Kansas City

Robert Altman, perhaps one of the most innovative directors, working in Hollywood pays homage to his home town: Kansas City. Mr. Altman recreates a long gone era that he probably didn't know that well, being only a child at the time the action takes place. It seems as though the allure of the period made a vivid mark in the director's mind, as he takes us, with this film, for a long over due visit. Make no mistake, this is not another "Nashville", quite the contrary. The only similarity is the title that reflects a city name. As written by the director and Frank Barhydt, the film succeeds in creating the atmosphere, but as far as the story line goes, it has the quality to disorient, even the most avid of Mr. Altman's fans.

What Kansas City lacks in story line, it makes up with the glorious music that serves as compensation with the thinness of the material one sees on the screen. The music is the best excuse to watch the movie that showcases an excellent group of musicians playing heavenly in between the action.

Mr. Altman's choice of Jennifer Jason Leigh as Blondie, is probably what's wrong with the film. This actress mumbles her lines, plays Blondie as strident woman and manages to derail the film. On the other hand, Miranda Richardson's Carolyn Stilton gives her one of the best roles in her career. Ms. Richardson appears to be on a cloud most of the time because of her opium addiction. She makes us care for her portrayal of this society woman that needs all the help she can get. Having it all, she can't cope with being married to a cold man that couldn't care less about her. Where other lonely wives resort to drinking, Mrs. Stilton gets away from it all with drugs.

Harry Belafonte plays the local gangster in charge of illegal gambling that evidently was prevalent in the city. His Seldom Seen character is at times inaudible by the way he throws his lines. Sometimes we have to strain our ears in order to hear what he is saying. Mr. Belafonte is a fine actor. As far as Dermot Mulroney and Steve Buscemi are concerned, they have not much to play in the movie to make us care for them. The supporting roles are good.

In spite of this movie not being one of Robert Altman's best, it presents a fine opportunity to absorb the atmosphere and the music of the era, oh, and all that jazz!

I happen to like this film... apparently quite a bit more than most people. I even still have a copy of it on VHS somewhere. First and foremost is the music. Absolutely INCREDIBLE old time jazz. The best scene to me is clearly the 'battle' between the sax players at the club. The music in the club throughout the movie and the background score during the non-club scenes is about as good as it gets. And I'm not really a huge jazz guy though I have always liked the Miles Davis - John Coltrane type stuff. This is my favorite non - Angelo Badalamente (sp?)film score. Seriously, see this flick just for the music alone.

And, see it for Miranda Richardson who is AWESOME in this movie. I think she really steals the show in this one. J. Jason Leigh is solid and plays the part of a not too bright, not very successful midwest girl decently. Also, Harry Belafonte is great as Seldom Seen and he just looks and sounds the part so well. Steve Buscemi, Dermot Mulroney and the woman who plays J. Jason Leigh's sister are all quite good in supporting roles, and Michael Murphy is perfect for the part of the slightly confused, yet somewhat powerful husband to the kidnapped Richardson character.

The clothes, cars, and look of the film is nicely done (cmon it IS an Altman picture!!!) and really does make you feel as if you are in Missouri circa 1935-1940. Add to that a slightly twisted ending and you have a really good and def. underrated film that I really want to see again... on DVD this time to REALLY crank up the music scenes. I give Kansas City 7.5/10

Like the films of Orson Welles, Federico Fellini or Woody Allen, there's almost always a reason to watch, even if the completed whole doesn't quite add up to the sum of it's parts. Kansas City fits that bill for me.

Altman weaves his usual rich tapestry of lives affected by history in a city alive with jazz and political chicanery, and Kansas City is worth watching for the unexpectedly mesmerizing performance by Harry Belafonte as "Seldom Seen," mobster boss.

The jazz on display is equally dazzling, but just when your mind is settling into some rich, heady music, the film cuts back to the deadly, mannered, whiny performance turned in by Jennifer Jason Leigh; when most film fans recall the disaster that became Godfather III, the director's indulgence of the lackluster performance turned in by Sofia Coppola comes to mind; Leigh's performance similarly affects the tone of Kansas City, and since she is the protagonist, the film's interest flags with her director-free indulgence in some kind of method acting that fails to evoke much but self-indulgence.

In short, Kansas City is well worth a look for superb mise-en-scene,for the music and atmosphere, but is deeply frustrating for it's central performance.

Robert Altman's Jazz-Infused Homage to His Hometown is Like Most, but Not All, of the Maverick Directors Filmography, it's a Love it or Leave it Affair.

His Most Successful, Financial and Critical, Movies don't Fit in that Box with Altman's Others that Part the Majority of Fans and Critics like the "Red Sea".

"Nashville" (1975) and "The Player" (1992) are Exceptions.

With "Kansas City" the Writer-Director is in Familiar Territory Again as there are Folks and Critics on Both Sides of Altman's Vision.

His Modus-Operandi has Always been to Never Compromise and Play the Maverick to the End,

You Need Talent to Survive for so Long in His World of Making Movies Apart from the Maddening Crowd of Hollywood.

His Film-Making Talent is Rarely Criticized. But His Movies are Frequently.

This is a Luscious Looking Film and the Free Form/Improv Jazz Soundtrack is its Reason for Being.

The Period Detail Drips from the Screen.

The Music is a Delight.

Harry Belafonte Steals the Acting Honors and Rants Endlessly about the Human Condition while Whiffing Cocaine and Murdering Anyone who Dares Double-Cross.

Jennifer Jason Leigh's Lead Performance is a Sticking-Point for Sticklers Wanting Perhaps a more Nuanced Take.

Nope, Not Going to Happen.

It's an Over-the-Top Cartoony, Stereotypical Gangster-Moll Cliche and it Comes Off Thick and In-Your-Face and Seems Silly.

Even if You Consider it a Disastrous Dramatic Overkill, the Film is so Good Otherwise that it can be Sloughed Off as an Altman/Leigh Indulgence.

The Film's Saving Grace is the Eye and Ear Candy...it's a Treat.

Jennifer Jason Leigh plays a desperate woman who tries to rescue her boyfriend (Dermot Mulrooney) from the hands of local black mobsters led by Harry Belafonte, who have made him a prisoner after he robbed one of them. She kidnaps the laudnum addicted wife (Miranda Richardson) of a Roosevelt political adviser (Michael Murphy) in an effort to somehow get enough leverage to achieve her goal. The Kansas City of the Depression setting looks pretty real and wide open, not only for crime but also political fraud. Robert Altman made a great character for Steve Buscemi as a brutal political operative who's assigned to get out the vote by any and all means possible, including the use of baseball bats, but he failed to give him enough space. Nonetheless, he's just another part of this mosaic of the period, and does well enough with the meager scenes he has. Jennifer Jason Leigh is at the film's center while social, political, and economic forces swirl around her. She affects a Jean Harlow persona throughout the film, and in one scene is actually in a theater watching a Jean Harlow film. The tough girl act conceals her real life existence as yet another victim of the Great Depression of the 1930's. By the end of the film she appears on screen with her hair dyed platinum blond and in an all white evening gown, actually becoming the famous actress who died so young. While the film meanders around, going into and out of crooked politics, race, teen pregnancy, drugs, etc...and in and out of the Hey-Hey Club with the ongoing birth of blues and bebop, the ending that punctuates the kernel of a plot is quite an exclamation point and is well worth the wait.