Robert Altman Criticism
Robert Altman (1925–2006) stands as an iconic figure in American filmmaking, revered for his groundbreaking narrative techniques and thematic exploration. Emerging from a background in B-movies and television, Altman's breakthrough came with the 1970 film M∗A∗S∗H, which employed anti-war themes and unorthodox methods such as overlapping dialogue and improvisation. This approach, while earning him a devoted following and critical acclaim, often clashed with traditional Hollywood methodologies, as discussed in an interview with Frank Beaver, occasionally limiting his commercial success.
Altman's oeuvre, including seminal works like McCabe and Mrs. Miller and Nashville, consistently challenged genre boundaries and delved into complex themes such as power dynamics and the human condition. His films, like The Long Goodbye and Buffalo Bill and the Indians, serve as social commentaries, evoking mixed critical responses from figures like Michael Dempsey and Gene M. Bernstein. Despite the varied reception, films such as The Player and Short Cuts illustrate his mastery in weaving intricate narratives and handling ensemble casts.
The critical assessment of Altman's work often reflects a dichotomy between stylistic innovation and mainstream accessibility. Some critics, like Richard K. Ferncase in his essay on The Long Goodbye, questioned Altman's narrative decisions, whereas others, such as Robert Merrill, lauded his genre-defying capabilities. Despite fluctuating critical opinions, Altman's films are celebrated for their depth and originality, ensuring his enduring influence in the cinematic landscape.
A defining characteristic of Altman's directorial style is his collaborative relationship with actors, granting them significant creative liberties, including improvisation and contributions to soundtracks, notably in films like Nashville. His focus on off-kilter characters and challenging societal expectations garnered critical respect, although, as Andrew Sarris points out, his audience remained smaller than one might anticipate given his critical acclaim. Altman's legacy as a quintessential director of the 1970s endures, with his work continuing to inspire scholars and filmmakers alike.
Contents
- Principal Works
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Altman, Robert (Vol. 116)
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Show-Offs
(summary)
In the following mixed review, Baumbach complains that, "what's finally wrong with The Long Goodbye is that for all its artistic pretensions, all of them, the film is not quite serious, not serious enough to carry the freight of its pretensions."
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Altman: The Empty Staircase and the Chinese Princess
(summary)
In the following essay, Dempsey discusses pivotal scenes in Altman's Thieves Like Us and McCabe and Mrs. Miller which cause the films to fall short of greatness.
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The Delinquents (Robert Altman) (1974)
(summary)
In the following review, McCarthy states that, "Decidedly a minor work by a major artist," The Delinquents proves that Altman can tell a straightforward story without stylistic mannerisms.
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Trashville
(summary)
In the following essay, which was reprinted in Movie Plus One, Pechter traces Altman's portrayal of America in Nashville.
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A Merging of Mythologies
(summary)
In the following excerpt, Sultanik compares the view of America presented by Altman in Nashville to that presented by E. L. Doctorow in Ragtime.
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Altman, Chabrol, and Ray
(summary)
In the following excerpt, which was reprinted as 'Buffalo Bob and an Indian,' in Movie Plus One, Pechter discusses the ways in which Altman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson is similar to his McCabe and Mrs. Miller, and he enumerates the ways in which the former film falls short of the latter.
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Floating
(summary)
In the following essay, Greenspun asserts that '3 Women ranks with the best Altman, though it has the pretensions of some of the worst—Brewster McCloud, Images—and it divides, as just about everyone has noticed, between a wonderful first half and a highly problematic second.'
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Wish and Power: Recent Altman
(summary)
In the following essay, Di Piero discusses Altman's Nashville, Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and 3 Women, and asserts that, "His career may prove eventually to be the most cogent, and tenacious, of any America director."
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Robert Altman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson: A Self-Portrait in Celluloid
(summary)
In the following essay, Bernstein analyzes how Altman's Buffalo Bill and the Indians, or Sitting Bull's History Lesson examines the film medium itself including the genre of the western and the making of a superstar.
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An Interview with Robert Altman
(summary)
In the following interview, Altman, with Frank Beaver, reflects on his career trajectory, his rebellious approach to filmmaking, and his penchant for improvisational techniques, revealing his disdain for traditional Hollywood practices and his efforts to infuse authenticity and spontaneity into his films such as M∗A∗S∗H and Nashville.
