly incredible: Like often in real life there is a simultaneity or even chaotic interference of different voices through which you have to find your way. Also excellent is the staging and the camera work related to singers and musicians.
When it comes to multi-story narratives, I will always consider Jean Renoir (La Regle du Jeu) to be the master, but Altman (Nashville, Short Cuts) and Anderson (Magnolia) are definitely up there. This film is an absolute delight.
The apocalyptic bicentennial pageant to end all apocalyptic bicentennial pageants. The ending remains one of the greatest in all cinema. I remember watching it in my parent's basement as a teenager and having one of those cinema-just-changed-my-life-again moments that only young people can have w/ such frequency. I felt so alone because there was nobody who could understand what had just happened to me. Indelible.
"Don't tell me how to run your life!" What a great film! Poignant when it needed to be, but more often hilarious, Altman takes a searing eye to all ends of Nashville, Tennessee. The desperate, untalented underbelly. The bloated, delirious products of success. The vaguely retarded politics. Still, the funniest parts to me were the lyrics of the songs, each one more ridiculous than the next. Loved it!