
The life of Robert Altman over the course of his career as a filmmaker is told in roughly chronological order. It is presented largely through archival footage, including of his interviews and of his and his longtime wife Kathryn Reed's home movies. It includes his rocky start in Hollywood as an aspiring screenwriter, which instead led to him working as a general filmmaker for an industrial film company. This work led to directing assignments for a number of television series... (Full plot summary below)
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The life of Robert Altman over the course of his career as a filmmaker is told in roughly chronological order. It is presented largely through archival footage, including of his interviews and of his and his longtime wife Kathryn Reed's home movies. It includes his rocky start in Hollywood as an aspiring screenwriter, which instead led to him working as a general filmmaker for an industrial film company. This work led to directing assignments for a number of television series back in Hollywood, where he butted heads with a number of studio executives and producers who did not appreciate his style of filmmaking in his desire to insert a sense a realism in whatever the project, that realism which includes hanging story-lines and overlapping dialogue, often in multiple equally important conversations in a single setting which forces the viewer to decide which conversation he/she wants to focus. This situation often led to him trying to achieve what he wanted either in not telling or flying beneath the radar of the studio executive and producers. Altman's cachet in Hollywood took a meteoric turn upward with the film M*A*S*H (1970) which all other directors approached had turned down, it which ended up being a box-office smash and critically acclaimed, including winning that year's coveted Palme d'Or at the Cannes Film Festival. Over the remaining course of his filmmaking life which included some highs and lows (including a string of box office and critical failures in the late 1970s and early 1980s), he tried to instill a sense of of family among the cast and crew of his sets. Beyond his marriage to Kathryn, the personal side to the story includes his being father to a number of children and step-children who would enter into the business, and some health issues, one which ended up in him having a heart transplant of which he did not tell the public until ten years after the fact. Interspersed with the archive footage is a number of celebrities - actors who have worked in his films and contemporaries influenced by his work - who give their definition of the adjective "Altmanesque".
Leave your thoughts about Altman.
| Globe and MailLiam LaceyIt's a tribute to Mann's film that it leads you from Altman's life back to his films, and makes you want to see them anew. |
| Daily Express (UK)Allan HunterIt's a warm and insightful profile of the man and his movies that inevitably leaves you wanting to revisit some of his classics, or watch them for the very first time. |
| Contactmusic.comRich ClineThis isn't a tell-all doc about the iconic filmmaker: it's a love letter from his friends and family. With a terrific range of film clips, home movies, behind-the-scenes footage... |
| GuardianPeter BradshawMann makes a valuable plea for Altman as a great respecter of actors ... |
| Independent (UK)Geoffrey MacnabThis isn't an exhaustive or especially insightful documentary about Robert Altman (who died in 2006) but it successfully reminds us of what made him such a special director. |
| Toronto StarPeter HowellGives due credit to an inspired and prodigious maverick while also showing how often reckless good luck guided his peripatetic way. |
| Chicago ReaderJ. R. JonesThis is most interesting when it explores the least-known periods in Altman's career. |
| We Got This CoveredParker MottAltman is a very good tribute to the great American maverick, though one's experience will certainly be heightened if they're already familiar with the Nashville director's body of work. |
| Vue Weekly (Edmonton, Alberta)Josef BraunI can't help but feel that this friction-free portrait, with its paucity of context and sense that Altman's innovations occurred in a vacuum, does him something of a disservice. |
| The PlaylistJessica KiangThere never was a filmmaker quite like Robert Altman. And as "Altman," the new documentary from director Ron Mann, makes clear, there'll probably never be another like him again. |