Während ein paar hektischer Tage bereiten zahlreiche miteinander in Verbindung stehende Personen sich vor auf einen Parteitag.Während ein paar hektischer Tage bereiten zahlreiche miteinander in Verbindung stehende Personen sich vor auf einen Parteitag.Während ein paar hektischer Tage bereiten zahlreiche miteinander in Verbindung stehende Personen sich vor auf einen Parteitag.
- 1 Oscar gewonnen
- 23 Gewinne & 25 Nominierungen insgesamt
- Wade
- (as Robert Doqui)
- Bill
- (as Allan Nicholls)
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I am now 39, and to date I have seen tens of thousands of films, not to mention possessing a sizable video library. Considering my love of social politics, there is not a month that goes by that I have not thought of this film for one reason or another. There are some movies that you simply see, and there are the rare few that become part of the soul.
Simply said, Nashville is a singular work of cinematic genius that has gone dreadfully under appreciated for the last 25 years. It is a film chock full of life's little (and not so little) truths; some happy, some sad...all meaningful.
Now that it is making a long overdue reappearance on DVD in it's original (and integral) widescreen format, it is my sincerest hope that people will avail themselves of the opportunity to discover this forgotten gem for themselves.
Lastly, that this film did not make the AFI's 100 great American films is an absolute sin.
Altman and writer Joan Tewkesbury created a mosaic to explore and provoke. NASHVILLE may be set against the worlds of politics and country music, but, it really isn't about either. It's about a nation that is divided along many lines right down to the individual.
The massive cast (24 'main' characters) includes supreme turns by Lily Tomlin, Ronee Blakely, Ned Beatty, Henry Gibson, Karen Black, Keith Carradine, Gwen Welles and more.
In a decade where Altman also made MASH, MCCABE AND MRS. MILLER and THE LONG GOODBYE he stood as tall as anyone of that era.
In fact, one could argue, the film's even more relevant today in this age of celebrity-worship and apathetic, gutless American media who believe missing suburban wives are more pertinent and crucial to this nation's well-being than questioning facts and our leaders' motives for waging a needless, costly war.
The film's about the politics of country music, families, stardom, search for stardom, political manipulation and populist political candidates. The unseen presidential candidate's spiel in "Nashville" could easily have been sound bites from contemporary populists; he could be seen as the cinematic trend-setter for the Ross Perots, Jesse Venturas, Howard Deans and Ralph Naders.
The film is at once a political drama, musical and documentary all effortless woven together by a master storyteller, who truly is an American treasure. In "Nashville," Altman's overlapping dialogue works to perfection as he captures this panoramic view of five days in Nashville through the eyes of two-dozen characters.
With so many characters, it's Altman's genius that he keeps this an engrossing character study. Although he tosses aside all conventions of narrative storytelling, we get to know characters better in "Nashville" than we do in many contemporary dramas with fewer characters. There's Ronee Blakley's country singer; Lily Tomlin's doting housewife and mother; Scott Glenn's caring soldier; Keith Carradine's lecherous pop star; Ned Beatty's disinterested father; Keenan Wynn's loving husband; Michael Murphy's sleazy campaigner; and Gwen Welles' sad wannabe country singer, whose scene at a political fund-raiser is heartbreaking. And Jeff Goldblum's motorcyclist and Geraldine Chaplin's Opal are the threads that weave through all the lives in this marvelous tapestry.
There are plenty of terrific songs in "Nashville" - some might complain too many - but the best are Carradine's Oscar-winning "I'm Easy" and "It Don't Bother Me." They add to the nice sense of cynicism that layers the movie.
Altman's one of the big reasons the 1970s is regarded as the greatest decade of American filmmaking. Look at just a few of his contributions in that decade - "Nashville," "MASH" (1970), "Brewster McCloud" (1970), "McCabe and Mrs. Miller" (1971), "Images" (1972) and "The Long Goodbye" (1973). His films also influence other talented filmmakers, including Alan Rudolph (who worked on Altman films) and Paul Thomas Anderson, whose storytelling style - "Boogie Nights" (1997) and "Magnolia" (1999) - clearly is Altman-inspired.
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- WissenswertesThe film was very much improvised by the actors and actresses, who used the screenplay only as a guide. They spent a great amount of their time in character, and the movie was shot almost entirely in sequence.
- PatzerWhen attempting to interview Tommy Brown, Opal says that she is from the BBC. When questioned, she explains that this stands for the British Broadcasting Company. It actually stands for the British Broadcasting Corporation. This was intentionally done to insinuate that Opal doesn't actually work for the BBC and was an impostor. Geraldine Chaplin confirmed this in a 2000 interview in Premiere magazine.
- Zitate
Hal Phillip Walker: Who do you think is running Congress? Farmers? Engineers? Teachers? Businessmen? No, my friends. Congress is run by lawyers. A lawyer is trained for two things and two things only. To clarify - that's one. And to confuse - that's the other thing. He does whichever is to his client's advantage. Did you ever ask a lawyer the time of day? He told you how to make a watch, didn't he? Ever ask a lawyer how to get to Mr. Jones' house in the country? You got lost, didn't you? Congress is composed of five hundred and thirty-five individuals. Two hundred and eighty-eight are lawyers. And you wonder what's wrong in Congress? No wonder we often know how to make a watch, but we don't know - the time of day.
- Crazy CreditsThe Paramount logo is in black and white and the image looks shaky. The scratchy effect was reportedly achieved when director Robert Altman took the negative with the logo on it, threw it onto the ground, and stomped on it.
- VerbindungenFeatured in Precious Images (1986)
- SoundtracksIt Don't Worry Me
Music and Lyrics by Keith Carradine
Performed by Barbara Harris
Lions Gate Music Co. / Easy Music (ASCAP)
Top-Auswahl
- How long is Nashville?Powered by Alexa
Details
Box Office
- Budget
- 2.200.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 9.984.123 $
- Weltweiter Bruttoertrag
- 9.995.876 $
- Laufzeit2 Stunden 40 Minuten
- Farbe
- Seitenverhältnis
- 2.35 : 1