Wednesday, December 4, 2013
As conceived by Altman and writer Joan Tewksbury, everything about Nashville is larger than life. From its massive melange of roughly two dozen principle characters to its firmly tongue-in-cheek hillbilly anthems to its 160 minute running time, the film’s contours present a distinctly Americanized vision of Grand Opera. Nashville’s loosely spun web of plots and subplots, narrative motifs and leitmotifs, establish, develop and turn back on themselves like a slow motion kaleidoscope of post-Vietnam Americana. In Altman’s oeuvre, there are no such things as starring or supporting roles but rather a swirl of eccentric egalitarianism, with box office heroes sharing full screen time with below-the-line nobodies. This populist approach extends to the storytelling as well, as tales of the rich and famous fully commingle with the lives of lonely drifters and talentless wannabes.
The Sublime Thoughts of Bunched Undies