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《国际电影导演词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume - 2（2-1 DIRECTORS）FOURTH EDITION

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ALTMAN DIRECTORS, 4th EDITION 16 success until Women on the Verge of a Nervous Breakdown, which became 1989’s highest-grossing foreign film in North America and the most successful Spanish film ever in Spain. Almodóvar’s oeuvre makes a good argument for the auteur theory. One can trace to his first films themes and strategies that he would explore in different forms, with varying degrees of success but with increasing technical expertise, throughout the rest of his career. Almodóvar’s films posit the absolute autonomy of the individual. From Pepi to Tie Me up! Tie Me Down! the central characters in his films (mostly women) either act as if there are no social restrictions, or are conscious of the price of transgression but willing to pay it if such actions lead to, or contain, pleasure. In Almodóvar’s films, the various paths to pleasure lead to a destination and fulfillment (Matador), a dead end and disappointment (Dark Hideout, Women on the Verge), or an endlessly winding path and continuous displacement (The Law of Desire), but never resignation. To explore these varied roads Almodóvar has over the years accumulated a rep company of actors (including Antonio Banderas, who graduated to Hollywoood stardom). When in an Almodóvar film, no matter how absurd the situation their characters might find themselves in, all the actors are directed to a style that relies on understatement and has often been called ‘‘naturalist’’ or ‘‘realist.’’ For example, when in The Law of Desire Tina tells her brother that ‘‘she’’ had previously been a ‘‘he’’ and had run off to Morocco to have a love affair with their father, Carmen Maura acts it in a style considerably subtler than that used by, for example, June Allyson to tell us she really shouldn’t have broken that date with Peter Lawford. This style of acting is partly what enables Almodóvar’s often outrageous characters to be so emotionally compelling. Almodóvar borrows indiscriminately from film history. A case in point is What Have I Done to Deserve This? which contains direct reference to, or echoes of, neo-realism, the caper film, Carrie, Buñuel, Wilder, Warhol, and Waters. Moreover, by his second period, beginning with Dark Hideout, it became clear that Almodóvar’s preferred mode of cinema was the melodramatic. It is a mode that cuts across genre, equally capable of conveying the tragic and the comic, eminently emotional, adept at arousing intense audience identification, and capable of communicating complex psychological processes no matter what the character’s gender or sexual orientation. Almodóvar’s signature, and a unique contribution to the movies, is the synthesis of the melodramatic mode with a clash of quotations. This combination allows Almodóvar both a quasi-classical Hollywood narrative structure (which facilitates audience identification) and a very self-conscious narration (which normally produces an alienation effect). This results in dialectical moments in which the absurd can be imbued with emotional resonance (the mother selling her son to the dentist in What Have I Done); the emotional can be checked with cheek without disrupting identification (superimposing a character’s crying eyes with the wheels of a car in The Law); and camp can be imbued with depth without losing its wit (the transference of emotions that occurs when we see Pepa dubbing Joan Crawford’s dialogue from Johnny Guitar in Women on the Verge). At his best (What Have I Done to Deserve This?, The Law of Desire, Women on the Verge of a Nervous