SYNOPSICS
Altman (2014) is a English movie. Ron Mann has directed this movie. Michael Murphy,Robert Altman,Kathryn Reed,Sally Kellerman are the starring of this movie. It was released in 2014. Altman (2014) is considered one of the best Documentary,Biography movie in India and around the world.
The life of Robert Altman over the course of his career as a filmmaker is told in roughly chronological order. It is presented largely through archival footage, including of his interviews and of his and his longtime wife Kathryn Reed's home movies. It includes his rocky start in Hollywood as an aspiring screenwriter, which instead led to him working as a general filmmaker for an industrial film company. This work led to directing assignments for a number of television series back in Hollywood, where he butted heads with a number of studio executives and producers who did not appreciate his style of filmmaking in his desire to insert a sense a realism in whatever the project, that realism which includes hanging story-lines and overlapping dialogue, often in multiple equally important conversations in a single setting which forces the viewer to decide which conversation he/she wants to focus. This situation often led to him trying to achieve what he wanted either in not telling or ...
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Altman (2014) Reviews
Picture of an auteur
Altman's life merits a 10-hour documentary. This is only 1½ hours, but we are treated to a decent selection of Altman trivia. Gosford Park, M.A.S.H., Nashville, Short Cuts, The Player. Just wow. The downside of cutting it down to a feature length documentary is that you are forced to skim through many great films. First of all, he made so many movies it's hard to keep track of them. Second of all, his movies are so dense that they require multiple viewings, and more than two minutes of exposition, to fully appreciate. Nonetheless, I think the film is well-made and never boring. Family videos and photos, and on-location footage, provide access to a rarely-seen Altman, such as Altman-the-father. But don't expect great revelations. There is nothing truly shocking here, no skeletons in the closet. Altman is painted as a suspiciously lovable, but subversive, Santa Claus figure. Perhaps that's just the way he was. But one would have liked a few rough edges to be explored a bit more - like his family troubles, financial worries and personal addictions to gambling and booze. The movies gets too close to hagiography at times. But if one is to pick Saints for canonization, you could do much worse than go with Robert Altman!
Portrait of an Artist
I am fascinated by the artistic process, how things are created, what motivates the artist, what obstacles are encountered and how they are overcome. In this documentary, I think Ron Mann has succinctly put together the various factors that motivated Robert Altman and made his career so long and successful. I felt I learned a lot more about the movie making process and artistic creation in general. Simple things we now take for granted are important. For instance, putting together a team of people that work well together, giving people a break and letting them shine. These were radical ideas in the era of C2C Command and Control studio structures, where the word was passed down from on high. How about two people arguing, both speaking at the same time. Adds to the emotion and conflict right? Altman pioneered the use of multiple soundtracks to get right into a dialogue. What I found particularly interesting was how Altman dealt with career setbacks. Each time things did not seem to be going his way (at least by the standards of others), he simply reinvented himself by turning to a different genre of film or theatre or production. When confronted by harsh critics, he simply shrugged it off and kept on working with undiminished enthusiasm. What a wonderful role model for young people starting off on a career. Bravo, great doc!!
Excellent
A look at the life and work of American filmmaker Robert Altman. For anyone who loves film and its history, this is a must-see documentary. The career of Robert Altman spanned many decades and he worked with just about anyone who was anyone, making some of the greatest films of all time. Some duds, too, but that will happen. Rather than just talking to a handful of people about their memories, this mixes in plenty of home footage, Altman's own memories, and those of his wife. While his career could fit into a much longer film, for the time frame allotted they did a great job covering his whole life and leaving us wanting more rather than opening up the possibility we could get bored.
Did what it was supposed to do
I loved this documentary because it accomplished its mission. It reminded you of what Robert Altman was all about. His life work can be summed up thus: I'm not making movies to narc you out. I'm not making movies so you can forget your pain. I'm telling stories of passionate people, heroes and failures, who just might clue you in to cutting a path toward your own redemption. I cried over and over as I watched it. It was touching and moving and an inspiration. It also happened to summarize much of the backdrop to my own life as a moviegoer. Altman's story is a good one, and this flick tells it.
Lost Opportunity
The biggest value of Ron Mann's documentary "Altman" is the compilation of Robert Altman's interviews, home movies, unreleased shorts and testimonies by family members and colleagues. All that material was unified by close-ups of several actors who define what the adjective "Altmanesque" means, but a few important ones were left out, people as Altmanesque as can be, as Shelley Duvall, Paul Dooley, Carol Burnett or René Auberjonois. In general, Altman's film work was somehow standardized in this documentary, as if all had the same significance and weight. As an effect of leveling the value and quality of his movies, what we have is a promenade through a life and peculiar oeuvre, that did find obstacles, as it is stated, but with little curiosity for the reasons and motives, and the conceptual and ideological genesis behind Altman and his cinema. When Mann covers Altman's years at Fox, he only gives «3 Women», the peak of that period, a few reflections about acting illustrated by photographs of the shooting and Duvall, Sissy Spacek and Janice Rule (the tree women of the title). Any unsuspecting fellow will never know that this is one of Altman's masterpieces, as such recognized by anyone who knows a little about films. And let's not mention the approach to «Nashville», which is almost reduced to a corollary of a testimony by Richard Nixon about folk music. From the vantage point given by the time that has passed since the releases of «HealtH» (which didn't even have a proper release), «Quintet» and «Popeye», neither does Mann question or evaluate what was written and said about them. He does quote Altman telling a story about «Quintet»: in a meeting at Fox Grace of Monaco questioned Alan Ladd Jr. for letting "that Altman person" put her friend Paul Newman in that "dreadful film". Ladd told her to shut up and quit Fox. Today «Quintet» is seen as an apocalyptic science- fiction dreamscape that completes Altman's surrealist trilogy, after «Images» and «3 Women». Robin Williams died without understanding that in «Popeye» he had given one of his best film performances. Neither Mann seems to understand the film and, in return, concedes valuable time of the documentary to a clip of an unmentionable television film critic who could only mutter nonsense about Altman's vision of E.C. Segar's universe the morning after the film premiere. It must be added too that the appreciation of «Popeye» has improved with the years. As Mann lightly approaches other interesting works, as Altman's theater adaptations («Fool for Love», «Streamers», «Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean», «Beyond Therapy», all underrated), the biopic «Vincent & Théo», the drama «Kansas City» that follows the structure (if any) of a jazz session, or the comedies he made after his heart transplant (the delirious «Dr. T and the Women» and the moving «Cookie's Fortune», for example), Mann spends more than enough time in «Secret Honor», the television series «Tanner» or »Brewster McCloud» which Altman called his favorite film in an interview in "Film Comment" when he was about to make «Short Cuts». And so goes this work, in which, yes, we can perceive the admiration for the filmmaker, but that in general, as we have stated, misses in its reflection and analysis of the work of one of the greatest American filmmakers of the twentieth century and part of this one (above a few overrated defenders of the status quo), who talked about and filmed his fellow people, his country, its history, its cities, towns, politics, cultures, vices and virtues. And there lies his greatness.