Robert Altman

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Fletch F. Fletch · #176 Post by **Fletch F. Fletch** » Tue Nov 21, 2006 5:34 pm

Michael wrote:I know what I'm going to do tonight - watch my favorite Altman film 3 Women with tuna casserole (complete with dehydrated onions) for dinner. And maybe some cheese whiz afterward.

Sounds good. I plan to feed my fincky cat and watch The Long Goodbye. (sans the curry brand cat food, natch)

Gordon · #177 Post by **Gordon** » Tue Nov 21, 2006 6:05 pm

Very sad news. I had thought that he had been looking a bit weak in recent interviews, but as he was remaining as prolific - and few American auteurs were as prolific as he - I thought that we'd see two or three more movies from him. In addition to being an imaginative and skillful filmmaker, he also seemed to be a really nice guy, with no hint of mania about him. It is interesting as to how he treaded the boards for so many years before MASH broke him through to wide acclaim, but once he achieved exposure, he didn't pander to anyone, instead, he made some of most fascinating character study films of the 70s - in fact, I would say that The Long Goodbye and California Split - along with Taxi Driver - define American Cinema in the 70s; a period where previously unimaginable characters and stories were freely told in highly imaginative ways and summed up the attitude of a nation, both the positive and negative. The idea of subverting the entire Film Noir detective genre through one of the archetypal works by making the character and easy-going, bumbling Everyman who nevertheless pursues the truth selflessly, but is caught up in a nihilistic artificial paradise is genius in concept, but the execution of it is even more of a triumph, with Elliot Gould standing as the Great Icon of the 70s, more so than John Lennon or Charles Manson, or any of those self-fabricated messiahs, as he seems more real, more natural. The film itself is one of the best photographed and edited films of the 70s, but it is never flashy, only fluid, but has a rambling and breezy feel to it. Only Altman ever made films like this and I enjoy them immensely. Images is another film that oozes unique atmosphere and style, but often gets overlooked as it lacks humour, but it is one of the films that proves Altman's versatility and strength as a Master of Cinema.

As he himself put it: "Filmmaking is a chance to live many lifetimes." And that he certainly did.

colinr0380 · #178 Post by **colinr0380** » Tue Nov 21, 2006 6:14 pm

At least he was able to keep working until the very end, something that many don't get the opportunity to do. I haven't seen Prairie Home Companion yet but it sounds like a nice final work.

It would be nice to think that he kept himself going until it was completed and maybe prove that the insurers who want stand by directors on set ready to take over if there are any health difficulties of older directors during the production of a film needn't have worried about him!

It's amazing to think of the range (and sheer number) of actors and actresses he worked with from Lillian Gish to Lindsay Lohan and I wouldn't be surprised if he made an impression on most of them. He certainly did on me and all I did was sit and watch the end result much later.

Len · #179 Post by **Len** » Tue Nov 21, 2006 6:29 pm

RIP.

I don't know what else to say, except that The Long Goodbye will be finding it's way into the dvd player just about now.

Truly a giant.

Cinesimilitude · #180 Post by **Cinesimilitude** » Tue Nov 21, 2006 6:43 pm

I don't think I own a single one of his films, but it's still sad to hear.

jon · #181 Post by **jon** » Tue Nov 21, 2006 7:17 pm

Completely floored by the news. Fuck man, I seriously went to the video store and rented A Prarie Home Companion last night, before I knew he had died. Well, I am looking forward to watching now more than ever. Anyways, rest in peace.

David Ehrenstein · #182 Post by **David Ehrenstein** » Tue Nov 21, 2006 7:38 pm

And as you'll see the film is Altman presiding over his own funeral. It's entirely about his impending death.

marty · #183 Post by **marty** » Tue Nov 21, 2006 7:53 pm

I saw his last film, Prairie Home Companion, at the Berlin Film Festival in February earlier this year and I was lucky to see him on stage prior to the film. He looked frail walking with a cane and I had a feeling he didn't have too long to go. I loved the film and thought it was fantastic although I was surprised to see a few members of the audience leave during the film but, then again, that's a film festival for you. It was the perfect last film for Altman. R.I.P

Cold Bishop · #184 Post by **Cold Bishop** » Tue Nov 21, 2006 8:41 pm

Jesus... and I was just talking about him yesterday night and thought to myself he had to die soon. And then I log on and see this...