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Altman's McCabe and Mrs. Miller as a Classic Western
(summary)
In the following essay, Merrill analyzes Altman's McCabe and Mrs. Miller as a classic western, instead of its typical depiction as an anti-western.
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Robert Altman's The Long Goodbye: Marlowe in the Me Decade
(summary)
In the following essay, Ferncase discusses Altman's retelling of the story of Philip Marlowe in his The Long Goodbye.
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Robert Altman: After 35 Years, Still the 'Action Painter' of American Cinema
(summary)
In the following essay, Tibbetts discusses Altman's relationship to Kansas City, the course of his career, and his films through Vincent and Theo.
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Reimagining Raymond Carver on Film: A Talk with Robert Altman and Tess Gallagher
(summary)
In the following essay, Robert Altman and Tess Gallagher, with Robert Stewart, discuss the adaptation of Raymond Carver's short stories into the film Short Cuts, highlighting Altman's interpretative approach, which combines Carver's thematic elements with Altman's cinematic vision to create a new narrative entity.
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The Role of the Writer in The Player: Novel and Film
(summary)
In the following essay, Sugg traces the role of the writer in Altman's The Player as compared to his role in the novel of the same name.
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In the Time of Earthquakes
(summary)
In the following essay, Romney discusses the daredevil nature of Altman's career, including his approach to Short Cuts.
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Why the Birthday Party Didn't Happen
(summary)
In the following review, Wood shows how the stories Altman presents in Short Cuts differ from the Raymond Carver stories on which the film is based.
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A Fishy Lot, Mankind
(summary)
In the following review, Shone discusses the relationship between Raymond Carver's short stories and Altman's adaptation of them in his film Short Cuts, and asserts that "the union of writer and director is occasionally rocky, may in some cases have needed a little more guidance, but it has a weathered solidity."
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A Lion's Gate: The Cinema According to Robert Altman
(summary)
In the following essay, Murphy discusses some prevailing images from Altman's films.
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Ready to Wear (Prêt-à-Porter)
(summary)
In the following review, Hilferty states that, "Less about fab fabric than the tenuous fabric of society, Ready to Wear is an elaborate striptease of the human condition."
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Kansas City
(summary)
In the following excerpt, Boyd calls Altman's Kansas City "aimless film-making." Kansas City here I come! These are the words of Big Joe Turner's classic rhythm and blues song 'Going to Kansas City', and it's also the mission of film-making elder statesman Robert Altman in this homage to his hometown. Set in a colourful 30s world, in which the city is an oasis for the political party bosses, gangsters and jazz musicians who ran the show, Kansas City is trademark Altman, a series of interconnected episodes all linked to one central theme: the uses and abuses of power.
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Kansas City, Kansas City, Kansas City, Kansas City
(summary)
In the following review, Combs discusses the lack of personal references in Altman's films, noting the exception of Kansas City, which is set in Altman's home town.
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Show-Offs
(summary)
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Altman, Robert (Vol. 16)
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'The James Dean Story'
(summary)
In the following essay, David Robinson critiques Robert Altman's film "The James Dean Story" for its documentary approach, noting its innovative use of authentic material but criticizing its failure to delve deeply into Dean's complex personality due to overly repetitive and pretentious elements.
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'Countdown'
(summary)
In the following essay, Howard Thompson criticizes Robert Altman's direction of the film "Countdown" as uninspired and monotonous, highlighting the clichéd narrative and lackluster performances that render the moon mission storyline unengaging.
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Short Notices: 'That Cold Day in the Park'
(summary)
In the following essay, Michael Dempsey critiques Robert Altman's That Cold Day in the Park for its obscure narrative and misapplied stylistic choices, arguing that Altman confuses superficial techniques with genuine psychological depth, resulting in a film with unconvincing characters and themes.
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Reviews: 'M∗A∗S∗H'
(summary)
In the following essay, William Johnson argues that Robert Altman's film Mash transcends its comedic form through a richly textured narrative and character depth, ultimately reflecting on the human condition rather than merely portraying army life or rebellion.
