Author Topic: American master gone  (Read 5120 times)

moremojo

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American master gone
« on: November 21, 2006, 12:45:31 pm »
A true American master and maverick has left us. Robert Altman has died in hospital in Los Angeles. The news was reported through the Associated Press just minutes ago:

http://news.yahoo.com/s/ap/20061121/ap_on_en_mo/obit_altman

I saw Altman's A Prairie Home Companion earlier this year, and found it delightful and poignant. He was an important filmmaker who will be missed.
« Last Edit: November 21, 2006, 12:55:51 pm by moremojo »

moremojo

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Re: American master gone
« Reply #1 on: November 21, 2006, 01:00:39 pm »
For some reason, the link will not open up. Here is my attempt to copy and paste the story:

Film director Robert Altman dies By DAVID GERMAIN, AP Movie Writer
2 minutes ago
 


LOS ANGELES -        Robert Altman, the caustic and irreverent satirist behind "M-A-S-H," "Nashville" and "The Player" who made a career out of bucking Hollywood management and story conventions, died at a Los Angeles Hospital, his Sandcastle 5 Productions Company said Tuesday. He was 81.
 
The director died Monday night, Joshua Astrachan, a producer at Altman's Sandcastle 5 Productions in New York City, told The Associated Press.

The cause of death wasn't disclosed. A news release was expected later in the day, Astrachan said.

A five-time Academy Award nominee for best director, most recently for 2001's "Gosford Park," he finally won a lifetime achievement Oscar in 2006.

"No other filmmaker has gotten a better shake than I have," Altman said while accepting the award. "I'm very fortunate in my career. I've never had to direct a film I didn't choose or develop. My love for filmmaking has given me an entree to the world and to the human condition."

Altman had one of the most distinctive styles among modern filmmakers. He often employed huge ensemble casts, encouraged improvisation and overlapping dialogue and filmed scenes in long tracking shots that would flit from character to character.

Perpetually in and out of favor with audiences and critics, Altman worked ceaselessly since his anti-war black comedy "M-A-S-H" established his reputation in 1970, but he would go for years at a time directing obscure movies before roaring back with a hit.

After a string of commercial duds including "The Gingerbread Man" in 1998, "Cookie's Fortune" in 1999 and "Dr. T & the Women" in 2000, Altman took his all-American cynicism to Britain for 2001's "Gosford Park."

A combination murder-mystery and class-war satire set among snobbish socialites and their servants on an English estate in the 1930s, "Gosford Park" was Altman's biggest box-office success since "M-A-S-H."

Besides best-director, "Gosford Park" earned six other Oscar nominations, including best picture and best supporting actress for both        Helen Mirren and        Maggie Smith. It won the original-screenplay Oscar, and Altman took the best-director prize at the Golden Globes for "Gosford Park."

Altman's other best-director Oscar nominations came for "M-A-S-H," the country-music saga "Nashville" from 1975, the movie-business satire "The Player" from 1992 and the ensemble character study "Short Cuts" from 1993. He also earned a best-picture nomination as producer of "Nashville."

No director ever got more best-director nominations without winning a regular Oscar, though four other men — Alfred Hitchcock,        Martin Scorsese, Clarence Brown and King Vidor — tied with Altman at five.

In May, Altman brought out "A Prairie Home Companion," with Garrison Keillor starring as the announcer of a folksy musical show — with the same name as Keillor's own long-running show — about to be shut down by new owners. Among those in the cast were        Meryl Streep,        Lily Tomlin,        Kevin Kline,        Woody Harrelson and        Tommy Lee Jones.

"This film is about death," Altman said at a May 3 news conference in St. Paul, Minn., also attended by Keillor and many of the movie's stars.

He often took on Hollywood genres with a revisionist's eye, de-romanticizing the Western hero in 1971's "McCabe and Mrs. Miller" and 1976's "Buffalo Bill and the Indians, or Sitting Bull's History Lesson," the film-noir gumshoe in 1973's "The Long Goodbye" and outlaw gangsters in "Thieves Like Us."

"M-A-S-H" was Altman's first big success after years of directing television, commercials, industrial films and generally unremarkable feature films. The film starring        Donald Sutherland and        Elliott Gould was set during the Korean War but was Altman's thinly veiled attack on U.S. involvement in Vietnam.

"That was my intention entirely. If you look at that film, there's no mention of what war it is," Altman said in an Associated Press interview in 2001, adding that the studio made him put a disclaimer at the beginning to identify the setting as Korea.

"Our mandate was bad taste. If anybody had a joke in the worst taste, it had a better chance of getting into the film, because nothing was in worse taste than that war itself," Altman said.

The film spawned the long-running TV sitcom starring        Alan Alda, a show Altman would refer to with distaste as "that series." Unlike the social message of the film, the series was prompted by greed, Altman said.

"They made millions and millions of dollars by bringing an Asian war into Americans' homes every Sunday night," Altman said in 2001. "I thought that was the worst taste."

Altman never minced words about reproaching Hollywood. After the Sept. 11 attacks, he said Hollywood served as a source of inspiration for the terrorists by making violent action movies that amounted to training films for such attacks.

"Nobody would have thought to commit an atrocity like that unless they'd seen it in a movie," Altman said.

Altman was written off repeatedly by the Hollywood establishment, and his reputation for arrogance and hard drinking — a habit he eventually gave up — hindered his efforts to raise money for his idiosyncratic films.

