Robert Altman's jazz-scored film explores themes of love, crime, race, and politics in 1930s Kansas City. When Blondie O'Hara's husband, a petty thief, is captured by Seldom Seen and held at the Hey Hey Club, she launches a desperate plan to release him. She kidnaps the wife of a powerful local politician in an attempt to blackmail him into using his connections to free Johnny. Despite this being election time, he risks exposure by putting the political machine into action to... (Full plot summary below)
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Robert Altman's jazz-scored film explores themes of love, crime, race, and politics in 1930s Kansas City. When Blondie O'Hara's husband, a petty thief, is captured by Seldom Seen and held at the Hey Hey Club, she launches a desperate plan to release him. She kidnaps the wife of a powerful local politician in an attempt to blackmail him into using his connections to free Johnny. Despite this being election time, he risks exposure by putting the political machine into action to free Johnny and thereby save his wife. Mrs. Stilton, meanwhile, has befriended Blondie and is impressed by her love and devotion to Johnny, especially in contrast to her own loveless marriage.
Leave your thoughts about Kansas City.
| Chicago TribuneMichael WilmingtonKansas City is a wonderful film, done with all Altman's offbeat virtuosity, maverick humor and creative daring -- plus the acid nip that runs through all his recent works. |
| USA TodayMike ClarkMany will find Kansas City unbearable, because Leigh (with a mouth full of jagged teeth and a permanent snarl) and Richardson (who totters along in a druggy stupour), give brilliant performances as extremely unpleasant characters. Furthermore, the ending is a real slap-in-the-face downer. But if you can get past that, this is the real stuff. |
| Ozus' World Movie ReviewsDennis SchwartzAltman looks back at his hometown in an unsentimental, hard-nosed way. |
| rec.arts.movies.reviewsMark R. LeeperThis is the most intriguing Altman film in quite a while. |
| Combustible CelluloidJeffrey M. AndersonRobert Altman brings us an effective, if minor, crime film filled with the jazz sounds of Count Basie and Lester Young. |
| Chicago Sun-TimesRoger EbertWhat he asks of the actors (those who are “soloists,” anyway) is not realism but the same kind of playful show-off performances he's getting from the musicians. And to understand the acting, it's helpful to begin with the music. |
| Boston GlobeJay CarrKansas City can be regarded as a jazz tone poem on themes of race, politics, money and the movies themselves. |
| rec.arts.movies.reviewsScott RenshawI only hope audiences are willing to trust Altman the risk-taker as long as it takes. |
| Entertainment WeeklyLisa SchwarzbaumSo much is satisfying in KC that its shortcomings are all the more discordant. |
| NewsweekJack KrollAltman loves to explode movie genres, and his script, co-written with Frank Barhydt, fuses the classic '30s screwball comedy and crime film. |
