Part of Nashville: A City On Film and Weekend Classics: Altman at 100
In its 50th anniversary, NASHVILLE serves as a fitting kick-off for the Belcourt’s own 100th anniversary. This cornerstone of 1970s American moviemaking from Robert Altman is a panoramic view of the country’s political and cultural landscapes, set in the nation’s music capital. NASHVILLE weaves the stories of 24 characters — from country star to wannabe to reporter to waitress — into a cinematic tapestry that’s equal parts comedy, tragedy and musical. Many members of the astonishing cast wrote their own songs and performed them live on location, from Opryland to the Exit/In and Centennial Park. Altman’s ability to get to the heart of American life via its eccentric byways was never put to better use than in this grand, rollicking triumph — which barrels forward to an unforgettable conclusion with an indispensable number courtesy of Barbara Harris.
“The funniest epic vision of America ever to reach the screen. Robert Altman’s 1975 movie is at once a ‘Grand Hotel’-style narrative, with twenty-four linked characters; a country-and-Western musical; a documentary essay on Nashville and American life; and a meditation on the love affair between performers and audiences.“ —Pauline Kael, New Yorker (Feb 23, 1975) “This is a film about America. It deals with our myths, our hungers, our ambitions, and our sense of self. It knows how we talk and how we behave, and it doesn’t flatter us but it does love us…. Watching NASHVILLE is as easy as breathing and as hard to stop. Altman is the best natural filmmaker since Fellini.” —Roger Ebert, Chicago Sun-Times (Jan 1, 1975) “I hate to go out on a limb after only one viewing, but NASHVILLE strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel.” —Andrew Sarris, Village Voice (Jun, 9, 1975) “Robert Altman's NASHVILLE is the movie sensation that all other American movies this year will be measured against. It's a film that a lot of other directors will wish they'd had the brilliance to, make and that dozens of other performers will wish they'd had the great good fortune to be in.” —Vincent Canby, New York Times (Jun 12, 1975)
