[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, under the editorial guidance of James M. Moran (editor-in-chief) and Peet Gelderblom (founding editor). Thanks to Gelderblom and Keith Uhlich for giving their blessing to this collaboration.]
Robert Altman and Francis Ford Coppola, arguably the two pivotal figures of American cinema in the 1970s, both rose from the turmoil of the transition from studio-based to independent production, to emerge as leading forces in film production as well as film style. Each eventually formed his own production company – Altman’s Lion’s Gate, Coppola’s American Zoetrope – and patronized the work of aspiring young film-makers (such as Altman’s nurturing of Alan Rudolph and Coppola’s of Caleb Deschanel).
Though Altman’s films compare with Coppola’s as chamber music does with grand opera, their work in the 1970s exemplifies what ultimately became the prevailing style of American film direction in that era: maverick resistance to studio-imposed time and budget constraints, insistence on directorial authorship, reliance on location shooting, use of improvisational acting, an emphasis on ensemble playing rather than star performances, Fordian gatherings – weddings, church services, parties, dinners – as exponents of group character (both Altman and Coppola had Catholic upbringings), and a revisionist approach to the mythic archetypes of the Hollywood genre film.