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Addicted to this movie!


I can't stop watching it. I watch at least four movies I haven't seen per week, and in five years I haven't been as drawn back to watch one over and over as I am currently doing with Nashville. So much life, so much energy, so many details... oh my god the details. Every time a new piece clicks with me the whole tapestry becomes richer. And I'm about as far from a country fan as you can get, but the songs are stuck in my head on repeat. I want to make movies in the future and this has set an intimidating standard.

For contexts sake, I'm a 24 year old male who just discovered Altman. Am I the only one this young who is simply in love with this film?

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Absolutely not! I just watched it and I'm obsessed. I plan on watching it again ASAP and I'm 21.

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Wonderful post. I was 21 when I first saw the movie, first-run in a theater I will add, and have never gone a single day without some sort of reference or memory flashing through my brain. I have probably seen Nashville close to 40 times over that time. I watch it every August to celebrate that first time so many years ago and it never fails to wow me. In fact, I will be watching it tonight, 40 years to the day I first became acquainted with it. Hows that for dedication.


Yall take it easy now, this isnt Dallas, its Nashville. They cant do this to us here in Nashville...

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The film is extremely prismatic. I remember the first time I saw it, about halfway through, I thought, I have to see this again because I already know there's so much I've missed! I've seen it at least 12 times since, & I always find something new.

Example: after the highway traffic wreck, Kenny is walking w/Winifred (I don't quite know why in the closing credits she's called "Albuquerque") & she tells him "I know it sounds arrogant, but I'm on my way to Nashville to be a country singer or star." After a couple of viewings, I thought: "Which I will become, thanks to you."

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Interesting point, Saltpeter. Never thought of that one before. Just goes to show how complex the characters, their behaviour and interactions are so entwined.

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Great point about Kenny and Winifred that was totally lost on me (and I'm sure a lot of people). Thank you for sharing.

It also makes me wonder if becoming a "celebrity" or "star" means a person has to be at least somewhat "delusional." Winifred clearly believes she is already a star, only one who has not officially arrived. How she treats Connie White as her "friend" and "peer" clearly illustrates that in Winifred's mind she's there just not yet at the top of the mountain. If other people don't know it, that's okay with her because she already knows it and knows that soon all of them will know it, too.

She also keeps telling people that she's there to cut a demo. She knows she's good enough to make a professional LP and is not "auditioning" for anybody. She's coming fully prepared to stake her claim and doesn't harbor a single doubt that she'll make it happen.

I guess what makes Winifred not delusional after all is she turns out to be the real deal (which is why I believe Altman didn't want anyone to hear her sing until the end, when she carries the crowd and the day). In her mind, Winifred was long ready and prepared for her moment and it finally arrived. To become someone special you've got to believe you are already someone special.

The dark side of it is Kenny, too, is the real deal and he's arrived, having his moment not of fame but infamy. He succeeds in his mission like Winifred succeeds in hers.

What's fascinating to me is, when you see that early scene of Kenny and Winifred, there's not the slightest indication that they're the ones who will get the attention (Kenny) and the glory (Winifred) that the others are dreaming and driving for, too. They believe it, they even know it, but nobody else could guess that it's them or in any way single them out from all the others.

The others are mostly wannabes who you figure have been told by their families that they're great (when they aren't) and they go into the pit and are eaten alive because they're not even good. They're tragic figures because they have the dream and the drive, but they don't have the talent to make their dreams drive them on to stardom. They're the lonely, sad losers lost along the way and they break my heart every time. You want desperately to cheer them on, but you know they're never going to make it no matter how hard they try.

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Although it's been awhile since I saw this, I believe Winifred was Shelly Duvall's character and Albuquerque was Barbara Harris's character.

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The confusion or mix-up here is understandable.
Winifred was Albuquerque's stage name although it's never mentioned in the movie, only the end credits. Shelley Duvall's character was originally called Martha until she told her uncle she'd changed it to L.A. Joan.


Wanda Wanda Wanda Wonder Wonder, what difference does it make? It was a hit.

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"I'm a 24 year old male"

One year for each main character. Get this book!

http://www.amazon.com/Nashville-Chronicles-Making-Altmans-Masterpiece/dp/0879109815

A Cespedes for the rest of us

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I'm reading this book right now. Fans of the film ALL need to read it! Out of print but easy to find online.


