I think the problem with this film is Altman's obvious disdain for his subject - Nashville. And almost nothing in his portrayal rings true, except as it might to those who are unfamiliar with Nashville, or have an axe to grind with its culture. It is as if the characters are all based on two-dimensional negative stereotypes gleaned from listening to the Grand Ol' Opry, a few visits to Nashville itself, or speculations into the motivations behind a culture that - according to Altman's portrayal - can have no good or understandable motivation.
That said, Nashville - especially in its bloated 1970's incarnation - was and is deserving of some pointed criticism. But Altman was not the right man for the job. Good criticism requires a real understanding of its subject - its motivations, its positives as well as its negatives. Altman's unfortunate conclusion about his subjects is that to teach them anything "you've got to crack their skulls" (in the words of 'Nashville's Madame Pearl).
This lack of understanding is in marked contrast to his complete understanding of his subject in 'The Player.' Here, Altman is at his best. 'The Player' is an informed, biting criticism of a culture Altman obviously understands, and can't help but love in spite of himself. A similarly brilliant cinematic slice of 1970's country music life exists, but not in 'Nashville'; for a deeper and more heartfelt portrayal I highly recommend 'Tender Mercies.' Altman's style, when properly applied as in 'The Player' or 'Short Cuts', produces brilliant results. In 'Nashville' it falls flat - snippets and asides that were conceived (with much smirking condescension I would assume) as biting and insightful, ring patently hollow, especially 30 years later. This film is almost unwatchable today for anyone with any real knowledge of Nashville, but will surely satisfy anyone looking to reinforce their uninformed negative stereotypes of Nashville culture.
Altman is a brilliant if uneven filmmaker, and as someone who has lived in both L.A. and Nashville, I can highly recommend 'The Player' and urge you to steer clear of 'Nashville'.
That said, Nashville - especially in its bloated 1970's incarnation - was and is deserving of some pointed criticism. But Altman was not the right man for the job. Good criticism requires a real understanding of its subject - its motivations, its positives as well as its negatives. Altman's unfortunate conclusion about his subjects is that to teach them anything "you've got to crack their skulls" (in the words of 'Nashville's Madame Pearl).
This lack of understanding is in marked contrast to his complete understanding of his subject in 'The Player.' Here, Altman is at his best. 'The Player' is an informed, biting criticism of a culture Altman obviously understands, and can't help but love in spite of himself. A similarly brilliant cinematic slice of 1970's country music life exists, but not in 'Nashville'; for a deeper and more heartfelt portrayal I highly recommend 'Tender Mercies.' Altman's style, when properly applied as in 'The Player' or 'Short Cuts', produces brilliant results. In 'Nashville' it falls flat - snippets and asides that were conceived (with much smirking condescension I would assume) as biting and insightful, ring patently hollow, especially 30 years later. This film is almost unwatchable today for anyone with any real knowledge of Nashville, but will surely satisfy anyone looking to reinforce their uninformed negative stereotypes of Nashville culture.
Altman is a brilliant if uneven filmmaker, and as someone who has lived in both L.A. and Nashville, I can highly recommend 'The Player' and urge you to steer clear of 'Nashville'.
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