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Editorial Reviews
From Publishers Weekly
Rightly considered both a critical and popular masterpiece, director Altman's 1975 film, Nashville, is a sprawling, audacious and brilliant mixture of political analysis and soap opera that features 23 major characters, all on a collision course with the American dream. This love letter to the film, the director and the cast is based on Newsweek movie critic Stuart's interviews with all of the cast and crew members who are still alive. He ably evokes the artistic excitement that galvanized the set amid the chaos of the filming (Altman, a great believer in improvisation, told his actors to ignore the script on the first day of filming), as well as the tensions that surfaced when the exacting, often cranky director clashed with many of his stars. Highlights are the insights of performers like Lily Tomlin, who relates how feminism and lesbianism shaped her wonderfully tender sex scenes with Keith Carradine (who claims to have "just wanted to get laid" during the filming"), and Barbara Harris, whose insistence on relying on her improvisational training at the Second City put her at odds with Altman. Stuart is at his best detailing the strained and often painful relationships between the starsAparticularly Ronee Blakley, who played the film's central characterAand the director. More an overview of the film and its principal players than a sustained critical analysis or a day-by-day account of the filming, this amiable journalistic account will please the film's legion of fans more than it will film critics or historians. (Nov.)
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Booklist
Stuart, film critic for Newsday, gets up close and personal for this rewarding critique of Altman's well-known and affectionately remembered masterwork. There have been many discussions and serious critiques of Nashville; Stuart takes readers behind the scenes literally to reveal Altman's controversial way of working, although much of his approach was applied to film by Italy's neorealists, particularly Roberto Rossellini. There's much information here on Altman's flare at building film families and allowing actors lots of room for improvisation. Stuart includes juicy anecdotes featuring each member of the Nashville family--actors such as Henry Gibson, Ronee Blakley, Keith Carradine, and Lily Tomlin; screenwriter Joan Tewkesbury; and second assistant director Alan Rudolph. In tracing Altman's career and brand of filmmaking before and after Nashville, Stuart concludes that Altman declined, even though many of his films had critical acclaim. With The Player, Altman reemerged as a player, proving a director is only as good as his or her last film. At 75, unlike Orson Welles, Altman is still finding the money that allows him to work with the tools of his trade. Bonnie Smothers
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Rightly considered both a critical and popular masterpiece, director Altman's 1975 film, Nashville, is a sprawling, audacious and brilliant mixture of political analysis and soap opera that features 23 major characters, all on a collision course with the American dream. This love letter to the film, the director and the cast is based on Newsweek movie critic Stuart's interviews with all of the cast and crew members who are still alive. He ably evokes the artistic excitement that galvanized the set amid the chaos of the filming (Altman, a great believer in improvisation, told his actors to ignore the script on the first day of filming), as well as the tensions that surfaced when the exacting, often cranky director clashed with many of his stars. Highlights are the insights of performers like Lily Tomlin, who relates how feminism and lesbianism shaped her wonderfully tender sex scenes with Keith Carradine (who claims to have "just wanted to get laid" during the filming"), and Barbara Harris, whose insistence on relying on her improvisational training at the Second City put her at odds with Altman. Stuart is at his best detailing the strained and often painful relationships between the starsAparticularly Ronee Blakley, who played the film's central characterAand the director. More an overview of the film and its principal players than a sustained critical analysis or a day-by-day account of the filming, this amiable journalistic account will please the film's legion of fans more than it will film critics or historians. (Nov.)
Copyright 2000 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Booklist
Stuart, film critic for Newsday, gets up close and personal for this rewarding critique of Altman's well-known and affectionately remembered masterwork. There have been many discussions and serious critiques of Nashville; Stuart takes readers behind the scenes literally to reveal Altman's controversial way of working, although much of his approach was applied to film by Italy's neorealists, particularly Roberto Rossellini. There's much information here on Altman's flare at building film families and allowing actors lots of room for improvisation. Stuart includes juicy anecdotes featuring each member of the Nashville family--actors such as Henry Gibson, Ronee Blakley, Keith Carradine, and Lily Tomlin; screenwriter Joan Tewkesbury; and second assistant director Alan Rudolph. In tracing Altman's career and brand of filmmaking before and after Nashville, Stuart concludes that Altman declined, even though many of his films had critical acclaim. With The Player, Altman reemerged as a player, proving a director is only as good as his or her last film. At 75, unlike Orson Welles, Altman is still finding the money that allows him to work with the tools of his trade. Bonnie Smothers
Copyright © American Library Association. All rights reserved --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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