Breakdown), Almodóvar drills a heart into the postmodern and fills it with an operatic range of feeling. Although Almodóvar’s movies have garnered increasingly heady praise in the 1990s, one senses the critical establishment is consciously trying to legitimize him in their eyes. Why is it that when a comedy expert grows more ‘‘serious,’’ he is, perforce, taken more seriously? Fortunately, Almodóvar’s mature works remain vibrant, unpretentious melodramas (unlike Woody Allen, whose art films seem like Xerox copies of the masters he slavishly imitates). Although Almodóvar has been chastised for trying to have his soap opera and send it up, too, he accomplished just that impossibility with earlier works like Law of Desire. As arrestingly sentimental as All about My Mother is, and as disturbingly mournful as Live Flesh is, they lack the kick of less-acclaimed works like High Heels, an unabashed glimpse into the soul of Lana Turner. Whereas Almodóvar once passionately embraced the Hollywoodness of Douglas Sirk’s women pictures, his most recent movies merely buss those stylized conventions on the cheek. Why is there such a frenzy to commend the new-improved maverick, simply because he now uses humor only as a diversionary tactic, instead of an integral part of his canon? Despite reservations about the shift in his approach, one admires Almodóvar’s unabated insight into role-playing, his debunking of machismo, his celebration of tackiness, and his unsurpassed skill with actresses. If something joyful seems missing from latter-day Almodóvar, something has also been gained in his collaboration with actress Marisa Paredes, a gravely beautiful dynamo, whom the director uses to suggest the melancholy behind emotional extravagance. If films like The Flower of My Secret are high-wire acts between pathos and humor, then Paredes helps him keep his balance. Even if one reminisces about Almodóvar’s teamwork with efervescent comediennes like Carmen Maura and Victoria Abril, one is relieved that he hasn’t become the Spanish John Waters, a filmmaker whose rebelliousness now seems quaint. Exploring his gay sensibility, Almodóvar appeals to straight audiences, who share his appetite for the resurrection and re-invigoration of old movie cliches. In overlooked works like Kika, characters literally die for love, and this slick director understands that classic escapism has undying appeal for a reason. The genius of Almodóvar lies in succumbing to the absurdity of Hollywood romanticism, while recognizing it as an impossible ideal. After enduring bloodless Oscarwinners and critically correct masterpieces, the audience rushes to Almodóvar’s movies because they act like a tonic. —José Arroyo, updated by Robert J. Pardi ALTMAN, Robert Nationality: American. Born: Kansas City, Missouri, 20 February 1925. Education: Attended University of Missouri, Columbia (three years). Military Service: Bomber pilot, U.S. Air Force, 1943–47. Family: Married La Vonne Elmer, 1946, one daughter; married Lotus Corelli, 1954, divorced 1957, two sons; married Kathryn Reed, two sons. Career: Directed industrial films for Calvin Company, Kansas City, 1947; wrote, produced, and directed first feature, The Delinquents, 1955; TV director, 1957–63; co-founder of TV production company, 1963; founder, Lion’s Gate production company (named after his own 8-track sound system), 1970, Westwood Editorial Services, 1974, and Sandcastle 5 Productions; made Tanner ‘88 for TV during American presidential campaign, 1988; directed McTeague for Chicago Lyric Opera. Awards: Palme d’Or, Cannes Festival, and Academy Award nominations for Best Film and Best Director for M*A*S*H, 1970; New York Film Critics’ Circle Award, D.W. Griffith Award (National Board of Review), and National Society of Film Critics Award, all for Best Director, for Nashville, 1975; Golden

