Dr. T & the Women

A fine cast of actors and an interesting story does not always provide a good film. Where did it go wrong? The main characters were amply explored for a comedy; the elements were there for an intrigue sur plus; the pretty people were there for a light romance that would make the coldest heart melt; if one were murdered it could have been a real crime flick. But it just did not happen. The acting is good. The story keeps you going. It might even tear you up, if you are willing. The comedy works at several instances. The drama will question you on human relations. But in the end it comes up short on all cinematographic fields it tries to explore. Bummer! There's a good film hiding in there somewhere.

... It doesn't so much 'depress' me that people don't like this film, as it does when I find out the REASONS people dislike it. I didn't even feel moved to comment until I realized the staggering lack of depth that's comprised in most people's criticisms here. I figured that I'd just watched a pleasant enough comedic trifle. Apparently not.

People, dislike this film by all means - it's hardly the best I've ever seen - but don't vilify it for the very qualities that were wholly intentional. I mean, how many of the 'naysayers' here have even the SLIGHTEST passing knowledge of Frank Capra???! There were odd moments here and there in this that struck me as being decidedly Capraesque...

Gere is PERFECT as the guy who - without arrogance - is convinced that he can be every woman's knight in shining armour... Trouble is, they don't NEED any 'convincing'! So, what exactly happens when you take a guy like this and show him a woman who is, by the best information available, completely self-sufficient? All I can say is: If this scenario even slightly intrigues you, then watch it and find out... !

I think the ending is very fitting, too... (e-mail or PM me for reasons if you disagree; as I don't wish to spoil too much for the good people that are yet to watch!) Rather 'Buddhist' - so surely appropriate for a man of Mr. Gere's persuasion... ?!

(7/10, or ***/***** in profile ratings system.)

I saw "Dr. T and the Women" when it premiered at the Chicago Film Festival in 2000. Robert Altman was there, as were Richard Gere and Shelley Long, two of the film's stars. The theatre was buzzing with excitement as the movie started (big starry film premiers are still a novelty in a city like Chicago), and by the time it ended, you could almost physically feel the deflation in the auditorium as everyone realized at the same time that the film was a bomb.

Because I went into the film so hyped and the movie tanks so badly toward its end, I came out thinking it was probably Altman's worst film. After re-watching it on DVD a few days ago, I realize now that the film isn't nearly as disastrous as I remember it being. The final 15 minutes still stink, but all of the movie leading up to those final moments isn't that bad.

Those who call Altman a misogynist are being unfair to him; his body of work contains a large collection of fully realized female characters. If they are frequently treated badly in his films (and many of them are), it's important to remember that it's the male characters treating them that way, not Altman. If anything, a running theme in Altman's work is the crap women have to take from the men in their lives, and several of his films feel like atonements for all the ways boys behave badly.

It's unfortunate, then, that the one film that exists almost exclusively as an homage to women and the beautiful chaos they create in the lives of men is full of female caricatures and cartoon types. Not a single female character in this movie feels like a three-dimensional creation, and it's a shame because there is plenty of talent assembled to play them. Gere actually manages to give one of the better performances of his career as the man whose picture-perfect life begins to unravel because of the unpredictable female tidal wave bearing down on him, but the screenplay doesn't bring his story or anything else to any kind of conclusion. How ironic that the film was written by a woman.

Altman has always been willing to take risks, and for that I applaud him. But his experiments in this film fail badly. After sticking with a meandering story for nearly two hours, it's as if the film's creators decided they didn't know how the hell they wanted their movie to end, shrug their shoulders and give their audience the finger. The tone abruptly changes into one of slapstick comedy that comes out of nowhere, and a surreal ending that might have worked if anything leading up to it had prepared the audience for it feels stupid.

The female cast includes Helen Hunt, Farrah Fawcett, Shelley Long, Kate Hudson, Tara Reid, Laura Dern, Lee Grant and Janine Turner. Fawcett's barely in the movie; Long and Dern, while providing many of the film's laughs, are asked to do embarrassing things; Turner apparently just turned up on the set one day and Altman set about finding something for her to do. I think we're supposed to see all of these women taken together as representing the different facets of every woman's personality, but none of the women in this movie resembles any woman I actually know.

The highlight of the film comes early -- it's a tremendous single tracking shot during the opening credits set in a gynecologist's office. Everything after that is downhill.

Still, the nadir of Altman's oeuvre that I measure every other film of his against is "Beyond Therapy" (1987), and this movie isn't nearly as bad as that. It's not even as bad as "Quintet" or "Popeye," and I have to say that it beats "A Wedding" in a squeaker.

Grade: C

Robert Altman is frustratingly inconsistent, and here is at his worst. His very personal style has three characteristics:

1. Many-threaded storylines and characters, many of which raise questions that are not answered in the play. When done well, you get the impression of moving through the world with a curious voyeurism, dipping into many lives which are intriguing enough to learn more about. Except for the youngest daughter, none of these women are worth digging more into. The misogynism could have been an advantage; here it is cheap.

2. Spontaneous acting. Altman doesn't tell his actors what to do, trusting them to bring something fresh. In the best case, the differing visions of the actors add to the manyhued effect described above. But you need powerful actors like he had in "Cookie's Fortune." These folks, some of whom are fine when given direction, simply can't synthesize.

3. Wonderful tracking shots (which move from character to character so enhance the two effects noted above). Check out the first shot in "The Player." That alone is worth the admission. Here, we have a busily choreographed shot at the beginning and a dizzy pullback at the end, but neither to any useful effect.

Avoid this film. The master was asleep.

Robert Altman appreciates women. It shows in his movies; women are often the main characters, and his films offer up a variety of interesting roles for actresses. Dr. T and the Women is almost entirely about women, modern day wealthy Texas women. Richard Gere plays Dr. Sully Travis a very successful and popular Dallas gynecologist. Not only is he surrounded by women all day at work, but his family consists entirely of women. Only a couple of male buddies enter into his closed, female dominated life. And like all good Altman movies there are plenty of quirky characters and intersecting plotlines.

The problem is that the plotlines aren't that interesting or original. Dr. T's wife develops a rare mental disorder that affects only the wealthy, and must be institutionalized. The new female golf pro comes on to Dr. T, as does his nurse. His soon-to-be-married daughter is slowly realizing that she may be a lesbian. And so on.

For Altman fans, Dr. T and the Women is not a bad rental. The director has done better, but it's still Altman. Others, less interested, might want to give this a pass.