Major Robert Altman Retrospective: Nashville at 40, Belcourt at 90

Forty years ago was the summer of Jaws, but it was the bite of another cinematic leviathan that consumed Nashvillians for much of the summer of '75. Locals didn't get their first look at Robert Altman's Nashville until that August; by that point, the movie had already graced the cover of Newsweek, inspired think pieces from Time to The New York Review of Books, and been hailed by The New Yorker's Pauline Kael as "the funniest epic vision of America ever to reach the screen."

When the movie finally had its local premiere at 100 Oaks, it met with stunned reaction from the country insiders on hand. Some were delighted; others were bewildered and/or outraged, such as producer Billy Sherrill. When asked what he liked best about the movie, Sherrill snapped back, "I'll tell you what I liked about the film — when they shot that miserable excuse for a country singer."

But love it or hate it, Altman's two-and-a-half-hour tapestry of Music City hustlers, hucksters, superstars, wannabes, fringe dwellers and just plain folks survives as one of the key movies of a watershed decade — a film whose broad canvas, narrative sprawl and technical novelty have inspired directors for decades since. Without Nashville, there's arguably no Pulp Fiction, no Boogie Nights, no Crash or American Hustle.

That's just one film out of a five-decade feature-film career that encompassed musicals, gangster movies, sci-fi doom pieces, poker-faced gambling dramas, anti-establishment fantasies, revisionist Westerns, modern-day noir, and whatever you'd call the comic-strip bubble world of his 1980 Popeye. Yet when The Belcourt devotes a month to a major Altman retrospective starting June 5, as part of the theater's 90th anniversary festivities, the surprise may be how smoothly the director employed Nashville's immersive narrative techniques and overlapping sound in a variety of contexts.

Altman didn't tell stories so much as he built ecosystems on film: the frontier village of McCabe & Mrs. Miller (June 7-8), the Depression-era South of the criminally overlooked Thieves Like Us (June 21 & 23), the class-riven British household of his proto-Downton Abbey drama Gosford Park (July 5-6). From 1969's That Cold Day in the Park (June 16) to his last film, 2006's A Prairie Home Companion (July 7), the 18 features in the Belcourt series testify to the freedom he gave actors to shape and inhabit their spaces — one reason The Belcourt has been able to entice major Altman players Sally Kellerman, Allan Nichols and John Schuck (now a Middle Tennessee resident) along with Altman's widow and confidante Kathryn Reed Altman to Nashville for screenings.

Watch the Scene and The Belcourt site for more information. Below, the release and full schedule.

THE BELCOURT THEATRE ANNOUNCES MAJOR SERIES ON THE WORK OF ROBERT ALTMAN, JUNE 5—JULY 7 Series celebrates the 40th anniversary of the film NASHVILLE and the 90th anniversary of the Belcourt’s opening.

“Altman” includes 19 feature films, three shorts, with notable guests and Altman collaborators at select screenings, including Kathryn Reed Altman and Sally Kellerman.

NASHVILLE, Tenn. (May 13, 2015)—The Belcourt Theatre, Nashville’s nonprofit cinema, kicks off the summer season with a major series on the work of Robert Altman, June 5-July 7. “Altman” includes 19 films and three shorts, as well as post-screening conversations with notable special guests. The series marks both the 40th anniversary of the 1975 film NASHVILLE and the 90th anniversary of the Belcourt’s opening in 1925. The series spans selections from Altman’s early short films and features, including his breakthrough M*A*S*H, through his prolific periods of the late 20th century, up to the Oscar-winning GOSFORD PARK and Altman’s final film A PRAIRIE HOME COMPANION. See attached full schedule.

The Belcourt is offering both Full Series Passes and Ticket 5-Packs for the series. Full Series Passes are on sale now and allow purchasers the opportunity to make reservations for screenings with special guests. Passes are $170 ($125 for Belcourt members) and can be purchased at www.belcourt.org. Single tickets Ticket 5-Packs for all screenings go on sale Monday, May 18.

Guests at select screenings include Kathryn Reed Altman, Altman’s widow, and director Ron Mann who will both speak after a screening of the documentary ALTMAN June 15; Reed Altman also speaks after THAT COLD DAY IN THE PARK on June 16. Actress Sally Kellerman (nominated for an Oscar for her role as Major Margaret “Hot Lips” Houlihan) joins audiences after a June 6 screening of M*A*S*H and a June 7 screening of BREWSTER McCLOUD (in which she played Louise). Other guests confirmed to date are Allan Nicholls, who played Bill, at the June 5 screening of NASHVILLE and John Schuck, who played Chicamaw, after the June 21 screening of THIEVES LIKE US. Other guests may be added to select screenings, schedules permitting.

Robert Altman (1925-2006) has often been called the father of independent cinema. The highly prolific filmmaker’s techniques included roving cameras, overlapping dialogue, and the pioneering use of multi-track recording—a style so distinctive that it is now commonly described as “Altmanesque.” Altman had already made some 60-plus industrial films and documentaries before his first feature in the 1950s, but his career was catapulted and spurned into high gear with the massive success of M*A*S*H in 1970. The Belcourt’s series’ 19 features and three short films reflect numerous high points of Altman’s long and visionary career in the movies.

