Tanner on Tanner

I watched this last night on Sundance. Altman must be the most hit or miss director of note ever. This show, despite its "star power" is utterly non-compelling, and its political insights--which I as a proud liberal in no way disagree with--are shallow and clunky, and seem ripped from the headlines of USA Today, despite the fact it's coming out of the mouth of someone as esteemed as Mario Cuomo. The drama, as such, is not very dramatic, and the comedy is not funny. The only points of interest, really, are seeing how New Yorkers live their lives, and the loyalty of a cast and crew to reassemble a show that keeps insisting has some cult following from 1988. Sometimes it seems like Altman's sole contribution to cinema has been the art of having all your actors talk at once, the effect of which is one feels depressingly like they're a stranger at a wedding.

Altman is very proud of the fact that people in his movies talk over each other, because, he says, people do that in life. Well, people also cough, burp, go off on tangents, etc. The point is that just because people actually do something doesn't make it compelling cinema. That's one issue.

The bigger issue is that this just isn't a very clever or direct or hitting or relevant satire, in 1988 or 2004. Garry Trudeau is still living in the 1960s and thinks everyone except a small core of Republican elected officials is a 60s-style hippie liberal. I mean the guy still trots out Zonker in his strip - a character that is a complete anachronism, yet Trudeau still employs him as if he is representative of a large stripe of American youth.

Don't get me wrong. I am a conservative, but I'm not saying that this is bad because it's got a liberal bent. It could take a liberal tack and be funny and relevant, but it's not. It is mainly a vanity piece with a bunch of prominent celebrity liberals (including the odious, repellent Ron Reagan, Jr.). At times it feels unscripted, and the rest of the time it has a snarky air of self-importance and "aren't we oh-so-clever?"-ness.

Someone said that this show insists it has a cult following. I think its cult status is more wished-for than actual. I'm certain there are two or three people out there who taped all the original episodes in 1988 and still have them, but if that is the standard, then every show ever aired is a cult classic to some degree. If Tanner didn't have the names Altman and Trudeau attached, it would be another forgotten HBO production from the 1980s. Instead, it's presented as hard-hitting, incisive political commentary from guys who are at the top of their game. The reality, however, is about as far from that as possible. Pat Paulsen's presidential satire is more relevant than Tanner ever was, and he's been dead for a decade.

Altman considered Tanner '88 has his most creative work. It isn't surprising that the miniseries is the only work to spawn an Altman directed sequel. Tanner on Tanner is a pretty good coda to the original miniseries; it has the same bone dry humor of the original. It has the sharp barbs at both politics and documentary filmmaking. (Tanner on Tanner is more a media satire than a political one) And it was nice seeing the characters 16 years later.

However, Alex Tanner is more of an object of derision than Jack Tanner was in the original. At no point in the original did it come across as if Jack Tanner was the butt of the joke-instead the absurd process of electing the president was what Altman and company was kicking. *Here* it feels much more targeted at Alex as a character. Of note there is a painfully awkward scene in which two women filmmakers are having to compete for a man's time because of a scheduling mix-up. The scene *in theory* is a very funny but as it plays out it is painful to watch because of the social coding and performances. It is a very sour scene. So sour in fact it feels like it belongs in a different series.

I don't think this is worthwhile to watch on its own; it's really an extension of Tanner '88 and while good in that context it depends on the first series for its vital spark.

I admit it: I watched Tanner on Tanner for Cynthia Nixon. I'm male and an independent, right-leaning voter, but Tanner on Tanner was Nixon's series all along.

Politically, it had all the Demo-speak and the flashes of Garry Trudeau. Jack Tanner seemed a combination between deer-in-the-headlights and Clinton clone; TJ transformed from hard-working campaign manager to hardcore bitch in a short amount of time (bitter?) and the misadventures of Salim culminated in his vegetable curry being violated by a hard drive.

But every time Nixon's eyes teared up or her chin quivered, you knew that Trudeau and Robert Altman didn't play everything for laughs. The scene that struck me the most was Alex's admission that her Guatemalan husband was missing, and the tear trailing down her left cheek showed that even through all the bashing, glad-handling, and backstabbing, people still have deep emotions.

I don't agree with Trudeau's politics, but I enjoyed this series. Cynthia Nixon did a superb job in portraying Alex Tanner, and Trudeau should definitely consider taking Alex worldwide.

It was a joy to discover 8 hours of Robert Altman's best work that I had not previously seen or even heard of. In the last week in the UK the BBC has screened the series Tanner 88 on its late night cultural ghetto channel BBC Four, followed by the recent update, Tanner on Tanner filmed largely during the 2004 democratic convention. This work has a breadth that has not been seen since Nashville, and, with a screenplay by Garry Trudeau, it also has a rare depth.

It is, of course, difficult for me to judge how well Tanner on Tanner would stand up as a film on its own. Much of the pleasure of the film is in seeing how the characters have matured over the 16 years since the original series, notably Alex Tanner played by the 22 year-old Cynthia Nixon in 1988. As a British viewer I learned a lot about the American political system from watching these films, although Tanner on Tanner is as much a satire about film-makers as it is a film about politicians.

It was clear from the beginning that the successful project would not be Alex Tanner's film about her father but her student's study of Alex, which we see at the end as Diary of a Mad Filmmaker. However, the anticipation of the irony did not detract from the pleasure. To my mind, the best scene in the film is where Alex Tanner and Alexandra Kerry find themselves double-booked to film an interview with Ron Reagan. They alternate Kerry's serious questions about stem-cell research with Tanner's ditzy questions about what it's like to have a celebrity father. I don't know what the future may hold for her father ( this is written 2 days before the election) but Alexandra Kerry would certainly seem to have a future as a comedy actress.