|Director: Robert Altman|
|Screenplay: Joan Tewkesbury |
|Stars: Barbara Baxley (Lady Pearl), Ned Beatty (Delbert Reese), Karen Black (Connie White), Ronee Blakley (Barbara Jean), Timothy Brown (Tommy Brown), Keith Carradine (Tom Frank), Geraldine Chaplin (Opal), Robert DoQui (Wade), Shelley Duvall (L. A. Joan), Allen Garfield (Barnett), Henry Gibson (Haven Hamilton), Scott Glenn (Glenn Kelly), Jeff Goldblum (Tricycle Man), Barbara Harris (Albuquerque), David Hayward (Kenny Fraiser), Michael Murphy (John Triplette), Allan Nicholls (Bill), Dave Peel (Bud Hamilton), Cristina Raines (Mary), Bert Remsen (Star), Lily Tomlin (Linnea Reese), Gwen Welles (Sueleen Gay), Keenan Wynn (Mr. Green) |
|MPAA Rating: R|
|Year of Release: 1975|
|Country: U.S. |
When Robert Altman’s Nashville was released in 1975, there had never been a film quite like it. At the time, Altman was already known as a critically celebrated, countercultural force with the war satire M*A*S*H (1970) and his deconstruction of both the Western in McCabe and Mrs. Miller (1971) and film noir in The Long Goodbye (1973). His style of long takes, naturalistic violence, and ensemble acting were already well-established. Still, nothing could have prepared Hollywood for the impact Nashville would have. Part comedy, part drama, part social commentary, and part musical, it is a film that truly defies categorization or simplistic descriptions.
Nashville’s most daring conceit is the brash manner in which it breaks the general rule that Hollywood movies focus on a small, easily manageable set of characters. Altman’s film follows the lives of no less than 24 major characters over a period of five days. In two hours and forty minutes, the film traces the narrative trajectories of all these characters, managing to make each one of them unique and interesting with only minimal screen time. The screenplay by Joan Tewkesbury is an incredible piece of work, intertwining all of these lives against the backdrop of Nashville, Tennessee, the country music capital of the world, during an especially heated presidential campaign in the year of America’s 200th birthday (overwrought patriotic imagery is everywhere).
The problem with Nashville at the time was that it was too revolutionary (which is probably why New Yorker critic Pauline Kael loved it so much and audiences didn’t). When United Artists head of production David Picker first read the screenplay, he rejected it with a note that said, “This is not a script.” UA refused to make the film, and Altman ended up making it on his own with ABC Pictures. And, according to Tewkesbury, after Picker saw the premiere, he sent Altman a telegram that said simply, “I was wrong.”
While Nashville is primarily about the show business world of country music, it has the kind of scope and ambition that allows it to turn the music scene into a microcosm of the United States in the mid-1970s. The twin political upheavals of Vietnam and Watergate are written all over the film, especially in the scenes that focus on a radical third-party presidential candidate named Hal Phillip Walker of the fictional Replacement Party. Walker, who is never seen physically, becomes a thematic force, as one of his campaign vans constantly lurks in the background, its loud speakers blaring his platform based on taxing churches, changing the national anthem, and removing all lawyers from government. It is only appropriate that the film climaxes at a Walker campaign rally in front of Nashville's Parthenon where unexpected violence breaks out, completely disrupting any sense of narrative momentum and leaving the fate of every major character dangling in unresolved limbo.
That Altman was able to get away with such a radical reworking of cinematic narrative is amazing. That it worked so well that other filmmakers of vastly different stripes have followed in his footsteps (think Steven Spielberg’s 1941 or P.T. Anderson’s Magnolia or Richard Curtis’s Love Actually) is testament to his strength of vision and skill behind the camera. As much as Nashville is a pastiche—a pasted together assortment of narrative shards that give a sense of life, but not of story—it is still more compelling than most traditional three-act narratives that feature closure and resolution. Like life itself, nothing is resolved in Nashville, nor should it be.
And, like life, Nashville is populated with a wide assortment of characters, all of who stick in your mind long after the film is over. From Geraldine Chaplin’s aggressive BBC documentary filmmaker, to Lily Tomlin’s unfulfilled gospel singer, to Keith Carradine’s womanizing folk-rocker, each character is fascinating and memorable. Some of the saddest and funniest scenes involve Gwen Welles as a struggling singer whose desire for fame and fortune blinds her to the obvious fact that she is utterly untalented. Ditto the sequences involving Ronee Blakley as a country diva whose health problems are forcing her professional life onto shaky ground; the sequence in which she begins to have a breakdown on stage by telling pointless stories when she should be singing is both hilarious and gut-wrenching.
Altman never quite equaled Nashville. He came close with Short Cuts (1993), a film that was similar in tone and structure, but it didn’t quite achieve the same astonishing balance of character, story, and sense of time and place. Perhaps there will always be something a bit magical about Nashville because it was so unique at the time and it has had such a lasting influence on how movies are made. Over the past nearly four decades years it has more than stood the test of time, and it will continue to be the bar by which other films like it are measured.
|Nashville “Paramount Presents” Blu-ray|
|Audio||English DTS-HD Master Audio 5.1 surround|
|Supplements||Audio commentary by director Robert Altman.“24 Tracks: Robert Altman’s Nashville” featuretteTheatrical trailers for Nashville, Popeye, and Urban Cowboy|
|Distributor||Paramount Home Entertainment|
|Release Date||August 10, 2021|
|When I first heard that Paramount was re-releasing Nashville on Blu-ray as part of their “Paramount Presents” line, I assumed it would utilize the same transfer from the now out-of-print Criterion Collection Blu-ray. I mistakenly thought that Criterion’s release was more recent (it was actually released in November 2013, nearly seven years ago), so it is not surprising that Paramount has commissioned an all-new 4K transfer from what they describe as “the original elements” (the transfer on the Criterion edition, which was done by Paramount, was 2K from a 35mm interpositive). The most immediately noticeable difference between the two transfers is that Paramount’s is brighter and features bolder colors. The extent to which this represents the original theatrical presentation is up for debate, so this may come down to personal preference as to which looks better. The 4K transfer does afford some better detail and nuance, although the fact that it has been down-resed to 2K minimizes what would be more robust difference on a 4K UHD. To my eye it looks slightly better in this regard, although I actually like the less intense colors on the Criterion disc. The lossless DTS-HD Master Audio 5.1-channel soundtrack appears to be the same as the one on the Criterion disc. The mix takes advantage of all the aural space, placing dialogue and sound effects and music all around us in a completely natural way while keeping the multiple characters’ voices clear and distinct as intended.|
While Paramount’s new disc may edge Criterion’s older disc in terms of video presentation, it does not hold a candle to it in terms of supplements. Here we get the same audio commentary by director Robert Altman that he originally recorded for the 2000 DVD and was also included on Criterion’s disc; a new 16-minute retrospective featurette titled “24 Tracks: Robert Altman’s Nashville” that will serve as a good primer for those who are not already knowledgeable of the film’s production and legacy, and a trio of theatrical trailers.
Copyright © 2021 James Kendrick
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