Admittedly, I haven't seen enough of his work. What I have seen (Long Goodbye, California Split, Images, The Player, Shortcuts) I completely loved, but his films had away of staying near the top of my Netflix queue without ever reaching the top 5. It's a shame I took this for me to finally bump them up... I guess I'll have to see McCabe and Mrs. Miller and M*A*S*H* next.

R.I.P.

marty · #185 Post by **marty** » Tue Nov 21, 2006 8:50 pm

I think I'll watch McCabe and Mrs Miller tonight.....

fred · #186 Post by **fred** » Wed Nov 22, 2006 1:42 am

I don't actually own any of his films, but if I did the one I'd watch is Popeye...

HerrSchreck · #187 Post by **HerrSchreck** » Wed Nov 22, 2006 2:01 am

A humble salute--

R.I.P. to an authentic uncompromised original, a kind of loss which is inevitably ill-afforded in the lonely zone of Genuine Hollywood A-List Auteurs.

exte · #188 Post by **exte** » Wed Nov 22, 2006 2:29 am

I'm just glad he got to live so long. As another member said, I'm also glad he got to work till his dying day. And finally, I'm just glad he kept working long into his career until MASH broke through for him. Not everone is a wunderkind of film at the age of 24 or 27. For me, Nashville is his opus. I respect Short Cuts and have yet to sit through all of The Player, but I find him fascinating. His interviews were really informing, and his technique was rather simple yet brilliant. I'm sorry more directors don't emulate him...

mario gauci · #189 Post by **mario gauci** » Wed Nov 22, 2006 2:48 am

I was so utterly stunned when I learned of this yesterday evening that I had to let some time elapse before I could post anything remotely coherent.

Even if I knew Altman had been born in 1925 and was therefore an octagenerian and was even aware of his having had a heart transplant. his films had always felt so much "younger" than his real age that, frankly, I thought he would be around for another decade at least as perhaps an American version of Manoel De Oliveira!

I shall be watching my DVDs of THE LONG GOODBYE (1973) and M.A.S.H. (1970) in tribute to his passing. Ironically, last week when I visited the local DVD rental shop, I considered renting Altman's latest movie, A PRAIRIE HOME COMPANION (2006) but then but then decided not to; I'll go again this morning and, hopefully, it will be available. It's a pity that I didn't grab any of McCABE AND MRS. MILLER (1971), THREE WOMEN (1977), THE PLAYER (1992), SHORT CUTS (1993) or GOSFORD PARK (2001) during Deep Discount DVDs latest "20% off" promotion but there you go.

Ironically, earlier this year I had already watched 3 of Altman's films from his 1970s heyday - IMAGES (1972), CALIFORNIA SPLIT (1974) and BUFFALO BILL AND THE INDIANS OR. SITTING BULL'S HISTORY LESSON (1976) - and, now that I think of it, I had also watched at least one Glenn Ford movie - EXPERIMENT IN TERROR (1962) - and 4 Jack Pallance movies - TEN SECONDS TO HELL (1959), A PROFESSIONAL GUN (1968), COMPANEROS (1970) and COP IN BLUE JEANS (1976) - before their deaths had ever been announced! I shudder to think of all those other living actors and film-makers whose work I watched throughout 2006...

Anyway, even if Robert Altman's career was frustratingly erratic overall, one can't deny the stream of brilliantly individualistic films he gave us in the 1970s and his comeback in the early 1990s (and the belated recognition that came with it) was nothing short of astonishing. Unfortunately, Mr. Altman is probably best-known in my country for having shot the frankly awful POPEYE (1980) in its entirety over here (the impressive Sweethaven set stands to this day and is one of our major tourist attractions) but, at least, we Maltese have something even more tangible to be grateful for and remember him by.

soma · #190 Post by **soma** » Wed Nov 22, 2006 2:54 am

I only "discovered" Altman earlier this year, so I'm still very much in complete awe of the man. The Long Goodbye, McCabe & Mrs Miller and Short Cuts are all practically flawless, vividly haunting and creatively exciting films, that I've since bought on DVD and haven't been able to stop thinking about. I saw these along with M*A*S*H* and The Player on the big screen (a goosebump experience to be sure) at a local Altman retrospective earlier this year. I'm yet to see Nashville, 3 Women and Images; but they are greatly anticipated.

I lost my grandfather recently so death has been on the mind a bit I guess. 81 is a good age (my grandfather was 86), and I'm amazed that Altman worked in the industry right until the end. That's nothing short of incredible. He defied the system, he was a master and an auteur. R.I.P. to one of the greats.