In heaven everything is fine.

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Excellent!

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I saw NASHVILLE when it was new and have loved it ever since. It holds up after uncountable viewings. As others say, it has many facets (too many to take in on one or two viewings) and each character has his/her nuances, so they all seem 'real'. On the larger scale, it's about the pursuit of 'stardom' (ie recognition, love, filling up an emptiness inside some of us). Some characters are delusional (Sueleen Gay), some have talent and might make it (Albuquerque), some have made it but seem empty as people (Haven Hamilton), some have made it and are overwhelmed (Barbara Jean). These are just a few of course. All actors are top-notch (Ronee Blakley had not acted before!). Even the songs (written mostly by the performers themselves) are enjoyable. It's a richly detailed, totally involving film that packs a wallop in the end. Impossible to forget and endlessly re-watchable.

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I'm glad to hear there are young people still keeping the flame of Altman alive. I first saw it when I was about 18. An article in American Film about the changes in the entertainment industry from 1975-85 mentioned the film--and Altman--extensively. I fell asleep on my first viewing. I kept waiting for the plot to start! Later, I gave it another try and realized its peciliar narrative structure is its main strength. There was a time when I was about 20 when I watched it over and over obsessively. Like you, I always observed something new or overheard a snippet of interesting dialogue I hadn't heard before. The World Socialist Website recently wrote an essay discussing both the strengths and weaknesses of the film to honor its 40th anniversary. (The article can be easily searched on the wsws.org website). The Criterion Blu ray is the best I've ever seen the film look. Indeed, all the Altman works Criterion offers are worth owning (Nashville, Secret Honor, Tanner '88, Short Cuts and the wonderful 3 Women). I keep praying Criterion will snab the licensing for McCabe & Mrs. Miller before a sub-par company picks it up like Olive Films did That Cold Day in the Park.

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Harry and Tonto

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I was thinking a lot about Altman today, which brought me here. I was 28 when it was released, and it impressed me greatly. I was already an Altman lover, and this one seemed (and seems today) stronger than most of his works. The ensemble acting that he was a master of doesn't work well when the story is weak--see A Wedding and A Perfect Couple--but here it succeeds marvellously. I don't think more about Keith Carradine and Lily Tomlin--big stars--than I think about Barbara Harris, Geraldine Chaplin or Ned Beatty; the characters just mesh so well together. The Criterion BluRay is excellent.

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I'm 56 years old. I first saw NASHVILLE when I was 15 in 1975, and have watched it at least once or twice a year ever since. I've owned it in every format (just bought the gorgeous new Blu Ray from Criterion*) owned the soundtrack on vinyl and CD (know all the words to all the songs), and never grew tired of it. This movie, more than any other, inspired me to get a filmmaking degree in college (though I ended up becoming a writer and working in publishing.)

In my opinion, NASHVILLE is the greatest American film ever made. It's just so rich, smart, funny, cynical, forgiving, and insightful about our nation, our politics, our culture, and our humanity. No other film I can think of captures the breadth and scope of the human experience so generously or so beautifully. The film is so textured and detailed that you can always see something (or someone) you'd never noticed before. If any movie deserves repeated viewings, it's this one.

*FYI - Watching the new Criterion Blu ray on a huge flatscreen is mind-blowing. You can actually study all the faces of individual people in the crowded audience scenes. Amazing.

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Beautifully said Monsterflick. Couldn't put it any better, agree 100%. Watch it every August to commemorate the first time I saw it, in a theater in 1975 and about a dozen times, in various theaters, afterward. Not a day goes by when I don't give this masterpiece at least a passing thought.

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This film definitely creeps up on you-First time i watched it i was a little like wtf is this? what is even going on here, but there was still enough to keep me interested and i didn't not like it

Then i watched it a second time few years later and it all came together- Seriously this film is in a league of its own, there are certain films you make a mental list of as being a top film and this is one of them, there is nothing quite like it, except another Robert Altman film but this one is the one i have the most affection for

Weirdly i just watched a Charlie Rose with Altman and he was considered a massive outsider and the films he got offered were what 10 other Directors had passed on so he was'nt the Visionary i thought but instead he made this amazing art out of the leftovers nobody wanted- Fuck knows what this film was originally imagined as


Paul Thomas Anderson who i like by the way was clearly heavily influenced this man

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