While critical of studio executives, Altman held actors in the highest esteem. He joked that on "Gosford Park," he was there mainly to turn the lights on and off for the performers.

The respect was mutual. Top-name actors would clamor for even bit parts in his films. Altman generally worked on shoestring budgets, yet he continually landed marquee performers who signed on for a fraction of their normal salaries.

After the mid-1970s, the quality of Altman's films became increasingly erratic. His 1980 musical "Popeye," with        Robin Williams, was trashed by critics, and Altman took some time off from film.

He directed the Broadway production of "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean," following it with a movie adaptation in 1982. Altman went back and forth from TV to theatrical films over the next decade, but even when his films earned critical praise, such as 1990's "Vincent & Theo," they remained largely unseen.

"The Player" and "Short Cuts" re-established Altman's reputation and commercial viability. But other 1990s films — including his fashion-industry farce "Ready to Wear" and "Kansas City," his reverie on the 1930s jazz and gangster scene of his hometown — fell flat.

Born Feb. 20, 1925, Altman hung out in his teen years at the jazz clubs of Kansas City, Mo., where his father was an insurance salesman.

Altman was a bomber pilot in World War II and studied engineering at the University of Missouri in Columbia before taking a job making industrial films in Kansas City. He moved into feature films with "The Delinquents" in 1957, then worked largely in television through the mid 1960s, directing episodes of such series as "Bonanza" and "Alfred Hitchcock Presents."

Altman and his wife, Kathryn, had two sons, Robert and Matthew, and he had a daughter, Christine, and two other sons, Michael and Stephen, from two previous marriages.

When he received his honorary Oscar in 2006, Altman revealed he had a heart transplant a decade earlier.

"I didn't make a big secret out of it, but I thought nobody would hire me again," he said after the ceremony. "You know, there's such a stigma about heart transplants, and there's a lot of us out there."

___

Associated Press writer Jeff Baenen in St. Paul, Minn., contributed to this report.


Offline Front-Ranger

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Re: American master gone
« Reply #2 on: November 21, 2006, 05:37:26 pm »
Thanks, Scott. I will mourn my fellow Kansas Citian. I used to walk by Centron Films where he got his start and try to work up the courage to apply for a job there. Wow, they barely mentioned McCabe and Mrs. Miller, my favorite.
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Offline starboardlight

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Re: American master gone
« Reply #3 on: November 21, 2006, 05:41:37 pm »
Wow. His name has been big in the film industry for as long as I can remember. It is sad to lose such an amazing story teller.
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Offline Shakesthecoffecan

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Re: American master gone
« Reply #4 on: November 24, 2006, 11:36:59 pm »
I rememebering a few months ago Altman said he wanted to work on a project with Jake Gyllenhaal. Wonder what that would have been like.
"It was only you in my life, and it will always be only you, Jack, I swear."

moremojo

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Re: American master gone
« Reply #5 on: November 27, 2006, 01:14:09 pm »
I rememebering a few months ago Altman said he wanted to work on a project with Jake Gyllenhaal. Wonder what that would have been like.
This was one of my first thoughts upon hearing the news of Altman's death. I think the two men would have probably greatly enjoyed the experience.

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Re: American master gone
« Reply #6 on: November 27, 2006, 05:54:01 pm »
What was your favorite Altman movie, Scott? Another one I loved, aside from McCabe and Mrs. Miller, was Three Women.

Elliott Gould was really choked up about Altman's passing.

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moremojo

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Re: American master gone
« Reply #7 on: November 27, 2006, 06:55:25 pm »
What was your favorite Altman movie, Scott?
As perverse as it may sound, my favorite Altman so far seen (and I know you've seen more than me, Lee) is his 1970 opus Brewster McCloud. Altman once cited this as his favorite as well, arguing that, while he didn't think it was his best work, it was his most daring and inventive, and for that reason he especially cherished it.

One reason I am particularly fond of this one is that it was filmed in Houston, a city which I frequently visited as a child, when I was a small child. I love seeing Altman's quirky, idiosyncratic take on the city at such a tender and green time of my life. Plus it has Margaret Hamilton, of Wizard of Oz fame!

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Re: American master gone
« Reply #8 on: November 28, 2006, 12:49:48 pm »
Wasn't that the story about a kid who lived in the Superdome? Kind of a bubble boy type??
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moremojo

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Re: American master gone
« Reply #9 on: November 28, 2006, 01:31:21 pm »
Wasn't that the story about a kid who lived in the Superdome? Kind of a bubble boy type??

Yes, a young man living in secret in the Astrodome, but not as a "bubble boy" (that is, not hiding out due to immunological deficiencies). The young man Brewster, played by Bud Cort, dreams of flying (with wings, not with planes), and has been taken under the wing of a fallen angel played by Sally Kellerman. Remember, this is very much a fantasy!

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Re: American master gone
« Reply #10 on: December 04, 2006, 12:01:36 am »
Last night I watched Altman's film "The Company" and I highly recommend it. It stars Neve Campbell, who also wrote and co-produced, and Malcolm McDowell as well. It is about the Chicago ballet company called the Joffrey Ballet. Some incredibly beautiful dance numbers. "My Funny Valentine" appears throughout (a little too often for my taste).
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moremojo

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Re: American master gone
« Reply #11 on: December 04, 2006, 11:09:25 am »
Thanks, Lee, for the recommendation. I'll keep my eyes open for that one.