Wed Sep 02, 2009 9:56 am by Wombatz
Watched Buffalo Bill yesterday, really fantastic film if emotionally unengaging, and that’s something that holds true for much of Altman, I fear. But his best work was crucial for me once upon a time.
1 McCabe & Mrs. Miller. It’s really an alternate theory of what film can be (or how to subvert a genre, but that's a much cheaper task.)
2 The Long Goodbye. A crime movie that didn’t care about where the story went! Absolutely loved this as an adolescent.
3 Thieves Like Us. Don’t ask me, I have a weak spot for Keith Carradine, even though he has mighty teeth. I have an even weaker spot for John Carradine, maybe it’s because of that.
4 Nashville. Of course the most perfect realization of the everyone talks at the same time thing. At the same time, it only feels like his best unemotional film to me, more like a virtuoso exercise.
5 Vincent and Theo. Well, it’s a tired genre. Remember the Pollock thing by Hollywood’s most well-meaning actor. Has more passion than Charlton Heston’s Michelangelo, so it’s a good thing.
I guess I’ve seen most of the rest, but can’t be bothered to rank them. Hate Mash, today (or the day before yesterday) it would have starred Adam Sandler. Stuff like 3 Women or Quintet were like Beckett’s video works light, very important to me when growing up, no rewatch value whatsoever. His official comeback with the Player initially felt good at the time, something like the Pere Ubu reunion. But Shortcuts already was so mainstream, I left the theater after half an hour. Kansas City contains some successfully bottled fake excitement that’s supposed to happen when music seems to grow out of the moment but is a shitty movie apart from that.