Quinteto

I finally have found others who unfortunately saw this ......movie? I did not get it at all. Sure it was post apocalyptic, but could a movie ever have been made so poorly as to leave an entire theater wondering what in the world did we just see? To this day I am still baffled by this ....movie? and have never been able to describe or discuss this film without the words: "worst movie I have ever seen!"

I saw Quintet on a Sunday afternoon in Northbrook, IL in the winter of 1978-1979. There was so much snow plowed badly in the parking lot that I had a hard time finding a space. When I got to the theater there was a strange little notice hand printed on a 3x5 file card that there would be no refunds to Quintet once you had entered the theater. I asked the ticket seller why and he said that so many people had left during the previous night's performance that they almost had a riot.

I knew I was in for something special. As the movie began I noticed that there were credits for the original screenplay and then for the final screenplay. Dissension in the ranks. There was inadequate explanation of where Paul Newman and Bibi Anderson came from and why they were going to the city. Indeed, the idea of hosing down Expo '67 in the winter and allowing the icicles to freeze gave it an other-worldly appearance. (I think that could have been Altman's attraction to the project.) Living in the Midwest during the winter of '78-'79 made me very sensitive to freezing weather. I moved to California the next fall.

There are two last items to consider: the dogs and the fish. The city was home to dozens if not hundreds of dogs. They scavenged for meat (often human bodies.) The malaise affecting the human population disabled them from disposing of the human dead. And finally the fish. There are several shots showing fish being harvested and processed at the beginning of the film, showing that there was an adequate food source for the people who lived in the city.

And finally a mention of the Game: there was a feeling of depression to the movie and the inhabitants of the city. When cut off from a natural human life that includes the having and raising of children, one can get depressed. An aberrant lifestyle that made a game out of killing others might result.

Altman's Quintet has to be considered more than just flawed: As so many other reviewers have pointed out, the ideas behind the film, even some of the choices in depicting those ideas, ought to work--and yet very little in this difficult film does. The partially fogged camera lens--I remarked to my wife that it has to be the most distracting directorial conceit I've ever seen--never allowed me to get "into" the film's world.

In general there are serious problems with the mise-en-scene employed here. It's clear that no small amount of thought went into factors like costume and production design, but neither is very effective in evoking a believable world. Perhaps it is a matter of scale; the film is so stage-bound that I laughed out loud once it was mentioned that "five million" people lived in the city. (Yes I understand the constraints of the film's budget. Matte paintings here and there might have helped.) In all the most disappointing Altman film I've ever seen. Great ideas and grand metaphors do not always come through in art--it's just part of the game.

Damned as it was by most critics and a resounding flop commercially, this opus of Robert Altman has long since been consigned to cinematic oblivion. Granted, it is bleak and somewhat obscure with a tempo that is far too lento but is also visually stunning, atmospheric and very well acted.

The box office draw here is obviously Paul Newman but it is highly unlikely that his legion of fans would relish seeing him in this rather glum, downbeat role. However there is ample compensation in the imported talents of Bibi Andersson, Brigitte Fossey, Vittorio Gassman, Fernando Rey and Nina van Pallandt all of whom bring undeniable class to the proceedings.

Jean Bofferty, the favoured cinematographer of Claude Sautet, has captured extraordinary images of a post-apocalyptic ice-age and there is a score by Tom Pierson, his only one for a feature I believe, that is nigh on symphonic.

The problem with the film is the dismal reputation that precedes it which must surely colour our perception. Altman's career consists of highs and lows and although this could by no stretch of the imagination be termed a 'high', it is not nearly as bad as some would have us believe.

I really wanted to like this movie--I like Altman, I like Newman. I like science fiction and I liked the idea. And since this movie seems to be universally hated, I wanted to swim against the tide and find the intellectual quality in the movie that others seemed to be missing. All that going for it, and I still hated it.

Incomprehensible drivel.

And what's with the vaseline all over the camera lens? Folks who like this movie are fooling themselves, just because you dont understand a movie doesn't mean that it's deep, it means that the director and writer didn't know what they were doing.