LYCOS RETRIEVER 
Robert Altman: Wedding
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Robert Altman's haunting study of a woman's slow descent into madness stars Susannah York and Rene Auberjonois as a couple who retreat to their home in the country to help heal their ailing marriage. But when York begins to see visions of a deceased former lover, the line between fantasy and reality could be forever blurred.
Robert Altman calls the art cinema's blend of subjective and objective realism “subliminal reality” (8). It recognises the unspoken and unspeakable dimensions in human interactions. It employs lyrical and metaphoric style to suggest connections in inexplicable human associations. It arises from anxiety and doubt about ultimate meanings and value. It posits behaviour as a gamble with random consequences and defines relationship in curious patterns of repetition. It glimpses the efforts of marginal men and women caught in irresistible systems that shape desire and action.
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Iconoclast, gambler, master improviser, Altman is a filmmaker who more often than not relies on his intuition to solve artistic problems. He has remarked, for example, that the idea for Three Women came to him in a dream and refused to offer any other explanation for that extraordinary, somewhat enigmatic, film.
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It was, of course, "M*A*S*H," and the resulting film's blend of irreverence and realism, comedy and gore helped make Mr. Altman one of the signature filmmakers of the '70s. Between 1970 and 1980, he made no fewer than 15 movies.
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"I've always said that making a film is like making a sandcastle at the beach," Altman said, after receiving a standing ovation from the crowd on Oscar night. "You invite your friends and you get them down there, and you say you build this beautiful structure, several of you. Then you sit back and watch the tide come in. Have a drink, watch the tide come in, and the ocean just takes it away."
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It was not a marriage made in heaven: the square, free-wheeling Altman and the bohemian, mercurial Laughlin, both of them future counterculture heroes. Altman has described Laughlin during the filming as "an unbelievable pain in the ass," totally egomaniacal, guilty that he had not become a priest, with a "big Catholic hang-up" and a James Dean complex.
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