Robert Altman is admired amongst directors and actors, but despised amongst the producers of Hollywood. Isnt it ironic that some of his best work (The Player) is a terrific parody of all the pittfalls Hollywood digs for those trying to make a movie.
I have always wondered why there is such an admiration for him as a director, but the admiration grew out of his love for movie making and his love for the actors. And that love is being returned now. He treated his actors and his movie crew in a way few other Hollywood directors did. Robert Altman's movies seemed to be sort of a family/friends gathering of like minded spritits who supported each other.
The guy made some terrific movies and he also made quite a few stinkers, movies that really were below par. But Robert Altman's talents never faded, his passion never faded, it was the Hollywood industry that did or did not gave him the chance to film the way he wanted to, resulting in periods of eccletant succes and periods of drought and failures.
I'll remember Altman for his classic movies. And after seeing this movie I'll also remember him as a sort of a father of the actor's community. Too bad he got an early stroke, after which he finally had to give up drinking. But up untill then he lived his live to the fullest, giving us audiences worldwide several beautiful movie classics!
Altman
2014
Action / Biography / Documentary
Altman
2014
Action / Biography / Documentary
70% - Critics
67% - Audience
6.8Plot summary
The life of Robert Altman over the course of his career as a filmmaker is told in roughly chronological order. It is presented largely through archival footage, including of his interviews and of his and his longtime wife Kathryn Reed's home movies. It includes his rocky start in Hollywood as an aspiring screenwriter, which instead led to him working as a general filmmaker for an industrial film company. This work led to directing assignments for a number of television series back in Hollywood, where he butted heads with a number of studio executives and producers who did not appreciate his style of filmmaking in his desire to insert a sense a realism in whatever the project, that realism which includes hanging story-lines and overlapping dialogue, often in multiple equally important conversations in a single setting which forces the viewer to decide which conversation he/she wants to focus. This situation often led to him trying to achieve what he wanted either in not telling or flying beneath the radar of the studio executive and producers. Altman's cachet in Hollywood took a meteoric turn upward with the film M*A*S*H (1970) which all other directors approached had turned down, it which ended up being a box-office smash and critically acclaimed, including winning that year's coveted Palme d'Or at the Cannes Film Festival. Over the remaining course of his filmmaking life which included some highs and lows (including a string of box office and critical failures in the late 1970s and early 1980s),he tried to instill a sense of of family among the cast and crew of his sets. Beyond his marriage to Kathryn, the personal side to the story includes his being father to a number of children and step-children who would enter into the business, and some health issues, one which ended up in him having a heart transplant of which he did not tell the public until ten years after the fact. Interspersed with the archive footage is a number of celebrities - actors who have worked in his films and contemporaries influenced by his work - who give their definition of the adjective "Altmanesque".
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"The only thing I miss about drinking is alcohol"
Flashes of an erratic filmmaking talent...
Ron Mann's rather soft documentary on movie director Robert Altman, who amusingly was fired by Jack Warner from his first theatrical film (1968's "Countdown") because of Altman's desire to have the actors overlap their dialogue. Altman, who began as a TV writer, slowly worked his way into the director's chair for a variety of television programs such as "Hawaiian Eye," "Bonanza" and "Combat!" It was on the series "Whirlybirds" that he met his wife, actress Kathryn Reed, who would remain by Altman's side for the remainder of his life. Home movies and behind-the-scenes footage highlights this otherwise unenlightening piece, with a narrative that reads something like this: "Once he finished that film, Altman began his next picture. After it was completed, he began a new project." There are a few nice touches (such as critic Gene Shalit's colorful TV review of Altman's "Popeye"),but otherwise extremely little about how each of Altman's eclectic projects were perceived by the public. Apparently an absentee-father, Altman, who passed away November 20, 2006, is nevertheless praised by the family members who took part in "Altman"; still, it's a documentary with only a passing resemblance to documentaries. ** from ****
Altman
This documentary about the career of Robert Altman follows pretty much every film, sometimes at a greater pace than brings clarity. It does however try to focus on the nan, his family and what drives his type of films. Tends to avoid the fact that he has in his illustrious career made a lot of twaddle, but otherwise a light and enjoyable enough insight.