Robert Altman
- Barmy
- Joined: Mon May 16, 2005 3:59 pm
Altman is a fun director, but to rank him anywhere near Antonioni is a joke. He's derivative, philosophically lightweight and has had minimal influence (particularly internationally). Just because he's dead doesn't suddenly make him a pre-eminent genius. That said, I like almost all of his films, even the allegedly bad 90's stuff and "Prairie" despite the presence of that Keillor commie.
- tavernier
- Joined: Sat Apr 02, 2005 7:18 pm
Glad to hear you're not just another right-wing snob.Barmy wrote:Altman is a fun director, but to rank him anywhere near Antonioni is a joke. He's derivative, philosophically lightweight and has had minimal influence (particularly internationally). Just because he's dead doesn't suddenly make him a pre-eminent genius. That said, I like almost all of his films, even the allegedly bad 90's stuff and "Prairie" despite the presence of that Keillor commie.
- Hrossa
- Joined: Wed Nov 03, 2004 7:11 pm
- Location: Prince Edward Island
- Contact:
I just wanted to say that Robert Altman is my favorite director. And that I wanted him to live forever. I've seen most of his films and own a lot of them, too. I don't know about his greatness in comparison to all of the confirmed canonical giants out there. I don't really care.
When I saw that he had died I think I stopped breathing for about twenty seconds.
Oh yeah, and I don't think A Prarie Home Companion is that great and my opinion of it hasn't changed now that he's dead. But, Robert Altman did create fifteen or so movies that I absolutely love.
When I saw that he had died I think I stopped breathing for about twenty seconds.
Oh yeah, and I don't think A Prarie Home Companion is that great and my opinion of it hasn't changed now that he's dead. But, Robert Altman did create fifteen or so movies that I absolutely love.
Thanks for your proof of not reading my last post. You seem very much to be one of those people who try to be objective about art, ranking films in lists of historical importance and influence. What the fuck do I care about the influence a favorite director of mine had on others? De Palma possibly had even less influence on younger directors than Altman and I still thinks he's as great as Antonioni and Godard. Also, I have expressed my love for Altman's movies on many occasions and he has always been a genius for me, many many years before he died.Barmy wrote:Altman is a fun director, but to rank him anywhere near Antonioni is a joke. He's derivative, philosophically lightweight and has had minimal influence (particularly internationally). Just because he's dead doesn't suddenly make him a pre-eminent genius. That said, I like almost all of his films, even the allegedly bad 90's stuff and "Prairie" despite the presence of that Keillor commie.
- Barmy
- Joined: Mon May 16, 2005 3:59 pm
I'm not really responding to your post. I'm just expressing an opinion (that's all anyone can claim to be doing here) about Altman's relative importance, in response to what to me is an excessive outpouring of praise. His death doesn't make him a better filmmaker. It's perfectly fine to have the opinion that he's the greatest director ever.
- Fletch F. Fletch
- Joined: Tue Nov 02, 2004 3:54 pm
- Location: Provo, Utah
Good. I tend to find Antonioni a big ol' bore half the time. Altman's films, even his most flawed are rarely boring.Barmy wrote:Altman is a fun director, but to rank him anywhere near Antonioni is a joke.
Well, I think he made some truly great technological innovations in the '70s, in particular his use of overlapping sound. I also think that thematically he is extremely important in that most of films eschew traditional linear narrative in favor of exploring the behavior of his characters and the often tenuous relationships between them.He's derivative, philosophically lightweight and has had minimal influence (particularly internationally). Just because he's dead doesn't suddenly make him a pre-eminent genius.
- Mr Sausage
- Joined: Wed Nov 03, 2004 9:02 pm
- Location: Canada
No, Barmy, you are not just expressing an opinion, you are deliberately trying to rile people up. And frankly your last comment is a cowardly falsehood. If you honestly thought that opinion was "perfectly fine," you wouldn't have outright called it a joke. If you're going to make provoking comments have the balls to stand by it and not cower under the "it's just my opinion!" banner when people are actually provoked.barmy wrote:I'm not really responding to your post. I'm just expressing an opinion (that's all anyone can claim to be doing here) about Altman's relative importance, in response to what to me is an excessive outpouring of praise. His death doesn't make him a better filmmaker. It's perfectly fine to have the opinion that he's the greatest director ever.
I don't know how good your memory is, but Altman has been a favourite on these boards well before his death. The only thing his death has changed is the mood, not people's opinions of his work.
Let's keep this topic solely for mourning/appreciative purposes. If you want to be critical about Altman's films or have a discussion about his merits, make an appropriate thread about it and do it there.
- GringoTex
- Joined: Wed Nov 03, 2004 5:57 am
- tavernier
- Joined: Sat Apr 02, 2005 7:18 pm
Barmy, or you?GringoTex wrote:It's always cute when somebody confuses an expression of alienation with philosophical density.Barmy wrote:Altman is a fun director, but to rank him anywhere near Antonioni is a joke. He's derivative, philosophically lightweight and has had minimal influence (particularly internationally).
