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Robert Altman: Long Goodbye
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Robert Altman's ensemble comedy stars Richard Gere as a Dallas gynecologist who can't seem to stay away from women, whether in his busy office or at home. But Gere's life goes spiraling out of control when wife Farrah Fawcett has an emotional breakdown, daughter Kate Hudson's wedding plans hit a snag, and he becomes smitten with golf pro Helen Hunt. With Tara Reid, Shelley Long, Liv Tyler and Andy Richter; music by Lyle Lovett. 132 min. Widescreen; Soundtracks: English 5.1 and Dolby Surround, French; Subtitles: Spanish; audio commentary by Altman, more; isolated music track; theatrical trailer; TV spots.
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Altman made films that no other filmmaker and/or studio would. He was reluctant to make the original 1970 Korean War comedy MASH because of the pressures involved in filming it, but it still became a critical success. It would later inspire the long-running TV series of the same name.
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In Mr. Altman's movies, there is a consistent offhandedness, a general blurriness of affect. No one has ever used overlapping dialogue more successfully; his films have a constant aural buzz. He ... achieved the visual equivalent through his fondness for medium and long shots, frequent use of zoom lenses, and highly mobile camera.
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The waitresses pushed two tables together, and Altman and his entourage were seated. There were constant migrations to Altman's table, where he sat nibbling on some bread in his long, delicate hands, wearing a grin he might've stolen from some old print of a Pasha in his harem.
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Altman had one of the most distinctive styles among modern filmmakers. He often employed huge ensemble casts, encouraged improvisation and overlapping dialogue and filmed scenes in long tracking shots that would flit from character to character.
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Altman's particular genius is best showcased in his legendary crowd scenes; what these photos occasionally lack in technical precision, they more than make up in the raw, wild feelings they've miraculously captured. Despite the book's title, images straddle the period from the late 60's to the early 70's (though none of the subjects seem to make much of the distinction), and a fun introduction by longtime Rolling Stone editor Fong-Torres reveals that Altman has always felt his purpose was to depict "the life and times that the Sixties inspired"; he succeeds beautifully with this, an impressive social document and a powerful remembrance." (Oct. 2007)
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Long Goodbye