Napoleon · #191 Post by **Napoleon** » Wed Nov 22, 2006 6:04 am

I find the news sad, but Altman leaves behind a legacy that very few people (let alone directors) can match.

Apparently he once lit up a joint in the presence of Super Tony. What a guy.

*Edited at Schrecks request.

HerrSchreck · #192 Post by **HerrSchreck** » Wed Nov 22, 2006 6:45 am

Napoleon wrote:I find the news sad, but everyone has to go sooner or later

O those attempts at Internet Differentiation!

The quote was, in fact, a luminous pearl of wisdom we should all keep our eyes on here; I found the news so sad originally because I was thinking 'Once you're born, you're always alive'. Therefore I thought "as I go on living (and living and living) it seems so depressing Altman drew a bad duece and had to be that rare, embarassing death".

Don Lope de Aguirre · #193 Post by **Don Lope de Aguirre** » Wed Nov 22, 2006 6:53 am

Apparently he once lit up a joint in the presence of Super Tony. What a guy.

I have a lot of admiration (fondness is probably a better word) for Altman's antics and the Imamura-like messiness of some of his best work but I think we need to keep things in perspective. Ranking him alongside the likes of Antonioni and Godard is pushing it rather a lot...

GringoTex · #194 Post by **GringoTex** » Wed Nov 22, 2006 10:04 am

Don Lope de Aguirre wrote: Ranking him alongside the likes of Antonioni and Godard is pushing it rather a lot...

Godard is put in a class of his own, but general critical conensus has Altman right up there in the pantheon with Antonioni.

davida2 · #195 Post by **davida2** » Wed Nov 22, 2006 10:57 am

Don Lope de Aguirre wrote:... the Imamura-like messiness of some of his best work but I think we need to keep things in perspective...

I think I agree with you, but that Imamura-like messiness kept even Altman's most flawed films interesting: I love his anointed masterpieces, not to mention his left-field creations like Brewster and A Wedding (both fine films), but there's virtues to be found even in mostly-uncelebrated creations like Popeye (That cinematography! And the Nilsson songs...).

justeleblanc · #196 Post by **justeleblanc** » Wed Nov 22, 2006 11:51 am

Does anyone yet know of any retrospectives on TV that might be showing some rare Altman films? I'm sure TCM and others will show is major works, but it's the ones that aren't yet on DVD that interest me most.

Lino · #197 Post by **Lino** » Wed Nov 22, 2006 12:23 pm

Sad news indeed. And we all can wait for Brewster McCloud, Thieves Like Us, Health and other unreleased Altman to make their DVD debut this coming year, how bittersweet that may sound.

Anonymous · #198 Post by **Anonymous** » Wed Nov 22, 2006 12:26 pm

Don Lope de Aguirre wrote:Ranking him alongside the likes of Antonioni and Godard is pushing it rather a lot...

No it's not. It's my personal opinion, purely emotional and subjective. And I forgot to add Brian De Palma to my pantheon of living directors. The films of Godard, Antonioni, Altman and De Palma enrich my life and I'm obsessed with them.

Fletch F. Fletch · #199 Post by **Fletch F. Fletch** » Wed Nov 22, 2006 1:40 pm

A few tributes popping up online:

The A.V. Club

The Village Voice

tavernier · #200 Post by **tavernier** » Wed Nov 22, 2006 1:41 pm

The Film Society of Lincoln Center in New York has a tribute:

Tribute to Robert Altman: A Prairie Home Companion (2006, 105m)

Monday Nov 27 at 8:30 p.m. â€“ The Walter Reade Theater

On the night of November 20th, the cinema lost one of its finest, a fiercely independent spirit who made movies that lived, breathed and inspired a unique devotion in movie lovers all around the world. Robert Altman's camera eye was a remarkably delicate and sensitive instrument, seeking out and illuminating the most fleeting beauties and mysteries of being human. Altman gave us images and sounds and sensations we'd never experienced before â€“ think of the sustained euphoria of California Split, the glorious interchanges between Sissy Spacek and Shelley Duvall in 3 Women or the heartbreaking snowbound ending of McCabe and Mrs. Miller. Altman's greatest films are uplifting in the best possible way: they open our eyes and ears to the wonders of everyday life.

A Prairie Home Companion, Altman's final film, is a poignant and joyous triumph, a lovely celebration of show business, the passage of time and the glories of the human face. We'll be showing it on our screen this Monday at 8:30 p.m., introduced by Kent Jones, Film Society's associate director of programming. It's the nicest way we can think of to say goodbye.