“Narrowing a career that spanned over a half-century of television work, short and feature films to a manageable month of films is always a challenge,” said Toby Leonard, the Belcourt’s programming director. “When it comes to a filmography as fascinating as Robert Altman’s, there were bound to be some painful cuts. Ultimately, by honing in primarily on features, we’ve been able to focus on key works from particularly fruitful periods of his career. This is going to be a lot of fun.”

“As the Belcourt turns 90, it’s a privilege to reflect on the meaningful role this theatre has had—and continues to have—for film-loving Nashvillians,” said Stephanie Silverman, executive director. “And honoring Altman’s work on the 40th anniversary of NASHVILLE in Nashville’s 90-year-old theatre seems the perfect way to start a summer of wonderful movies.”

The Belcourt is offering both Full Series Passes and Ticket 5-Packs for “Altman.” Passes are $170 ($125 for Belcourt members) and cover admission to all films in the series (one screening per film). Pass holders must reserve seats in advance for screenings with special guests. Ticket 5-Packs are $40 ($30 for Belcourt members) and can be used for regularly-priced screenings. Screenings with special guests in attendance are $15 ($12 for members), and must be purchased separately. Full Series Passes are on sale now at www.belcourt.org. Single tickets and Ticket 5-Packs go on sale Monday, May 18.

Special Thanks
Matthew Seig (Sandcastle 5 Productions), Richard Abramowitz (Abramorama), Kristie Nakamura (Warner Bros), Chris Chouinard (Park Circus), Michael Horne, Dave Jennings (Sony Pictures Releasing), Steven Hill (UCLA Film and Television Archive), Christy Elder (20th Century Fox), Jack Durwood (Paramount Pictures), Shereen Khan (Focus Features), Michael Dicerto (Sony Classics)

NASHVILLE Fri-Sun, Jun 5-7 + Thu, June 11
Dir. Robert Altman, USA, 1975, 160min, R, DCP
A panoramic view of political and cultural landscapes set in the milieu of 1970s Nashville, Robert Altman’s cornerstone film weaves the stories of 24 characters—from country star to wannabe to reporter to waitress—into a cinematic tapestry that is equal parts comedy, tragedy and musical.
Fri, Jun 5: Post-screening conversation in person with actor Allan Nicholls, who plays Bill. Nicholls was a frequent collaborator with Altman as an actor (POPEYE, WELCOME TO L.A. and many more), co-writer (A WEDDING and A PERFECT COUPLE) and assistant director (SECRET HONOR, THE PLAYER, SHORT CUTS, MRS. PARKER AND THE VICIOUS CIRCLE and PRÊT-À-PORTER).

M*A*S*H Sat-Sun, Jun 6-7
Dir. Robert Altman, USA, 1970, 116min, R, DCP
In M*A*S*H, a group of Mobile Army Surgical Hospital officers conduct their routine a few miles from the front lines of the Korean War.
Sat, June 6: Post-screening conversation in person with actress Sally Kellerman, whose performance as Major Margaret “Hot Lips” Houlihan earned her an Oscar nomination for Best Actress in a Supporting Role. Kellerman also stars in BREWSTER MCCLOUD, WELCOME TO L.A., THE PLAYER and PRÊT-À-PORTER.

BREWSTER MCCLOUD Sun, Jun 7 + Tue, Jun 9
Dir. Robert Altman, USA, 1970, 105min, R, 35mm
Cited as a personal favorite of his, Altman’s offbeat follow-up to M*A*S*H concerns an introvert living in the bowels of the Houston Astrodome with plans to develop a pair of wings that will help him fly.
Sun, Jun 7: Post-screening conversation in person with actress Sally Kellerman, who plays Louise. Kellerman also stars in M*A*S*H, WELCOME TO L.A., THE PLAYER and PRET-À-PORTER.

MCCABE & MRS. MILLER Sun-Mon, Jun 7-8
Dir. Robert Altman, USA, 1971, 121min, R, 35mm
When an entrepreneurial vagabond (Warren Beatty) moves to a ramshackle town in the Pacific Northwest, he partners with an experienced madam (Julie Christie) to build not only an upscale brothel, but a blossoming relationship.

THE LONG GOODBYE Wed, Jun 10 + Sat-Sun, Jun 13-14
Dir. Robert Altman, USA, 1973, 112min, R, 35mm
When a friend’s wife turns up dead and a wealthy widow hires him to find her missing husband, an old-school investigator (Elliott Gould) in a modern L.A. gets drawn into a web of intrigue.