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'That Cold Day in the Park'
(summary)
In the following essay, David Hutchison critiques Robert Altman's direction in That Cold Day in the Park, arguing that despite Altman's ability to maintain viewer engagement, the inclusion of sensational elements and certain stylistic choices detract from the film's potential as a cohesive narrative.
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'M∗A∗S∗H'
(summary)
In the following essay, Jan Dawson argues that Robert Altman's film "M∗A∗S∗H" masterfully critiques inflexible attitudes toward war by juxtaposing the destructive nature of conflict with the life-saving roles of doctors, while also satirizing the rhetoric of the Church, Army, and traditional war films.
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'McCabe and Mrs. Miller'
(summary)
In the following essay, Jan Dawson argues that Robert Altman's film "McCabe and Mrs. Miller" defies genre conventions and employs Leonard Cohen's music, existentialist themes, and a complex depiction of the American West to critique economic history and individualism.
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Reviews: 'Brewster McCloud'
(summary)
In the following essay, Roberta Rubenstein argues that Robert Altman's film Brewster McCloud explores complex themes of flight, freedom, and the inherent constraints of human existence, likening Brewster's quest to mythical figures like Icarus, and ultimately illustrating the paradox of seeking absolute freedom while being bound by personal and societal limitations.
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Reviews: 'McCabe and Mrs. Miller'
(summary)
In the following essay, Jackson Burgess argues that Robert Altman's film McCabe and Mrs. Miller exemplifies a distinctively American genre that "actualizes" film conventions by balancing gritty realism with idealized values, achieving a nuanced portrayal that navigates the tension between comedy and seriousness.
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'McCabe and Mrs. Miller': Robert Altman's Anti-Western
(summary)
In the following essay, Gary Engle argues that Robert Altman's film McCabe and Mrs. Miller subverts conventional Western themes by depicting social progress as corrupt and heroism as flawed, ultimately presenting McCabe not as a traditional hero but as an anti-hero whose actions and motivations lack nobility and significance.
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Round Up the Usual Suspects
(summary)
In the following essay, Pauline Kael critiques Robert Altman's film "Images" as a visually inventive yet conceptually flawed psychological thriller, arguing that while Altman's technical prowess is evident, the film lacks the necessary psychological depth and narrative coherence to effectively explore its themes of madness and identity, ultimately resulting in a hollow cinematic experience.
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'M∗A∗S∗H'
(summary)
In the following essay, Richard Schickel argues that Robert Altman skillfully manages the delicate balance of satire and seriousness in M∗A∗S∗H, portraying its protagonists as "Robin Hoods of rationalism" and maintaining a disciplined execution that avoids indulgence despite the film's improvisational feel.
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'Images'
(summary)
In the following essay, Richard Combs explores Robert Altman's portrayal of characters in his films as they navigate irrational worlds, arguing that Altman's emphasis on complex situations over psychological analysis creates a unique cinematic universe where self-destruction and resignation intersect with moments of dark comedy, particularly highlighted in his film "Images."
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The Theme of Structure in the Films of Robert Altman
(summary)
In the following essay, Charles A. Baker argues that Robert Altman's films, such as Brewster McCloud, McCabe and Mrs. Miller, and M∗A∗S∗H, critique the dangers of rigid societal structures and emphasize the value of individual freedom and flexibility, underpinning a pessimistic world view about contemporary society.
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Theory Number One: Dissecting an Interpretation
(summary)
In the following essay, Robert B. Meyers critiques Gary Engle's analysis of Robert Altman's film "McCabe and Mrs. Miller," arguing that Engle's narrow interpretation as an Anti-western ignores the film's complexity, comic elements, and nuanced portrayal of heroism, ultimately leading to a flawed understanding of the film's artistic intent and audience engagement.
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Knight Without Meaning?
(summary)
In the following essay, Charles Gregory critiques Robert Altman's film The Long Goodbye, arguing that Altman's satirical portrayal of Philip Marlowe undermines the traditional hero's integrity by depicting him as outdated and out of touch in a morally complex world, a stance Gregory believes is somewhat misguided and overly condemning.