ALTMAN DIRECTORS, 4 EDItION 1986 Fool for Love Interview with Jean-Andre Fieschi, in Cinematographe(Paris), 1987" Les Boreades"in Aria; Beyond Therapy ( co-sc): The June 1977 Room(for TV); The Dumb Waiter(for TV) Interview with Jonathan Rosenbaum and Charles michener. in Film 1988 Tanner 88: The Caine Mutiny Court-Martial(+ pr) Comment(New York), September/October 1978 990 Vincent and Theo Interview and article by J -P. Le Pavec and others, in Cinema(Paris) 1992 The Player November 1978 1993 Short Cuts(+ sc) Jumping off the Cliff, in Monthly Film Bulletin(London), Decem- 1994 The Real McTeague(for TV, opera) ber 1978 995 Ready to Wear(Pret a Porter)(+ sc) Interview with Michel Ciment and M. Henry, in Positif(Paris), 1996 Jazz-34(+ pr): Kansas City(+ SC, pr) March 1979 1997 Gun(series for TV)(+ pr Robert Altman: Backgammon and Spinach, interview with Tom 1998 The Gingerbread Man (+ sc, ro as Al Hayes) Milne and Richard Combs, in Sight and Sound (London), Sum- 1999 Cookie's Fortune(+ pr); Another City, Not My Own mer1981. 2000 Dr T and the Women(+ pr) "Peripheral Vision, interview with A Stuart, in Films(London), July 1981 Interview with Leo Braudy and Robert Phillip Kolker, in Post Script Other Films: Jacksonville, Florida), Fall 1981 and winter 1982 A Foolish Optimist: Interview with Robert Altman, by H 1948 Bodyguard(co-story) Kloman, Lloyd Michaels, and virginia Wright Wexman, in Film 1951 Corn's-a-Poppin(co-sc) Criticism(Meadville, Pennsylvania), Spring 1983 1976 Welcome to LA(Rudolph)(pr) Interview with Michel Ciment, in Positif(Paris), June 1984 1977 The Late Show(Benton)(pr) Stills(London), November 1984. 1978 Remember My Name(Rudolph)(pr) Interview with Richard Combs, in Monthly Film Bulletin(London) 1979 Rich Kids(Young)(pr) January 1985 1993 Luck, Trust Ketchup: Robert Altman in Carver County "On the Road with Robert Altman, " an interview with Nick Roddick, in Dorr, Kaplan)(doc) Cinema Papers(melbourne), Sept 1997 Afterglow(Rudolph)(pr); Frank Capra's American Dream Interview with Steven Aronson, in Architectural Digest, March 1990 (Bowser-for TV)(as himself) Mrs. Millers Tale, an interview with Sheila Johnston, in the 998 Liv Independent(London ), 6 April 1990 1999 Trixie; Hitchcock: Shadow of a Genius(Haimes-for TV)(as How the western Was lost, an interview with Derek Malcolm. in the Guardian(London), 11 April 1990 Interview with Richard Combs in Monthly Film Bulletin (London), July 1990. Publications " Robert Altman: The Rolling Stone Interview, interview with David breskin in ro ne. 16 April 1992 By ALTMAN: book- Interview with Graham Fuller, in Interview, May 1992. Interview with Jean-Pierre Coursodon and M. Henry, Hollywood Buffalo Bill and the Indians, or Sitting Bull's History Lesson, with n'est qu'une metaphore, in Positif, June 1992. Alan Rudolph, New York, 1976 Death and Hollywood, interview with P. Keogh, in Sight and Short Cuts: The Screenplay, Santa Barbara, CA, 1993 Sound (London), June 1992. Robert Altman's Pret a Porter. New York. 1994 Interview with Janice M. Richolson and others, "The Player, in Robert Altman, Interviews: Interviews (Conversations with Cineaste(Paris), no. 2/3, 1992. Filmmakers), with David Sterritt, University Press of Missis- Interview with David Breskin, Inner Views: Filmmakers in Conversa tion. Boston: Faber and Faber. 