This summer, the Brattle Theatre is honoring the brilliant and idiosyncratic filmmaker Robert Altman, who turned 100 this past February, with an exciting series titled “Altmania: A Robert Altman Centennial.”
Running from July 15 to August 26, this retrospective will showcase 16 films from Altman’s impressive five-decade career.
Elevated beyond mere storytelling, Altman’s films explored intricate ecosystems of human behavior and societal hierarchies.
His unique style included improv-heavy, overlapping dialogue and a roving camera that captured bustling communities within his movies, making them feel like they were discovered rather than staged.
Altman’s oeuvre transcends genre, seamlessly blending Westerns, war comedies, domestic dramas, and even children’s adaptations into his unmistakable cinematic vision.
His films examined the complexities of the human condition with a wry and sardonic lens, presenting characters who were messy and flawed yet relatable.
The series aims to celebrate Altman’s enduring legacy, highlighting his ability to remain defiantly true to himself throughout changing cinematic landscapes.
With a mix of humor and insight, Altman married the absurdities of collective human experiences with acute observations on authority and institutions.
Launching the series is his groundbreaking film “M*A*S*H” on July 15, a film that defied conventions and earned the title of the first major studio movie to use the f-word.
This irreverent comedy about army surgeons during the Korean War captured the absurdity of war and served as a poignant critique of America’s approach to conflict during the Vietnam era.
Starring Donald Sutherland and Elliott Gould, the film is a reflection of the madness of war through the eyes of characters who resist the corrosive influence of military bureaucracy.
Its nontraditional structure and innovative sound design broke with cinematic norms, allowing the conversations among characters to flow just as they would in real life.
Altman’s use of multitrack recording created a unique cacophony, foregrounding dialogue to create punchlines and character depth that was ahead of its time.
Following “M*A*S*H,” the series will screen “California Split” and “The Long Goodbye” on July 29 as a double feature.
“California Split” features Gould as a charming, yet flawed gambler guiding a timid magazine editor through the chaotic world of addiction and temptation, encapsulating an underappreciated exploration of the emptiness of gambling with humor and melancholy.
Meanwhile, “The Long Goodbye” reinterprets Raymond Chandler’s iconic detective Philip Marlowe, set against a backdrop of a confusing and shifting 1970s Los Angeles.
In this twist on classic noir, Altman brilliantly updates the material while retaining the essence of the characters, ultimately leading to a fresh take on chivalry in a morally ambiguous world.
In a recent celebration of “Nashville,” it was noted that the film’s critique of the intersection of politics and entertainment feels eerily modern.
Premiered 50 years ago, “Nashville” intertwines a multitude of characters vying for fame and success against the backdrop of an impending national milestone, effectively commenting on the disintegration of the American social landscape.
The film builds towards a shocking climax, highlighting Altman’s fearless approach to storytelling while resonating with contemporary issues of celebrity culture and media influence.
Altman’s collaboration with actress Shelley Duvall yielded some of the most innovative films of his career, showcasing her talents in various periods.
The retrospective will include her debut in “Brewster McCloud” on July 15, alongside her poignant role in “Thieves Like Us” on August 18 and the dreamlike narrative of “3 Women” on August 5.
In “McCabe & Mrs. Miller,” released in 1971, Duvall delivers a remarkable performance amid a haunting portrayal of a doomed entrepreneur played by Warren Beatty.
Altman’s unique storytelling style also resonates throughout “Popeye,” which juxtaposed simplicity with complexity, leaving an indelible impression despite the film’s commercial struggles.
The series includes Altman’s financially troubled yet artistically ambitious 1982 adaptation of “Come Back to the Five & Dime, Jimmy Dean, Jimmy Dean” on August 4, reflecting on the passage of time through the lens of a fan club reunion.
With Cher’s breakthrough performance, this film further solidifies Altman’s ability to elevate narrative filmmaking.
The retrospective culminates with the acclaimed 2001 film “Gosford Park” on August 26, a complex and entertaining murder mystery showcasing Altman’s distinctive style.
Bringing together a remarkable ensemble of British actors, the film transcends the traditional whodunit by examining class structures and societal norms through subtle humor and sharp wit.
Despite being exiled from the mainstream for nearly a decade, Altman’s 1992 film “The Player” marked a celebrated return to form and a scathing indictment of the Hollywood industry.
Critics often debate the merits of his later films from the 1990s, highlighting how they embody a darker tone compared to earlier works while still eliciting respect.
While some favor his earlier and gentler offerings, others appreciate the raw emotion and biting satire of his latter films.
Altman’s ability to evolve while maintaining a signature voice is a testament to his genius and influence across generations of filmmakers.
Overall, the Brattle Theatre’s festival promises to be a fitting tribute to an artist who has left an indelible mark on cinema and continues to inspire today.
image source from：wbur
