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Nashville (Widescreen)

4.1 out of 5 stars 44 customer reviews

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Product Details

  • Actors: Shelley Duvall, Keith Carradine, Karen Black
  • Directors: Robert Altman
  • Format: Anamorphic, Closed-captioned, Color, Dolby, DVD-Video, NTSC, Widescreen
  • Language: English
  • Subtitles: English
  • Region: Region 1 (US and Canada This DVD will probably NOT be viewable in other countries. Read more about DVD formats.)
  • Aspect Ratio: 2.35:1
  • Number of discs: 1
  • MPAA Rating: R
  • Studio: Paramount
  • Release Date: May 15 2012
  • Run Time: 160 minutes
  • Average Customer Review: 4.1 out of 5 stars 44 customer reviews
  • ASIN: 6305918880
  • Amazon Bestsellers Rank: #36,043 in DVD (See Top 100 in DVD)
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Product Description

This 1975 film sits near the top of any list of the best films of the 1970s, perhaps in the top five and, in some people's minds, at the pinnacle itself. Robert Altman, at his most Altmanesque, spins together plot strands involving two dozen people over the course of one particularly busy weekend in Music City, USA. Though several of the story lines deal with country-western stars--played by Henry Gibson, Ronee Blakley and Karen Black--the plot also deals with the country scene's wannabes, the business people who pull the strings and the operative for a mysterious presidential candidate who is trying to get the de facto endorsement of some of the country stars by having them appear at a rally for him. (The unknown but rocketing presidential aspirant was eerily echoed the next year, when Jimmy Carter came out of nowhere to win the presidency.) Blakley is heartbreakingly fragile as a Loretta Lynn-like singer on the verge of total mental meltdown, while Lily Tomlin is outstanding as a housewife-gospel singer who has a dalliance with a randy folk-rock cad, perfectly played by Keith Carradine (who won an Oscar for his song "I'm Easy"). The cast also includes Jeff Goldblum, Scott Glenn, Keenan Wynn, Shelley Duvall, Geraldine Chaplin (hilarious as a fatuous British TV journalist), Barbara Harris, Michael Murphy, and Ned Beatty, with cameos by Elliott Gould and Julie Christie as themselves. Next to Mean Streets, perhaps the most influential film of the decade. --Marshall Fine --This text refers to an out of print or unavailable edition of this title.

Customer Reviews

Top Customer Reviews

Format: DVD
A filmmaker is asking for a pretty sizeable leap of faith from his/her audience when over one hour of their 2'40" movie consists of sung performances (FULL songs, too - that would never happen today), and just about nobody in the cast (save Keith Carradine, and Ronee Blakely - and even she only about 90% of the time) can actually sing. When Lily Tomlin opened her mouth with the gospel choir at the beginning, I nearly ditched the film, thinking "had to be there" about all those praising critics...

Luckily, I stayed with it, and Nashville, as a pure movie, is a masterful work. The dense layers of dialogue, the wide-screen panoramas, the set pieces (the car pileup "happening" being especially effective and awesome), the tossed-off one-liner/payoff ironies which are more a documenting of what everyone in the audience is already thinking than a redundancy - all of it, top-shelf and brilliant.

Also found it intriguing that Ronee Blakely, when singing, is the only character in the entire film I can recall that gets a true close-up - I guess Altman was trying to make her semi-deified, cult of personality status stand out even more.

Altman hits a bull's-eye everywhere else - how could he miss with regard to the actual singing? (The songs, themselves are pretty good for what they are.) I guess if you're going to have the actors write their own lyrics (which he did) then you're kind of commited to go all the way with it. But it doesn't make most of those performances any easier to hear...
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Format: DVD
Forget all the reviews going on and on about Nashville's experimental film-making, "nuance," "texture," and "epic scope." Of course, all of these sentiments are true, but they are used to describe so many movies that they have lost all meaning. The fact is, Nashville is great not primarily for it's insights into politics, life, America, the music business, failure, and striving, but because it contains those insights in a superbly watchable package. Nashville is simply riveting--it may eschew typical Hollywood storytelling, but it remains a filmed equivalent of a page-turner (even at 140 minutes). In a typical Hollywood confection, you hardly get to know even one compelling character; in Nashville literally dozens of them pour off the screen. Watch this movie and watch it again.

Some people, obviously, hate Nashville. I respect them for being true to their experience of the movie, but some of their comments are baffling. Altman hates his characters? He is superior and detached? The costumes are dated? I have to wonder if we were watching the same DVD. Admiration for Nashville is not some Pauline Kael conspiracy. This is a great movie, justly and deeply loved.
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Format: DVD
Robert Altman's 1975 picture remains as enigmatic as ever. The film has a huge cast of 24 actors, most of who appear in only brief scenes with few other characters. Add to this the fact that many of the lines are delivered in a flat or even seemingly improvised fashion, with a tendency for characters to interrupt and speak over each other, and it's easy to feel that the disparate characters are not connected to each other at all. This is Altman's intention though, because this film is about the hopes and ambitions of the individual within the larger society of bicentennial America.
And the plot does come together to some extent as we build to the final song, one of the most moving endings in film history in my opinion. The lyrics, sung by an unknown, interspersed with scenes of America's young in a melting pot American city, suggest a stoicism, perseverance (as one idol falls, another rises to replace her) and vitality. Even after Vietnam, Watergate, assassinations, and deep recession, crossroads America itself maintains hope and optimism. 'Nashville' suggests we are not such a young and homogenous country after all.
Among the individual islands the film explores, standouts are Ronee Blakey as the beautiful and intense but fragile diva, Hnry Gibson as the king of country, with political aspirations, and Lily Tomlin as a loving mother and gospel singer facing a marital crisis. The incredible fact that much of the music was written and performed, with little rehearsal, by many of the actors (Keith Carradine and Karen Black's musical performances are also noteworthy) lends a kind of democratic (for lack of a better word) authenticity to the film as well.
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Format: DVD
i'm biased. i'm an adorer of anything done by robert altman. so it is. but this dvd somehow doesn't seem to do justice to this amazing film. here are a few reasons why the dvd coulda/shoulda been better.
-the sound is kind of weird, the music sequences have high high volume and the dialogue is often too quiet at times that you have to turn up the volume on your set and then get a nasty jolt when the film cuts away to a music sequence. and if you know how many times this movie goes back and forth between music sequences you can perhaps understand my frustration. i understand that during robert altman's career and given his attention to dialogue and sound mixing a great deal of technical innovation occurred as a result of altman's efforts and contributions. i think it would have been to his benefit (and his work's benefit) if he revisited this production and did something about the sound mixing.
-the film transfer doesn't seem to be all that grand. certain scenes appear a little too washed out and bright and the colours seems distorted. this as well would have benefitted greatly from developments in film production technology these days.
-the extras are so-so. it seems as tho there would be mountains of praise for this film (actually i'm sure there is), interviews (20+ characters? come on!), commentaries, additional scenes left out (altman actually refers to these on the disc) and it would be interesting to see some outtakes considering the scale and grandeur of altman's style especially with regards to this particular film. and (again i'm being biased here) i would have loved to see some outtakes/bloopers with geraldine chaplin's character cos altman says in the commentary that a lot of her monologues (in the scrap yard, in the bus yard, elsewhere) were improvised.
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