Archive for category: Robert Altman

Out of the Past: Brewster McCloud

12 December, 2011 (09:49) | by Robert C. Cumbow, Film Reviews, Robert Altman | By: Robert C. Cumbow

[Originally published in Movietone News 51, August 1976] Uniformed marching bands with twirlers. Red, white, and blue. Frustrated chauffeurs who can’t quite comprehend the world of their passengers. An arrival at the airport by charter plane, covered by an on-the-spot news announcer. The death and funeral of someone named Green(e). A reference to car racing. […]

“… they take on their own life…”: Robert Altman Interviewed

11 May, 2011 (09:07) | by Kathleen Murphy, by Richard T. Jameson, Interviews, Robert Altman | By: Richard T. Jameson

By Richard T. Jameson and Kathleen Murphy [Originally published in Movietone News 55, September 1977] Robert Altman visited Seattle late last year in connection with the world premiere of Welcome to L.A. at the Harvard Exit. The directorial debut of his sometime assistant director and—on Buffalo Bill and the Indians—co-screenwriter Alan Rudolph, Welcome also marked […]

Son of Noir

21 February, 2011 (08:48) | by Richard T. Jameson, Essays, Film Noir, Robert Altman, Roman Polanski | By: Richard T. Jameson

[Originally published in Film Comment Vol. 10 No. 6, November-December 1974] It’s a good idea to recall periodically no director at, say, RKO in the Forties ever passed a colleague on the lot and called, “Hey, baby, I hear they’re giving you a film noir to do next.” The term was a critical response, on […]

“It’s time to come inside now” – An appreciation of Robert Altman’s “3 Women”

29 August, 2010 (10:43) | by Robert C. Cumbow, Essays, Film Reviews, Robert Altman | By: Robert C. Cumbow

[Originally published in Movietone News 58-59, August 1978] 1969: That Cold Day in the Park: Lazslo Kovacs’s camera bridges one sequence to another with frequent use of focus-in/blur-out visuals, stylistically underscoring the film’s dual theme: the ambiguity and the dissolution of personality. It’s a film whose greatest strength lies in its atmosphere. Altman’s and Kovacs’s […]

“I had to risk not being liked in that scene” – Michael Murphy Interviewed

28 March, 2010 (16:02) | Actors, by Judith M. Kass, Interviews, Robert Altman | By: Judith M. Kass

[Originally published in Movietone News 60-61, February 1979] May 9, 1978 New York City Judith M. Kass: Vincent Canby of The New York Times called your acting in An Unmarried Woman “an exceptionally complex performance as the husband whose emotional problems set in motion the events that make possible the Clayburgh character’s eventual liberation.” I’m […]

Review: Quintet

26 February, 2010 (17:24) | by Robert C. Cumbow, Film Reviews, Robert Altman, Science Fiction | By: Robert C. Cumbow

[Originally published in Movietone News 62-63, December 1979] Quintet is one of those things that Robert Altman makes from time to time: an unoriginal, lumberingly obvious, altogether hokey script coupled with a visual and aural atmosphere so overpowering that one wishes to forgive the film its lack of narrative integrity out of respect for what […]

“Writin’ it down kinda makes me feel better”: Robert Altman’s “Nashville”

2 October, 2008 (00:03) | by Richard T. Jameson, Essays, Film Reviews, Robert Altman | By: Richard T. Jameson

[Originally published in Movietone News no. 43, September 1975] Nashville is a film with a mirror in it. The mirror is Robert DoQui’s face; specifically, his face at that moment when Jeff Goldblum takes the cap off the saltshaker at the airport lunch counter, pours the salt into his left hand, lifts the left hand […]

Altman and Coppola in the Seventies: Power and the People

29 September, 2008 (00:18) | by Robert C. Cumbow, Directors, Essays, Francis Ford Coppola, Robert Altman | By: Robert C. Cumbow

[Editor’s Note: The House Next Door is currently reissuing a series of articles developed at 24LiesASecond, a now-defunct platform for provocative criticism with an underdog bite. Author Bob Cumbow is a member of the Parallax View collective and his essays are being published simultaneously on Parallax View. The essay below was first published on 11/26/2005, […]