- zedz
- Joined: Sun Nov 07, 2004 7:24 pm
Plenty of great artists have died in my time, but this news really took me unawares. It was hardly unexpected, but still, it was like a rush of air out of the room.
Now is hardly the time to be ranking the great living (or recently ex-) directors, but Altman's legacy has a richness and depth few could match - and surely no American director from the same period. Unlike the legacies of some of the canonical names being tossed around (which have already been generally settled), I think it's one that will remain alive and volatile for a long time to come, with waves of reassessment and reinterpretation. Just as the critical establishment is barely coming to terms with the totality of Fassbinder's output a quarter of a century after his death, so will Altman's gloriously unruly filmography be teasing us for some time. There's a wonderful lack of consensus about his body of work, and, as noted, even his strangest misfires have elements to recommend them. Maybe, in the fullness of time, they'll turn out not to have been misfires at all.
I still have little idea what my favourite Altman film is or will be, but the one I had to watch last night was Nashville. I was sort of shocked at how definitive that urge was.
This is certainly a contender for The Great American Movie, and it's a perfect demonstration of how innovative, precise and accomplished Altman could be, despite the carefully contrived illusion of chaos. Sorry Barmy, but there's a level of artistry on display here fully the equal of the less 'fun' directors you idolize. The film has one of the greatest soundtracks ever recorded (in more than one sense) - listen to how the sound segues from scene to scene, listen to how complex the organisation of sound is within scenes, and note how brilliantly naturalistic and non-naturalistic the sound can be at any given moment (not all sound sources are on-screen, and a particular sound source - Walker's truck is the most obvious example - can continue to dominate a scene long after it's passed through it). And while you're at it, apply the same attention to the visual side of things: the arrangement of multiple elements within a fluid frame; the orchestration of movement within the frame; the rhyming of movement and composition between consecutive shots belonging to different scenes.
And none of this is empty showmanship - all of these techniques tie in with a rich, complex, non-judgemental understanding of the world and characters he's depicting. The film is briliantly funny, and rollicks along in predominantly comic mode for an hour and a half or so, but in that final hour you get a stunning, intoxicating mixture of registers and emotions that opens up all sorts of ideas and questions about life, relationships, community, America.
A lot has been said about Prairie Home Companion being an ideal last film, but I'd also like to propose The Company as the perfect penultimate film for Altman: a beautiful, airy film that celebrates youth and creativity and sums up the perpetual youthfulness and curiosity of the director. Thanks Robert, it's been a blast.
Now is hardly the time to be ranking the great living (or recently ex-) directors, but Altman's legacy has a richness and depth few could match - and surely no American director from the same period. Unlike the legacies of some of the canonical names being tossed around (which have already been generally settled), I think it's one that will remain alive and volatile for a long time to come, with waves of reassessment and reinterpretation. Just as the critical establishment is barely coming to terms with the totality of Fassbinder's output a quarter of a century after his death, so will Altman's gloriously unruly filmography be teasing us for some time. There's a wonderful lack of consensus about his body of work, and, as noted, even his strangest misfires have elements to recommend them. Maybe, in the fullness of time, they'll turn out not to have been misfires at all.
I still have little idea what my favourite Altman film is or will be, but the one I had to watch last night was Nashville. I was sort of shocked at how definitive that urge was.
This is certainly a contender for The Great American Movie, and it's a perfect demonstration of how innovative, precise and accomplished Altman could be, despite the carefully contrived illusion of chaos. Sorry Barmy, but there's a level of artistry on display here fully the equal of the less 'fun' directors you idolize. The film has one of the greatest soundtracks ever recorded (in more than one sense) - listen to how the sound segues from scene to scene, listen to how complex the organisation of sound is within scenes, and note how brilliantly naturalistic and non-naturalistic the sound can be at any given moment (not all sound sources are on-screen, and a particular sound source - Walker's truck is the most obvious example - can continue to dominate a scene long after it's passed through it). And while you're at it, apply the same attention to the visual side of things: the arrangement of multiple elements within a fluid frame; the orchestration of movement within the frame; the rhyming of movement and composition between consecutive shots belonging to different scenes.
And none of this is empty showmanship - all of these techniques tie in with a rich, complex, non-judgemental understanding of the world and characters he's depicting. The film is briliantly funny, and rollicks along in predominantly comic mode for an hour and a half or so, but in that final hour you get a stunning, intoxicating mixture of registers and emotions that opens up all sorts of ideas and questions about life, relationships, community, America.
A lot has been said about Prairie Home Companion being an ideal last film, but I'd also like to propose The Company as the perfect penultimate film for Altman: a beautiful, airy film that celebrates youth and creativity and sums up the perpetual youthfulness and curiosity of the director. Thanks Robert, it's been a blast.
