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Nashville

  • 1975
  • Tous publics
  • 2h 40min
NOTE IMDb
7,6/10
30 k
MA NOTE
POPULARITÉ
4 231
1 643
Nashville (1975)
Home Video Trailer from Paramount Home Entertainment
Lire trailer2:11
1 Video
99+ photos
SatireTragedyComedyDramaMusic

Au cours de quelques jours mouvementés, de nombreuses personnes liées se préparent à une convention politique.Au cours de quelques jours mouvementés, de nombreuses personnes liées se préparent à une convention politique.Au cours de quelques jours mouvementés, de nombreuses personnes liées se préparent à une convention politique.

  • Réalisation
    • Robert Altman
  • Scénario
    • Joan Tewkesbury
  • Casting principal
    • Keith Carradine
    • Karen Black
    • Ronee Blakley
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,6/10
    30 k
    MA NOTE
    POPULARITÉ
    4 231
    1 643
    • Réalisation
      • Robert Altman
    • Scénario
      • Joan Tewkesbury
    • Casting principal
      • Keith Carradine
      • Karen Black
      • Ronee Blakley
    • 208avis d'utilisateurs
    • 119avis des critiques
    • 96Métascore
  • Voir les informations de production sur IMDbPro
    • Récompensé par 1 Oscar
      • 23 victoires et 25 nominations au total

    Vidéos1

    Nashville
    Trailer 2:11
    Nashville

    Photos168

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    + 160
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    Rôles principaux47

    Modifier
    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)
    • Réalisation
      • Robert Altman
    • Scénario
      • Joan Tewkesbury
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs208

    7,630K
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    Avis à la une

    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.
    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.
    10gftbiloxi

    Altman's Masterpiece: "The Damnedest Thing You Ever Saw"

    Robert Altman is an extremely divisive director in the sense that you either "get it" or you don't--and those who don't despise his work and take considerable pleasure in sneering at NASHVILLE in particular. But there is no way around the fact that it is an important film, a highly influential film, to most Altman fans his finest films, and to most series critics quite possibly the single finest film made during the whole of the 1970s.

    According to the movie trailer available on the DVD release, NASHVILLE is "the damnedest thing you ever saw"--and a truer thing was never said, for it is one of those rare film that completely defies description. On one level, the film follows the lives of some twenty characters over the course of several days leading up to a political rally, lives that collide or don't collide, that have moments of success and failure, and which in the process explore the hypocrisy that we try to sweep away under the rug of American culture. If it were merely that, the film would be so much soap-opera, but it goes quite a bit further: it juxtaposes its observations with images of American patriotism and politics at their most vulgar, and in the process it makes an incredibly funny, incredibly sad, and remarkably savage statement on the superficial values that plague our society.

    What most viewers find difficult about NASHVILLE--and about many Altman films--is his refusal to direct our attention within any single scene. Conversations and plot directions overlap with each other, and so much goes on in every scene that you are constantly forced to decide what you will pay attention to and what you will ignore. The result is a film that goes in a hundred different directions with a thousand different meanings, and it would be safe to say that every person who sees it will see a different film.

    In the end, however, all these roads lead to Rome, or in this case to the Roman coliseum of American politics, where fame is gained or lost in the wake of violence, where the strong consume the weak without any real personal malice, and where the current political star is only as good as press agent's presentation. For those willing and able to dive into the complex web of life it presents, Altman's masterpiece will be an endlessly fascinating mirror in which we see the energy of life itself scattered, gathered, and reflected back to us. A masterpiece that bears repeated viewings much in the same way that a great novel bears repeated readings. A personal favorite and highly, highly recommended.

    Gary F. Taylor, aka GFT, Amazon Reviewer
    9gab-14712

    Better Than Expected!

    Director Robert Altman impressed me with this two earlier directorial efforts M.A.S.H and McCabe and Mrs. Miller, but I believe he really comes into his own with 1975's Nashville. The way he directed his movie and the way he made it a very intelligent movie with many important themes but can be understood by the general public is just outstanding. However, if you don't keep up with the movie, you can be sure to get lost in the overload of information Altman throws at you. On paper, the film may seem like a mess but it's really not. The film really does not have an overall plot, but it has interwoven segments that are related with each other and I'll discuss a little bit later on. This film is full of unique performances from an unusually large cast. It's not unusual that there are many characters, but how many major characters there are. There are approximately 25 major speaking roles, and that has to be some sort of record. But all the performances are wonderful and unique and you feel for each character in the country music setting of Nashville.

