How to Be Single
Think of "How to Be Single" as a cinematic Whitman’s Sampler: There are enough pieces that work to offset the pieces that don’t.
"Nashville" 25th reunion. (photo by Jim Emerson)
When the doctor says you're through Keep a'goin! Why, he's a human just like you -- Keep a'goin!
-- Haven Hamilton (Henry Gibson) in "Nashville"
24 of your favorite stars.
Give me a Leonard Cohen afterworld so I can sigh eternally
-- Kurt Cobain, "Pennyroyal Tea"
It's true that all the men you knew were dealers who said that they were through with dealing every time you gave them shelter
-- Leonard Cohen, opening lyrics for "McCabe & Mrs. Miller"
"Nashville" 25th reunion. Note gigantic Oscar at right; Altman got his own, regular-sized one six years later. (photo by Jim Emerson)
"However, the cortex, which is dwarfed in most species by other brain areas, makes up a whopping 80 percent of the human brain. Compared with other animals, our huge cortex also has many more regions specialized for particular functions, such as associating words with objects or forming relationships and reflecting on them. The cortex is what makes us human."
-- John J. Ratley, M.D., "A User's Guide to the Brain: Perception, Attention, and the Four Theaters of the Brain"
I'm not sure what, if anything, meaningfully connects these fragments to the passing of Robert Altman -- or his films, as alive now as they ever were -- but they were all things I encountered during a day spent thinking about Altman and, to my surprise, not wanting to speak out loud about him to anyone. I talked to my mother on the phone. She asked hesitantly, "Have you heard any news today?" "Yeah," I said, and changed the subject. What can I say that isn't trivial? (Rhetorical question, please.)
In this state of grief, nothing I'm writing or thinking about Altman is adequate, or even makes much sense, in large part because a whole moviegoing lifetime of engagement with his movies (beginning at age 15) has so profoundly shaped who I am and how I experience the world. Like hundreds, thousands (millions?) of cinephiles and cinephiliacs, I found life (and, paradoxically, shelter) in Robert Altman's movies. "Nashville" is my church, to which I return again and again for joy, insight, inspiration and sustenance. (I haven't written about it for years, but I also know that I'm almost never not writing about "Nashville.")
To this day, I am in some deep but irrational sense convinced that the characters in "Nashville" (even though I know they're played by 24 of my very favorite stars!) continue to exist outside the parameters of the movie itself. I've met and interviewed, for example, Ned Beatty, but there's Ned Beatty the actor and then there's Delbert Reese, who is someone else entirely. Delbert exists, imaginatively independent of the great actor (one of my all-time favorites) who inhabited him in "Nashville." (This is most unlike the other most-influential movie in my life, Roman Polanski's "Chinatown," made just the year before "Nashville," which is as "closed" a film as "Nashville" is "open." "Chinatown" ends so definitively that, "Two Jakes" aside, any life beyond the final frame is unthinkable.)
Right now I just want to share another fantastic memory: In 2000, I heard there was going to be a 25th anniversary reunion screening of "Nashville" at the Academy of Motion Picture Arts and Sciences' Samuel Goldwyn Theater in Beverly Hills. I'd moved back to Seattle by this time, but I bought tickets the moment they became available (for five bucks apiece) and went to LA for the event: My favorite movie, in a pristine print, in one of the finest movie theaters in the world, with most of those 24 favorite stars in attendance. It was... transplendent (as a Shelley Duvall character once said). I'll post an update with IDs later, but for now, see if you can identify the people onstage (taken with a now-primitive, but still beloved, Canon Digital Elph)
Pauline Kael's famous, ebullient review of "Nashville" here reminds us how exciting and innovative the movie was in 1975.
Principal population of "Nashville" after the jump:
Haven Hamilton Henry Gibson Lady Pearl Barbara BaxleyBud Hamilton David PeelBarbara Jean Ronee BlakleyBarnett Allen GarfieldDelbert Reese Ned BeattyLinnea Reese Lily TomlinConnie White Karen BlackTommy Brown Timothy BrownJohn Triplette Michael MurphySueleen Gay Gwen WellesWade Robert DoquiMr. Green Keenan WynnL.A. Joan Shelley DuvallPfc. Glenn Kelly Scott GlennTom Frank Keith CarradineBill Allen NichollsMary Cristina RainesNorman David ArkinOpal Geraldine ChaplinAlbuquerqe Barbara HarrisStar Bert RemsenKenny Frasier David HaywardTricycle Man Jeff GoldblumFrog Richard BaskinTrout Merle KilgoreHimself Elliott GouldHerself Julie Christie
"Nashville" 25th Reunion Photo IDs:
Top picture: Charles Champlin (film critic emeritus, Los Angeles Times, and bit player with Burt Reynolds in "The Player"), Robert Altman, screenwriter Joan Tewkesbury (seated, peaking out from behind Altman), Ned Beatty, Karen Black, Ronee Blakeley, Keith Carradine, Robert Doqui.
Bottom picture: Keith Carradine, Robert Doqui, Allen Garfield, Henry Gibson, Jeff Goldblum, Richard Baskin, David Hayward, Michael Murphy, Dave Peel, Cristina Raines, woman from the Academy putting a mic on Allen Nicholls.
By this time (2000), Keenan Wynn, Gwenn Welles, Barbara Baxley, David Arkin and Bert Remsen were deceased.
Unable to attend; Lily Tomlin, Barbara Harris, Geraldine Chaplin, Scott Glenn, Timothy Brown, Shelley Duvall.
This message came to me from a reader named Peter Svensland. He and a fr...
A peculiar film, poised somewhere between satire and dream logic.
A piece on the American experience reflected through four films at the Sundance Film Festival by an Ebert Fellow.
FFC Gerardo Valero reports on his experience working as an extra on "Spectre."