1992. Reimagining Raymond Carver on Film: A Talk with Robert Altman By ALTMAN: articles- and Tess gallagher, ' interview with R. Stewart. in New York imes, 12 September 1993 Interview with S Rosenthal, in Focus on Film (London ), Spring 1972. Interview with Thomas Bourguignon and others, in Positif(Paris), Interview with Russell Auwerter, in Directors in Action, edited by January 1994 Bob Thomas, New York, 1973. Interview with Philippe Rouyer and Michael Henry, in Positif(Paris), Interview with Michel Ciment and Bertrand Tavernier, in Positi May 1996 Paris), February 1973 Reigning blows. interview with Brian Case, in Time Out (Lon- Robert Altman Speaking, interview with J. Dawson, in Film don), 20 November 1996 Comment(New York), March/April 1974 "The Sweet Hell of Success interview with P. Beskind. in Pre An altman interview with B.J. Demby, in Filmmakers miere(Boulder). October 1997. ill, Massachusetts ), October 1974 in Dialogue on Film(Beverly Hills), Febru On altMAN: film 1975 "The Artist and the multitude are Natural Enemies. interview with F.A. Macklin, in Film Heritage(Dayton, Ohio), Winter 1976/77

ALTMAN DIRECTORS, 4th EDITION 18 1986 Fool for Love 1987 ‘‘Les Boreades’’ in Aria; Beyond Therapy (+ co-sc); The Room (for TV); The Dumb Waiter (for TV) 1988 Tanner ‘88; The Caine Mutiny Court-Martial (+ pr) 1990 Vincent and Theo 1992 The Player 1993 Short Cuts (+ sc) 1994 The Real McTeague (for TV, opera) 1995 Ready to Wear (Pret a Porter) (+ sc) 1996 Jazz—34 (+ pr); Kansas City (+ sc, pr) 1997 Gun (series for TV) (+ pr) 1998 The Gingerbread Man (+ sc, ro as Al Hayes) 1999 Cookie’s Fortune (+ pr); Another City, Not My Own 2000 Dr. T and the Women (+ pr) Other Films: 1948 Bodyguard (co-story) 1951 Corn’s-a-Poppin’ (co-sc) 1976 Welcome to L.A. (Rudolph) (pr) 1977 The Late Show (Benton) (pr) 1978 Remember My Name (Rudolph) (pr) 1979 Rich Kids (Young) (pr) 1993 Luck, Trust & Ketchup: Robert Altman in Carver County (Dorr, Kaplan) (doc) 1997 Afterglow (Rudolph) (pr); Frank Capra’s American Dream (Bowser—for TV) (as himself) 1998 Liv 1999 Trixie; Hitchcock: Shadow of a Genius (Haimes—for TV) (as himself) Publications By ALTMAN: book— Buffalo Bill and the Indians, or Sitting Bull’s History Lesson, with Alan Rudolph, New York, 1976. Short Cuts: The Screenplay, Santa Barbara, CA, 1993. Robert Altman’s Pret a Porter, New York, 1994. Robert Altman, Interviews: Interviews (Conversations with Filmmakers), with David Sterritt, University Press of Mississippi, 2000. By ALTMAN: articles— Interview with S. Rosenthal, in Focus on Film (London), Spring 1972. Interview with Russell Auwerter, in Directors in Action, edited by Bob Thomas, New York, 1973. Interview with Michel Ciment and Bertrand Tavernier, in Positif (Paris), February 1973. ‘‘Robert Altman Speaking,’’ interview with J. Dawson, in Film Comment (New York), March/April 1974. ‘‘An Altman Sampler,’’ interview with B.J. Demby, in Filmmakers Newsletter (Ward Hill, Massachusetts), October 1974. Robert Altman Seminar, in Dialogue on Film (Beverly Hills), February 1975. ‘‘The Artist and the Multitude Are Natural Enemies,’’ interview with F.A. Macklin, in Film Heritage (Dayton, Ohio), Winter 1976/77. Interview with Jean-André Fieschi, in Cinématographe (Paris), June 1977. Interview with Jonathan Rosenbaum and Charles Michener, in Film Comment (New York), September/October 1978. Interview and article by J.-P. Le Pavec and others, in Cinéma (Paris), November 1978. ‘‘Jumping off the Cliff,’’ in Monthly Film Bulletin (London), December 1978. Interview with Michel Ciment and M. Henry, in Positif (Paris), March 1979. ‘‘Robert Altman: Backgammon and Spinach,’’ interview with Tom Milne and Richard Combs, in Sight and Sound (London), Summer 1981. ‘‘Peripheral Vision,’’ interview with A. Stuart, in Films (London), July 1981. Interview with Leo Braudy and Robert Phillip Kolker, in Post Script (Jacksonville, Florida), Fall 1981 and Winter 1982. ‘‘‘A Foolish Optimist’: Interview with Robert Altman,’’ by H. Kloman, Lloyd