Der Gesundheits-Kongreß

Some of the acknowledged Altman "masterpieces" seem sadder to me now. Maybe it's me. Like the last reviewer, I even like this "lesser" Altman (shown recently on FMC), although I don't think he was aiming at a wide audience. Organization politics as a "microcosm" for public campaigns. Some of this satirical "docudrama" is now dated, like Dick Cavett watching the Tonight Show, but I found much of the dialog funny and insightful (e.g. "You are for real. That means you're no threat to anyone"). The story isn't "profound," but I liked it. And the performances are funny, especially Cavett (as "himself"), Lauren Bacall as an aging conservative figurehead, Glenda Jackson (who actually became a member of Parliament) as a left wing ideologue (in the opening scene lecturing someone dressed as a carrot on the sanctity of politics), and Carol Burnett as a basket case. All in the inimitable Altman style, although maybe not quite as inimitable as usual. But pretty inimitable.

RIP Glenda Jackson, first of all. Secondly, when the yellow-overall HealtH singers say "Welcome to HealtH" it sounds like "Hell." So it goes. Third, I'd like that Monte Cristo, thanks.

A decidedly minor work in a run Altman had in the 1970s (into 1980) that stands alone in all of American Cinema for comedic and dramatic chutzpah and innovation in holding no quarter for stylistic convention or even typical taste; it just doesn't add up to a whole lot, mostly as you dont care much about what the Garner and Burnett characters had together, and while I would never use the "this was a Dress Rehearsal for that" with Altman because he just didn't work that way he would have sharper knives out (and more empathy) with a similar ruthless political satire later in the 1980s with Tanner 88 - there's even an "Exercise Your Right to Vote" bit - albeit Lauren Bacall and her knowing-ballyhoo book-to-product line was amusing in its cynical snark.

But within enough individual scenes, and for as thin as their characters are Burnett and Garner bring a lot and my goodness Jackson (the latter's dialog 90% taken from Adlai Stevenson speeches), I found myself laughing a lot, consistently, simply because I knew the actors knew what they were saying in the moment, absurdity and Carlin-esque understanding of "its all BS, folks, and it's bad for ya" in toyal. It's a true Oddity in American motion pictures, so weird that I imagine the studio decided not to release it long before in the runtime that Henry Gibson showed up in drag (how did he not wind up on the Golden Girls?).

And, yeah, Alfred Woodard, disarmingly hilarious because shes so straightfoward with Dick Cavett talking to her, has the right attitude, which is her politely saying: you white mothers are crazy.

This is all to say, what I would've given to share a bong with Bob.

"HEALTH" never comes near the brilliance of Robert Altman's earlier political satire, "Nashville"; but it has its moments. I found it interesting because of the good characterizations from all of the participants, but bringing it all together into a unifying theme seems to be absent from this Altman effort. The movie starts out promising but seems to lose steam before its hour and 45 minute running time is over. The ending disappoints because the outcome is so obvious from the first few frames. Still the viewer can have fun along the way: Lauren Bacall lifting her hand for purity and then sometimes inexplicably dropping off into oblivion; Paul Dooley lying at the bottom of the swimming pool as a campaign stunt; Dick Cavett relaxing in his hotel room watching The Tonight Show with Johnny Carson. Granted you would have to be a certain age to appreciate that last joke. Still, one wonders what was in Altman's mind in creating this film. Since it was made in 1980, I would think it would be a veiled criticism of Ronald Reagan's ascension to the presidency. But it never stretches itself far enough to really make that point. So I may be reading more into it than is intended.

As an Altman fan, I'd sought out this movie for years, thinking that with such a great cast, it would have to be at least marginally brilliant.

Big mistake.

This is one of Altman's big-cast mishmashes, thrown together haphazardly and improvisationally (or so it feels) with the hope that it would all come together in the editing room. It doesn't.

As Maltin points out, this turkey is notable only for the debut performance of Alfre Woodard, who outshines the vets all around her. But other than that, avoid at all costs. (Which is pretty easy to do -- it's never been released on video -- to my knowledge -- and its cable appearances have the frequency of Halley's Comet.)

This was the very first film I was in as an actor. Robert Altman himself chose me as "The Carrot" after casting director Rick Sparks suggested me for the role. The total experience filming was nothing but positive. Mr. Altman was a delight to work with and watch him gleefully direct his cast of repertory actors. The film was "shelved" for a few years before it was finally released nationwide in limited release. His films are more for "groupies" who "get" his brand of humor, where today Christopher Guest's improvisational films featuring a "rep" group of actors seem to be more widely accepted and understood. Mr. Altman is a sincere passionate director and lets his ensemble of players breathe life into the improvisational scenes. Carol Burnett is a class act on and off the screen. Glenda Jackson equals her. Lauren Bacall was more aloof. James Garner would spend hours signing autographs on the beach for the gallery of fans in the hot sun following the long hours of shooting. He is the consummate pro. Many people may not "get" HEALTH, but it was way ahead of its time and today would be a hit with the world's political scene more controversial as this cast of characters is. P.S. I played "the carrot" in the opening and closing scenes! how's that for getting "roots" as an actor?