    So what exactly is this film about? Well, that's really hard to pinpoint as there is no one big linear plot line. It is essentially about a group of people living life in Nashville during a political-happy time (kind of reminds me of the current 2016 political race). But let's break down the plot into the little segments. We have Barbara Jean (Ronee Blackley) who is the current reigning country queen of Nashville, but health problems is causing her to fall apart and she also later becomes a symbol for political assassination. Then we have Delbert (Ned Beatty) and Linnea Reese (Lily Tomlin) who live a rather sad life because of a failing marriage and trying to take care of two deaf children. Delbert is involved in a politics as he is trying to bring politics and country music together. Then we have a British journalist named Opal (Geraldine Chaplin) who decides to get into the thick of events within the Nashville scene. As the famed movie critic Roger Ebert paraphrases what this movie is about, it's many things. A musical, a docudrama about life in Nashville, a political story that was influenced by events like the Watergate scandal, and it is also a satire about country music.

    With such a large ensemble, I was surprised how much Altman was able to get from all of his characters. They were superbly written and the performances were genuine. Many of the characters do their own singing, and you can tell they are not professional singers. While the voices may not be the best ones ever, I loved the raw, edgy sound with added to the realism of the performances. The film is not composed of big stars (at the time or even by today's standards), but they often hit the spot. I loved Ronee Blackley's performance as the country queen, Barbara Jean. Her singing is decent, but she brings a sensitive side to her character and she is involved in a big political showdown at the end of the movie. She reminds me of a similar real-life country singer, Loretta Lynn. Lily Tomlin delivered one heck of a impressive performance as the mother of two deaf children. I relate to her character because I suffer from partial deafness myself and I understand her pains. She brings such vulnerability to her character. Ned Beatty does a good job in playing the asshole husband who doesn't care about his family but only about his job. We have very early performances from future stars from the likes of Jeff Goldblum, Scott Glenn, and Keith Carradine (who was impressive as a rock singer). Henry Gibson does a solid job as another famous country star named Haven Hamilton (and did have a good voice).

    So there were many aspects to the plot I thoroughly enjoyed. I enjoyed the rather brutal satire on country music which gathered criticism from people within this industry. But my favorite was the political aspect of the movie. Maybe its because history and politics go hand in hand or maybe we are living in a political-happy environment at current time, but I feel like the politics aspect hold up strongly. I like the random scenes where we have this political party in support of a candidate named Hal Philip Walker whom we never meet, but his presence is always known. His politics and the country stars end up clashing in the end for a very powerful ending.

    Overall, I really enjoyed Nashville. I don't think it's good of a masterpiece of Altman's earlier McCabe and Mrs. Miller but this is his more mainstream effort. But use that word "mainstream" lightly because Altman brings his complicated style of directing to this movie. His use of the actors and his political and social commentary is widely shown throughout the film. As I say for most of Altman's films, they are not for everyone. This film has excellent performances from everyone with my favorite performance coming from Lily Tomlin. There is an hour of music recorded for the film and despite the inexperience of the singers, the music mostly works with the film. Nominated for 5 Oscars and a 9 Golden Globes (a record that still holds today), Nashville is a solid work of filmmaking.

    My Grade: A-
    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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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      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.
    • Gaffes
      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.
    • Citations

      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.

    • Crédits fous
      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.
    • Connexions
      Featured in Precious Images (1986)
    • Bandes originales
      It Don't Worry Me
      Music and Lyrics by Keith Carradine

      Performed by Barbara Harris

      Lions Gate Music Co. / Easy Music (ASCAP)

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    FAQ20

    • How long is Nashville?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 12 novembre 1975 (France)
    • Pays d’origine
      • États-Unis
    • Langue
      • Anglais
    • Aussi connu sous le nom de
      • Nešvil
    • Lieux de tournage
      • Nashville, Tennessee, États-Unis
    • Sociétés de production
      • ABC Entertainment
      • American Broadcasting Company (ABC)
      • Paramount Pictures
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 2 200 000 $US (estimé)
    • Montant brut aux États-Unis et au Canada
      • 9 984 123 $US
    • Montant brut mondial
      • 9 995 876 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      2 heures 40 minutes
    • Couleur
      • Color
    • Rapport de forme
      • 2.35 : 1

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