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Blessed Profanity
(summary)
In the following essay, Pauline Kael praises Robert Altman's film M∗A∗S∗H as an artfully unpredictable comedy that masterfully blends burlesque and romantic elements, creating a liberating and consistently humorous experience, which she considers a pinnacle of American war comedies and a refreshing departure from typical Hollywood productions.
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Love and Coca-Cola
(summary)
In the following essay, Pauline Kael argues that Robert Altman's film "Thieves Like Us" achieves a serene simplicity and sensuous lucidity reminiscent of Faulkner's novels, marking it as a near-flawless masterpiece that combines the literary qualities of both American and European cinema without falling into nostalgia.
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'Thieves Like Us'
(summary)
In the following essay, Stanley Kauffmann criticizes Robert Altman's film Thieves Like Us for its lack of depth and departure from the source material's exploration of characters shaped by their environment, arguing that Altman's stylistic choices render the film emotionally cold and artistically overworked.
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Peripheral Vision
(summary)
In the following essay, Joseph Kanon critiques Robert Altman's film Thieves Like Us as a successful yet uninvolving movie that demonstrates Altman's peripheral narrative style and skillful period detail, but ultimately lacks depth due to its ordinary material and simplistic characters.
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Dreams of Tight Corners
(summary)
In the following essay, Penelope Gilliatt examines Robert Altman's film "California Split," highlighting its improvisational style, exploration of American isolation, and portrayal of gambling culture, while praising Altman's unique narrative fragmentation and his respectful portrayal of unconventional characters.
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Night to Day
(summary)
In the following essay, Robert Phillip Kolker examines how Robert Altman's film Thieves Like Us diverges from traditional film noir by portraying a stylized, open world where characters are depicted with affection and allowed a semblance of triumph, contrasting with the despair and moral direction found in Nicholas Ray's They Live By Night.
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Controlling the Situation
(summary)
In the following essay, Robin Wood analyzes Robert Altman's films as significant to American cinema for their reflection on Hollywood's past, European influences, contemporaneity, mastery of modern cinematic techniques, and thematic focus on protagonists' loss of control, while critiquing Altman's occasional detachment from his characters.
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Improvisations and Interactions in Altmanville
(summary)
In the following essay, Jonathan Rosenbaum analyzes Robert Altman's distinctive cinematic style, highlighting his preference for inarticulate characters, the use of overlapping dialogue, and the improvisational nature of his films, which contrasts with more structured narratives, thus inviting viewers to engage actively with the film's unfolding meaning.
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'Nashville'—A Shadow Play of What We Have Become and Where We Might Look for Wisdom
(summary)
In the following essay, Kurt Vonnegut, Jr. praises Robert Altman's film Nashville as a profound exploration of American culture, emphasizing its lack of leadership and ideas, while depicting the nation as innocent yet bewildered amidst societal chaos and spiritual emptiness.
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The Amazing Shrunken 'Nashville'
(summary)
In the following essay, John Simon critiques Robert Altman's film Nashville as an intriguing yet ultimately insufficient work due to excessive cutting, arguing that its fragmented narrative and uneasy symbolism fail to shed new light on American society, despite showcasing Altman's matured filmmaking skills.
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Nashville
(summary)
In the following essay, Joel E. Siegel criticizes Robert Altman's film Nashville as an underdeveloped and shallow portrayal of American life, arguing that its lack of authenticity and detailed characterization hinders its attempts at political and social commentary.
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'Nashville': America's Voices
(summary)
In the following essay, F. Anthony Macklin argues that Robert Altman's film Nashville is a complex, multi-layered exploration of American culture and values, highlighting its themes through motifs such as media influence and car culture, and presenting a nuanced portrayal of humanity characterized by ambivalence and irony.
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'Did You Ever See an Elephant Fly?' Style and Substance in the Films of Robert Altman
(summary)
In the following essay, Moyer argues that Robert Altman's films, marked by their improvisational style, explore the tension between imagination and convention, risking belief to alter reality, as seen in works like California Split, where characters embody the struggle between imaginative action and escapism.
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Altman's America
(summary)
In the following essay, Leonard Quart critiques Robert Altman's film Nashville for its lack of intellectual depth, but ultimately praises it as a significant work that captures the chaotic and vibrant nature of American culture through dynamic visual energy, despite failing to deliver a cohesive political statement.