ALTMAN Mon, Jun 15
Dir. Ron Mann, Canada, 2014, 96min, NR, DCP
Preceded by three of Robert Altman’s short films:
The Kathryn Reed Story (1965, 15min): The director’s home-movie valentine to his wife
Pot au Feu (1965, 4min): Presenting the recipe for a marijuana cigarette
The Party (1966, 4min): Commissioned as a Scopitone, Altman assembled home movies into this short set to Herb Alpert’s “Bittersweet Samba”
With its use of rare interviews, representative film clips, archival images, and musings from his family and most recognizable collaborators, Mann’s ALTMAN is a dynamic and heartfelt meditation on an artist whose expression, passion and appetite knew few bounds.
Post-screening conversation in person with Kathryn Reed Altman, Robert Altman’s widow, and director Ron Mann

THAT COLD DAY IN THE PARK Tue, Jun 16
Dir. Robert Altman, USA, 1969, 112min, NR, Restored 35mm Print
When a disturbed woman provides food and shelter for a young man she meets in the park, a bond is formed—but he soon learns who is in control of their relationship and how far she will go to keep it that way.
Post-screening conversation in person with Kathryn Reed Altman, Robert Altman’s widow

CALIFORNIA SPLIT Sat-Sun, Jun 20-21
Dir. Robert Altman, USA, 1974, 108min, R, 35mm
The gambler’s code and the thrill of the chase are the names of the game as bad-luck Bill (George Segal) partners up with free-spirited Charlie (Elliott Gould) for a roller coaster journey of ups and downs through the casinos and racetracks of Tijuana to Reno in search of the big score.

THIEVES LIKE US Sun, Jun 21 + Tue, Jun 23
Dir. Robert Altman, USA, 1974, 123min, R, 35mm
A trio of criminals go on a bank-robbing spree through the Depression-era Deep South, terrorizing the population, finding female companionship, and managing to stay just one step ahead of the law.
Sun, Jun 21: Post-screening conversation in person with actor John Schuck, who plays Chicamaw. Schuck also appears in M*A*S*H, BREWSTER MCCLOUD, MCCABE AND MRS. MILLER.

BUFFALO BILL AND THE INDIANS, OR SITTING BULL’S HISTORY LESSON Thu, Jun 25 + Sat, Jun 27
Dir. Robert Altman, USA, 1976, 123min, PG, 35mm
Altman set his eyes on the gap between history and the media-generated legend of “Cowboys and Indians” as the buffoonish Buffalo Bill (Paul Newman) must contend with the casting of the actual Chief Sitting Bull for his battle-centric Wild West Show.

3 WOMEN Sat-Sun, Jun 27-28
Dir. Robert Altman, USA, 1977, 124min, PG, DCP
When a naive Southerner (Sissy Spacek) befriends a “thoroughly modern” co-worker (Shelley Duvall) at a nursing home in the California desert, their unusual friendship evolves into something far stranger and more sinister than either could have anticipated.

POPEYE Mon-Tue, Jun 29-30
Dir. Robert Altman, USA, 1980, 114min, PG, DCP
Ever in search of his long-lost Pappy, one-eyed sailor Popeye (Robin Williams) rows into a seaside harbor where his meets his beloved Olive Oyl (Shelley Duvall) and fends off her pirate fiancé Bluto in Altman’s rollicking take on the classic cartoon.

COME BACK TO THE 5 & DIME, JIMMY DEAN, JIMMY DEAN Wed, Jul 1
Dir. Robert Altman, USA, 1982, 109min, PG, 35mm
The Disciples of James Dean, all of them female, meet up on the anniversary of his death and mull over their lives in the present and in flashback, revealing the truth behind their complicated lives.

SECRET HONOR Thu, Jul 2
Dir. Robert Altman, USA, 1984, 90min, NR, 35mm
In a tour de force solo performance, Philip Baker Hall stars as disgraced President Nixon who, sequestered in his home and armed with a gun and a bottle of scotch, resurrects his past and defends his legacy to a tape recorder.

THE PLAYER Fri-Sat, Jul 3-4
Dir. Robert Altman, USA, 1992, 124min, R, 35mm
In Altman’s comedic takedown of the Hollywood system, Tim Robbins stars as sleek Hollywood studio executive Griffin Mill, who is being sent death threats by a writer whose script he rejected—but which one?

SHORT CUTS Sat-Sun, Jul 4-5
Dir. Robert Altman, USA, 1993, 187min, R, 35mm
Epic in scale yet meticulously observed, Altman’s adaptation of short stories by Raymond Carver interweaves the lives of 22 characters struggling to find solace and meaning in contemporary Los Angeles.

GOSFORD PARK Sun-Mon, Jul 5-6
Dir. Robert Altman, USA, 2001, 137min, R, DCP
In this witty upstairs/downstairs whodunit, a weekend hunting party at the home of a wealthy socialite in early 1930s England turns into a murder mystery when the host is found dead.

THE COMPANY Sun-Mon, Jul 5-6
Dir. Robert Altman, USA, 2003, 112min, PG-13, 35mm
A young dancer (Neve Campbell) is focused on becoming a principal dancer with Chicago’s renowned Joffrey Ballet, but finds it progressively harder to stick to the demanding schedule.

A PRAIRIE HOME COMPANION Tue, Jul 7
Dir. Robert Altman, USA, 2006, 106min, PG-13, 35mm
Robert Altman’s final film—based on the popular radio program and co-written by its host Garrison Keillor—takes a behind-the-scenes look at the mayhem surrounding the folksy program's final broadcast.