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Nashville

  • 1975
  • 12
  • 2 Std. 40 Min.
IMDb-BEWERTUNG
7,6/10
30.066
IHRE BEWERTUNG
BELIEBTHEIT
4.231
1.643
Nashville (1975)
Home Video Trailer from Paramount Home Entertainment
trailer wiedergeben2:11
1 Video
99+ Fotos
SatireTragedyComedyDramaMusic

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.

  • Regie
    • Robert Altman
  • Drehbuch
    • Joan Tewkesbury
  • Hauptbesetzung
    • Keith Carradine
    • Karen Black
    • Ronee Blakley
  • Siehe Produktionsinformationen bei IMDbPro
  • IMDb-BEWERTUNG
    7,6/10
    30.066
    IHRE BEWERTUNG
    BELIEBTHEIT
    4.231
    1.643
    • Regie
      • Robert Altman
    • Drehbuch
      • Joan Tewkesbury
    • Hauptbesetzung
      • Keith Carradine
      • Karen Black
      • Ronee Blakley
    • 208Benutzerrezensionen
    • 119Kritische Rezensionen
    • 96Metascore
  • Siehe Produktionsinformationen bei IMDbPro
    • 1 Oscar gewonnen
      • 23 Gewinne & 25 Nominierungen insgesamt

    Videos1

    Nashville
    Trailer 2:11
    Nashville

    Fotos168

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    + 160
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    Topbesetzung47

    Ändern
    Keith Carradine
    Keith Carradine
    • Tom Frank
    Karen Black
    Karen Black
    • Connie White
    Ronee Blakley
    Ronee Blakley
    • Barbara Jean
    Shelley Duvall
    Shelley Duvall
    • L. A. Joan
    David Arkin
    David Arkin
    • Norman
    Barbara Baxley
    Barbara Baxley
    • Lady Pearl
    Ned Beatty
    Ned Beatty
    • Delbert Reese
    Timothy Brown
    Timothy Brown
    • Tommy Brown
    Geraldine Chaplin
    Geraldine Chaplin
    • Opal
    Robert DoQui
    Robert DoQui
    • Wade
    • (as Robert Doqui)
    Allen Garfield
    Allen Garfield
    • Barnett
    Henry Gibson
    Henry Gibson
    • Haven Hamilton
    Scott Glenn
    Scott Glenn
    • Pfc. Glenn Kelly
    Jeff Goldblum
    Jeff Goldblum
    • Tricycle Man
    Barbara Harris
    Barbara Harris
    • Albuquerque
    David Hayward
    David Hayward
    • Kenny Fraiser
    Michael Murphy
    Michael Murphy
    • John Triplette
    Allan F. Nicholls
    Allan F. Nicholls
    • Bill
    • (as Allan Nicholls)
    • Regie
      • Robert Altman
    • Drehbuch
      • Joan Tewkesbury
    • Komplette Besetzung und alle Crew-Mitglieder
    • Produktion, Einspielergebnisse & mehr bei IMDbPro

    Benutzerrezensionen208

    7,630K
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    Empfohlene Bewertungen

    Bsherris

    Words Fail Me...

    Nashville was the first "R" rated film that my father took me to see. At 14 years of age, I was many years from NYU film school, and a neophyte when it came to appreciating cinema.

    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.
    gortx

    Robert Altman's masterpiece

    Robert Altman's sprawling masterpiece is a brilliant look at not just America in the mid-70s, but a reflection of the nation we were to become. Set during a Presidential campaign it weaves themes both large and small. The U. S. was about to celebrate its Bicentennial. Watergate had forced Nixon to resign. The revolutionary 60s had become the Me decade.

    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.
    8Idocamstuf

    Outstanding, one of the best films of the 70's

    What a great film this was, with a huge cast and director like that you just cant miss. I was very surprised that I enjoyed it as much as I did, knowing that I usually dont enjoy musicals or country music, but somehow this film was excellent!! Maybe it was the way we got to know all of those characters, especially Tomlin, who was phonomonal, and her relationship with that singer. So many familiar faces in this film also made it extremely exciting, Jeff Goldblum on that tricycle was hilarious. To sum it up, this film is a must see. 9 1/2 out of 10.
    8anhedonia

    One of the great films of our time

    I suppose the brilliance of "Nashville" is that almost 30 years after its initial release, Robert Altman's slice of Americana has lost none of its punch. Despite being made in the Watergate and Vietnam era, the film remains relevant as ever.

    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.
    10sryder@judson-il.edu

    a milestone in my filmgoing experience

    I saw Nashville when it was first shown, billed as Altman's "birthday card" to America on the occasion of the bicentennial. The greatest tribute I can pay is that, despite its frequent shifts of location, many individual scenes and characterizations, as well as the overarching story line, remained vivid in my mind over the years before I was able to purchase the film on video. When I taught Film History at my college I used Nashville as the final examination for the course. After having viewed the film, students were instructed to identify the elements of film technique previously studied(such as overlapping dialogue, jump shots, widescreen, etc) in order to forward the narrative, as they were employed by Altman. In general, they did very well; even those who disliked the film. There are too many admirable performances for me to mention; however, those that remained most vivid in my mind over the years were those of Gwen Welles, Ronee Blakley, Henry Gibson, and Lily Tomlin. One last note of appreciation regards the fact that all the characters were introduced within the first twenty minutes at the airport; their personalities brought out in the highway scene;and their being brought together again, cyclically, during the last twenty minutes at the "Parthenon". It has been several years since I used Nashville for pedagogical purposes. When I purchased the DVD recently I found that, despite my numerous viewings and classroom analysis, the impact was virtually the same as when I first saw it in 1976. For me, it did not "murder to dissect" this personal milestone.

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    Handlung

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    • Wissenswertes
      The 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.
    • Patzer
      When 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 Credits
      The 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.
    • Verbindungen
      Featured in Precious Images (1986)
    • Soundtracks
      It Don't Worry Me
      Music and Lyrics by Keith Carradine

      Performed by Barbara Harris

      Lions Gate Music Co. / Easy Music (ASCAP)

    Top-Auswahl

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    FAQ20

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    Details

    Ändern
    • Erscheinungsdatum
      • 12. März 1976 (Westdeutschland)
    • Herkunftsland
      • Vereinigte Staaten
    • Sprache
      • Englisch
    • Auch bekannt als
      • Nešvil
    • Drehorte
      • Nashville, Tennessee, USA
    • Produktionsfirmen
      • ABC Entertainment
      • American Broadcasting Company (ABC)
      • Paramount Pictures
    • Weitere beteiligte Unternehmen bei IMDbPro anzeigen

    Box Office

    Ändern
    • Budget
      • 2.200.000 $ (geschätzt)
    • Bruttoertrag in den USA und Kanada
      • 9.984.123 $
    • Weltweiter Bruttoertrag
      • 9.995.876 $
    Weitere Informationen zur Box Office finden Sie auf IMDbPro.

    Technische Daten

    Ändern
    • Laufzeit
      2 Stunden 40 Minuten
    • Farbe
      • Color
    • Seitenverhältnis
      • 2.35 : 1

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