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Who Is Buffaloing Whom
(summary)
In the following essay, John Simon critiques Robert Altman's film "Buffalo Bill and the Indians" for its lack of narrative coherence and overemphasis on texture over structure, arguing that Altman's style of deflating traditional Western myths falls short due to its excessive reliance on attitude rather than substantive ideas or insights.
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Bottom Line Buffalos Altman
(summary)
In the following essay, Andrew Sarris critiques Robert Altman's films "The Long Good-bye" and "Buffalo Bill," arguing that Altman's approach to anti-genre filmmaking lacks a genuine connection with the subject and misjudges audience expectations, though he acknowledges the films' artistic integrity and visual strategy.
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The Space in the Distance: A Study of Altman's 'Nashville'
(summary)
In the following essay, Robert J. Cardullo contends that Robert Altman's film Nashville presents a tragicomic vision of American society by emphasizing spatial over temporal narrative, showcasing a social rather than humanistic perspective through its portrayal of collective rather than individual character, and critiquing the moral deadness in society.
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Robert Altman Dreams a Movie …
(summary)
In the following essay, Andrew Sarris argues that Robert Altman's film "3 Women" merges the director's mystical aesthetic with a Jungian thematic framework to transcend traditional cinematic boundaries, comparing the film's dream-like quality to Bergman's work while emphasizing Altman's unique artistic vision and compassionate portrayal of characters.
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An Altman
(summary)
In the following essay, Jonathan Rosenbaum critiques Robert Altman's film A Wedding, arguing that Altman's stylistic choices often overshadow substance, resulting in a film that is both rich and thin, and which reflects Altman's tendency to prioritize style over coherent narrative or thematic depth.
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Robert Altman: American Innovator
(summary)
In the following essay, Judith M. Kass explores Robert Altman's innovative filmmaking style, highlighting his thematic use of show-business motifs, painting analogies, social madness, and genre subversion to create a unique, impressionistic vision of America influenced by screwball comedies and social justice dramas of earlier decades.
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Film Reviews: 'A Wedding'
(summary)
In the following essay, Tom Milne critiques Robert Altman's film A Wedding for its humorous yet ultimately simplistic portrayal of marriage, contrasting it with the more complex socio-political allegory found in Altman's earlier work Nashville, thereby questioning its depth as a reflection of the American dream.
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Double-talk
(summary)
In the following essay, Gavin Millar argues that Robert Altman's film "A Wedding" cleverly exposes the absurdity of human nature through its chaotic portrayal of class dynamics, forcing viewers to confront the dissonance between self-perception and reality while maintaining a humorous yet unsentimental perspective.
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Altman's 'A Wedding'
(summary)
In the following essay, Colin L. Westerbeck, Jr. examines Robert Altman's film A Wedding, arguing that while Altman's satire effectively critiques societal rituals and humanizes clichés with originality and energy, the film risks becoming formulaic and self-referential, thus questioning the vitality of Altman's cinematic style.
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Altman at Armageddon
(summary)
In the following essay, Andrew Sarris explores Robert Altman's unique cinematic style, appreciating his eccentric and resourceful artistry amidst a predominantly commercial film industry, while acknowledging criticisms of Altman's recent films and highlighting the persistence of his characters as a profound expression of the human condition.
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'A Perfect Couple' Breathes New Life into Romantic Comedy
(summary)
In the following essay, Marc Green argues that Robert Altman's film "A Perfect Couple" revitalizes the romantic comedy genre through its innovative use of musical counterpoints and engaging character dynamics, showcasing Altman's ability to blend humor with a perceptive examination of contemporary courtship.
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Alive and Otherwise
(summary)
In the following essay, Stanley Kauffmann critiques Robert Altman's film A Perfect Couple for its lack of thematic depth and cohesion, suggesting that Altman's technical skills and idiosyncratic style fail to compensate for a poorly developed story and superficial characterizations.
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Mismatch
(summary)
In the following essay, John Coleman critiques Robert Altman's film A Perfect Couple for its conventional comedic narrative and lack of the dynamic complexity found in Altman's earlier works, suggesting the film's characters seem overly schematic and struggle to engage viewers fully.
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'The James Dean Story'
(summary)
- Further Reading