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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

    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.
    swisener

    altman's americana

    Nashville couldn't understand "Nashville," and no wonder. Anyone who watches "Nashville" for insights to country music probably views "The Godfather" for tips about olive oil. Altman's 1975 film uses country music and the people who perform, listen to and produce it as a metaphor about America in the '70s, when, as Warren Beatty said in "A Parallax View," released a year earlier, "everytime you turned around, one of the best people in the country was getting shot." Anyone who has seen the film and visits the Parthenon, where the final scenes are filmed, may feel a sense of unease. Listen closely and you can hear Haven Hamilton pleading to the stunned crowd, "Show them what we're made of! They can't do this to us here! This isn't Dallas; this is Nashville!"

    The ending is astonishing, tidying up some plot lines and leaving others open ended. A star is born when the Albuquerque character and a gospel group minus its leader belt out a Nashville standard, "It Don't Worry Me." The Sueleen Gay character, meanwhile, suffers one final indignity; Albuquerque, on the same stage and with the same ambitions, achieves the fame that might have gone to Sueleen, a waitress/stripper/wanna-be recording artist, had Sueleen gotten the microphone first.

    We never know what caused the Kenny Frazier character to crack; perhaps like Mark David Chapman (John Lennon) he was obsessed with the Holden Caulfield character in "Catcher in the Rye," although we can feel fairly certain that he did not share John David Hinckley's (President Reagan) obsession with Jodie Foster since "Taxi Driver" would not be released for another year.

    Watching "Nashville" for the first time, you may feel protective of Barbara Jean's character for reasons you can't immediately explain but will learn all too well. I feel the same urge to shout at the screen, warning her character of possible danger, that I experienced in "From Here to Eternity," knowing that Pearl Harbor was imminent and would change everything.

    Characters transform before our eyes. Del Reese (Ned Beatty), bored with his marriage to a Nashville superstar and as a father to hearing-impaired children, cares enough at the end to lead a wounded Haven Hamilton to safety. Hamilton (masterfully played by Henry Gibson) would stomp anyone in his path to create a hit record but is the first to care for Barbara Jean in her moment of need.

    Sure, some of the songs are terrible -- some country music is terrible -- but could anything be more poignant than Barbara Jean's rendition of "My Idaho Home" or Keith Carradine singing "I'm Easy" in a nightclub where four of his conquests look on equally with lust and bewilderment. Country singers, like stock-car drivers, inspire tremendous loyalty and jealousy among their fans, which Altman depicts beautifully when Scott Glenn, a devoted fan of Barbara Jean, leaves the Opry as Connie White appears to sing a tribute to her ailing rival. Hamilton's character is never better than when between songs he asks listeners to send Barbara Jean a card and "tell her that Haven told you to write."

    Altman would rate among the greatest directors -- as the American Fellini -- if this were his only effort. Despite its convoluted plot structure, "Nashville" achieves greatness and searches for truth. If the 1970s shaped your life in any respect, this is a movie experience not to be missed.
    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.
    6LinkinParkEnjoyer

    Not my thing

    Nashville has 24 "main" characters and I didn't care about a single one! The movie is overstuffed and mostly boring, the characters aren't that interesting (except maybe 1 or 2 of them) and it's really hard to keep up what's going on. Most of the time I was like wait who are you again? The second part of the movie was much better and some character development was happening, I also loved the ending! This is my first Altman but I'm excited to watch more of his movies.
    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.

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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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