- jesus the mexican boi
- Joined: Fri Nov 05, 2004 5:09 am
- Location: South of the Capitol of Texas
That cunt Jonah Goldberg wrote this on the National Review blog:
Tuesday, November 21, 2006
Robert Altman
His passing is no doubt sad to his friends, family and fans. Though when an appropriate period has passed, we might have a fuller discussion of his merits as a director. Personally, I never saw the genius his fans saw.
Posted at 2:46 PM
Tuesday, November 21, 2006
Robert Altman
His passing is no doubt sad to his friends, family and fans. Though when an appropriate period has passed, we might have a fuller discussion of his merits as a director. Personally, I never saw the genius his fans saw.
Posted at 2:46 PM
Who the fuck is Jonah Goldberg and why should we care what he thinks and what exactly has he contributed to society? Beetles that live in shit have done more for society than this Jonah Goldberg.jesus the mexican boi wrote:That cunt Jonah Goldberg wrote this on the National Review blog:
Tuesday, November 21, 2006
Robert Altman
His passing is no doubt sad to his friends, family and fans. Though when an appropriate period has passed, we might have a fuller discussion of his merits as a director. Personally, I never saw the genius his fans saw.
Posted at 2:46 PM
- The Invunche
- Joined: Wed Nov 03, 2004 2:43 am
- Location: Denmark
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- Joined: Wed Nov 03, 2004 6:55 am
- Don Lope de Aguirre
- Joined: Fri Apr 14, 2006 5:39 pm
- Location: London
I have no idea who this guy is but in that I agree with him... does this make me a cunt too?That cunt Jonah Goldberg wrote this on the National Review blog:
Tuesday, November 21, 2006
Robert Altman
His passing is no doubt sad to his friends, family and fans. Though when an appropriate period has passed, we might have a fuller discussion of his merits as a director. Personally, I never saw the genius his fans saw.
- davida2
- Joined: Fri Nov 05, 2004 8:16 am
- Location: chapel hill, nc, usa
Hmmm...methinks both Altman and his similarly irreverent comrade Imamura are kicking back in some sort of afterlife, with a few drinks, and having a big laugh of approval over this cVnt-laden, Antonioni-bespoiled thread.
Jonah Goldberg - meanwhile - already lurks within our "where are they now" files, his liberal arts degree undoubtedly being put to great use. Maybe he's the right-winger who took Annie Hall to the infamous rock concert. Perhaps we should capture him and study his habits, or at least force him to watch A Wedding until he recants.
Sorta surprised the National Review is still being published in these tumultuous times in which we all live. Takes all kinds, I guess.
Jonah Goldberg - meanwhile - already lurks within our "where are they now" files, his liberal arts degree undoubtedly being put to great use. Maybe he's the right-winger who took Annie Hall to the infamous rock concert. Perhaps we should capture him and study his habits, or at least force him to watch A Wedding until he recants.
Sorta surprised the National Review is still being published in these tumultuous times in which we all live. Takes all kinds, I guess.
- justeleblanc
- Joined: Wed Nov 03, 2004 6:05 pm
- Location: Connecticut
Is anyone irked by the many journalists who have written short bios of Altman's works without seeing these films (just a guess)? I'm sure this is common, but for some reason it's bothering me this time around. The AP's article names his Southern Trilogy (Gingerbread, Cookie, Dr T) and Popeye as being all bad films -- which they aren't -- and then talks about how wonderful his films like Nashville, Mash, Player, & Short Cuts are, but does so ingenuously. Maybe I'm being silly, but a blind overview of his films by someone who probably hasn't seen them is so frustrating me today.
I only fear what will happen when Godard dies. "His flops (Le Petit Soldat, Tout Va Bien, King Lear) and his masterpiece (The Stories of Cinema)..."
By the way, did anyone else watch McCabe & Mrs Miller on tuesday night?
I only fear what will happen when Godard dies. "His flops (Le Petit Soldat, Tout Va Bien, King Lear) and his masterpiece (The Stories of Cinema)..."
By the way, did anyone else watch McCabe & Mrs Miller on tuesday night?
Uhhhh, yep!Don Lope de Aguirre wrote:I have no idea who this guy is but in that I agree with him... does this make me a cunt too?That cunt Jonah Goldberg wrote this on the National Review blog:
Tuesday, November 21, 2006
Robert Altman
His passing is no doubt sad to his friends, family and fans. Though when an appropriate period has passed, we might have a fuller discussion of his merits as a director. Personally, I never saw the genius his fans saw.
- Mr Pixies
- Joined: Sat Nov 06, 2004 10:03 pm
- Location: Fla
- Contact:
I'm just getting into Altman, and there's a lot to get into, and what I've got into has been great. Thank you Mr. Altman for not dying before making all these films.
What is the other blow from? You scared the shit out of me, thinking John Waters was dead, that would really be awful, looked it up and it's Ruth Brown, not familiar with her outside of Hairspray.colinr0380 wrote:Well that's a pretty awful triple blow. I rewatched Hairspray and 3 Women only a couple of weeks ago too.