Altman

The biggest value of Ron Mann's documentary "Altman" is the compilation of Robert Altman's interviews, home movies, unreleased shorts and testimonies by family members and colleagues. All that material was unified by close-ups of several actors who define what the adjective "Altmanesque" means, but a few important ones were left out, people as Altmanesque as can be, as Shelley Duvall, Paul Dooley, Carol Burnett or René Auberjonois. In general, Altman's film work was somehow standardized in this documentary, as if all had the same significance and weight. As an effect of leveling the value and quality of his movies, what we have is a promenade through a life and peculiar oeuvre, that did find obstacles, as it is stated, but with little curiosity for the reasons and motives, and the conceptual and ideological genesis behind Altman and his cinema. When Mann covers Altman's years at Fox, he only gives «3 Women», the peak of that period, a few reflections about acting illustrated by photographs of the shooting and Duvall, Sissy Spacek and Janice Rule (the tree women of the title). Any unsuspecting fellow will never know that this is one of Altman's masterpieces, as such recognized by anyone who knows a little about films. And let's not mention the approach to «Nashville», which is almost reduced to a corollary of a testimony by Richard Nixon about folk music. From the vantage point given by the time that has passed since the releases of «HealtH» (which didn't even have a proper release), «Quintet» and «Popeye», neither does Mann question or evaluate what was written and said about them. He does quote Altman telling a story about «Quintet»: in a meeting at Fox Grace of Monaco questioned Alan Ladd Jr. for letting "that Altman person" put her friend Paul Newman in that "dreadful film". Ladd told her to shut up and quit Fox. Today «Quintet» is seen as an apocalyptic science- fiction dreamscape that completes Altman's surrealist trilogy, after «Images» and «3 Women». Robin Williams died without understanding that in «Popeye» he had given one of his best film performances. Neither Mann seems to understand the film and, in return, concedes valuable time of the documentary to a clip of an unmentionable television film critic who could only mutter nonsense about Altman's vision of E.C. Segar's universe the morning after the film premiere. It must be added too that the appreciation of «Popeye» has improved with the years. As Mann lightly approaches other interesting works, as Altman's theater adaptations («Fool for Love», «Streamers», «Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean», «Beyond Therapy», all underrated), the biopic «Vincent & Théo», the drama «Kansas City» that follows the structure (if any) of a jazz session, or the comedies he made after his heart transplant (the delirious «Dr. T and the Women» and the moving «Cookie's Fortune», for example), Mann spends more than enough time in «Secret Honor», the television series «Tanner» or »Brewster McCloud» which Altman called his favorite film in an interview in "Film Comment" when he was about to make «Short Cuts». And so goes this work, in which, yes, we can perceive the admiration for the filmmaker, but that in general, as we have stated, misses in its reflection and analysis of the work of one of the greatest American filmmakers of the twentieth century and part of this one (above a few overrated defenders of the status quo), who talked about and filmed his fellow people, his country, its history, its cities, towns, politics, cultures, vices and virtues. And there lies his greatness.

Ron Mann's rather soft documentary on film director Robert Altman, who amusingly was fired by Jack Warner from his first theatrical endeavor (1968's "Countdown") because of Altman's desire to have the actors overlap their dialogue. Altman, who began as a TV writer, slowly worked his way into the director's chair for a variety of television programs such as "Hawaiian Eye," "Bonanza" and "Combat!" It was on the series "Whirlybirds" that he met his wife, actress Kathryn Reed, who would remain by Altman's side for the remainder of his life. Home movies and behind-the-scenes footage highlight this otherwise unenlightening piece, with a narrative that reads something like this: "Once he finished that film, Altman began his next picture. After it was completed, he began a new project." There are a few nice touches (such as critic Gene Shalit's colorful TV review of Altman's "Popeye"), but otherwise extremely little about how each of Altman's eclectic projects were perceived by the public. Apparently an absentee-father, Altman, who passed away November 20, 2006, is nevertheless praised by the family members who took part in "Altman". Still, it's a documentary with only a passing resemblance to documentaries. ** from ****

I loved this documentary because it accomplished its mission. It reminded you of what Robert Altman was all about. His life work can be summed up thus: I'm not making movies to narc you out. I'm not making movies so you can forget your pain. I'm telling stories of passionate people, heroes and failures, who just might clue you in to cutting a path toward your own redemption.

I cried over and over as I watched it. It was touching and moving and an inspiration. It also happened to summarize much of the backdrop to my own life as a moviegoer.

Altman's story is a good one, and this flick tells it.

Altman's life merits a 10-hour documentary. This is only 1½ hours, but we are treated to a decent selection of Altman trivia.

Gosford Park, M.A.S.H., Nashville, Short Cuts, The Player. Just wow.

The downside of cutting it down to a feature length documentary is that you are forced to skim through many great films. First of all, he made so many movies it's hard to keep track of them. Second of all, his movies are so dense that they require multiple viewings, and more than two minutes of exposition, to fully appreciate.

Nonetheless, I think the film is well-made and never boring.

Family videos and photos, and on-location footage, provide access to a rarely-seen Altman, such as Altman-the-father.

But don't expect great revelations. There is nothing truly shocking here, no skeletons in the closet. Altman is painted as a suspiciously lovable, but subversive, Santa Claus figure. Perhaps that's just the way he was.

But one would have liked a few rough edges to be explored a bit more - like his family troubles, financial worries and personal addictions to gambling and booze. The movies gets too close to hagiography at times. But if one is to pick Saints for canonization, you could do much worse than go with Robert Altman!

I found this documentary a comprehensive review of Robert Altman's life's work, highlighting the director's determination to be independent of Hollywood conventions. Even though he was born in 1925, Altman was totally in sync with the following generation, the post-war baby boomers who first came of age in the 1960's. His anti-establishment stance never wavers as he thumbs his nose at the military, President Nixon, commercialism, and the election process. One of the most erudite talk show hosts Dick Cavett, a cultural icon of the youth generation, appears in the documentary, a nice touch.

Beginning as a writer of television scripts in the 1940's Altman eventually graduated to being a movie director. The movie MASH is one of the classic anti-war movies that treats it with a large dose of humour. Actors like Elliott Gould and Donald Sutherland seemed to fit the temper of those times. "Nashville" seems to reflect an unease with American culture under the silent majority of Richard Nixon who pandered to the culture of working class white people and their love of country music.

Later, Michael Murphy was tapped for the role of Jack Tanner in Tanner '88, a television show that Altman believes changed television as an entertainment medium. He also had worked with some of the best comediennes such as Carol Burnett and Lilly Tomlin. Altman cast Robin Williams as Popeye in the movie of the same name. It bombed and we are treated to Gene Shalit's review of the debacle. This movie highlighted Altman's belief that the major studios were only interested in blockbusters like Superman and Raiders of the Lost Ark.

One of his most critically acclaimed movies was Gosford Park, with some of the finest British talent available at the time. This movie went beyond the stage-like production of the Upstairs, Downstairs television show and presented a more biting picture of the British class system in a lavish production that also prefigured the success of a much later TV show Downton Abbey.

Among these and other films, we see home movies of Altman, his wife Kathryn and their children. We also see some trenchant comments from Altman himself about his career and work. The documentary gives us a great view of this highly creative American director and his work.