Michaels, and Virginia Wright Wexman, in Film Criticism (Meadville, Pennsylvania), Spring 1983. Interview with Michel Ciment, in Positif (Paris), June 1984. Stills (London), November 1984. Interview with Richard Combs, in Monthly Film Bulletin (London), January 1985. ‘‘On the Road with Robert Altman,’’ an interview with Nick Roddick, in Cinema Papers (Melbourne), September 1986. Interview with Steven Aronson, in Architectural Digest, March 1990. ‘‘Mrs. Miller’s Tale,’’ an interview with Sheila Johnston, in the Independent (London), 6 April 1990. ‘‘How the Western Was Lost,’’ an interview with Derek Malcolm, in the Guardian (London), 11 April 1990. Interview with Richard Combs in Monthly Film Bulletin (London), July 1990. ‘‘Robert Altman: The Rolling Stone Interview,’’ interview with David Breskin, in Rolling Stone, 16 April 1992. Interview with Graham Fuller, in Interview, May 1992. Interview with Jean-Pierre Coursodon and M. Henry, ‘‘Hollywood n’est qu’une metaphore,’’ in Positif, June 1992. ‘‘Death and Hollywood,’’ interview with P. Keogh, in Sight and Sound (London), June 1992. Interview with Janice M. Richolson and others, ‘‘The Player,’’ in Cineaste (Paris), no. 2/3, 1992. Interview with David Breskin, InnerViews: Filmmakers in Conversation, Boston: Faber and Faber, 1992. ‘‘Reimagining Raymond Carver on Film: A Talk with Robert Altman and Tess Gallagher,’’ interview with R. Stewart, in New York Times, 12 September 1993. Interview with Thomas Bourguignon and others, in Positif (Paris), January 1994. Interview with Philippe Rouyer and Michael Henry, in Positif (Paris), May 1996. ‘‘Reigning Blows,’’ interview with Brian Case, in Time Out (London), 20 November 1996. ‘‘The Sweet Hell of Success,’’ interview with P. Beskind, in Premiere (Boulder), October 1997. On ALTMAN: film— ‘‘Robert Altman,’’ for South Bank Show, London Weekend Television, April 1990

DIRECTORS, 4 EDITION ALTMAN On ALTMAN: books- Self, Robert, "Invention and Death: The Commodities of Media in Robert Altmans Nashville, in Joumal of Popular Film(Bowl- Hardin, Nancy, editor, On Making a Movie: Brewster McCloud, New ing Green, Ohio), no 5, 1976 York, 1971 Levine, R.,"R. Altman Co. in Film Comment(New York) Feineman, Neil, Persistence of Vision: The Films of robert Altman January/February 1977 New York, 1976 Canby, vincent, "Film View: Altman-A Daring Filmmaker Fal- Tewkesbury, Joan, Nashville, New York, 1976. ters, in The New York Times, 18 February 1979 Kass, Judith M., Robert Altman: American Innovator. New York, 1978 Playing the Game, or Robert Altman and the Indians, in Sight an Terry, Bridget, The Popeye Story, New York, 1980 Sound (London), Summer 1979. Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Bonnet. J.-C.. and others."Dossier: Robert Coppola, Scorsese, Altman, Oxford, 1980, revised edition, 1988 Cinematographe(Paris), January 1980 Bourget, Jean-Loup, Robert Altman, Paris, 1981 Yacowar. Maurice. ' Actors as Conventions in the Films of robert Karp, Alan, The Films of Robert Altman, Metuchen, New Jer Altman Cinema Journal(Evanston), Fall 1980 ey,1981 Eyman, S,"Against Altman, in Focus on Film(London), Octo- Fink, Guido, I film Di robert Altman, Rome, 1982. ber1980. agan, Norman, American Skeptic: Robert Altman's Genre-Com Altman, D,"Building Sand Castles, in Cinema Papers(Mel tentary Films, Ann Arbor, Michigan, 1982 Micciche, Lino, L'incubo americano: Il cinema di Robert Altman, Self. Robert. "The Art Cinema and Robert Altman, "in Velvet Light Venice. 1984 Wexman, Virginia Wright, and Gretchen Bisplinghoff, Robert Alma Trap(Madison, Wisconsin), no. 19, 1982. A Guide to References and Resources, Boston, 1984 Durgnat, Raymond, Popeye Pops Up, in Films(London), April Plecki, Gerard. Robert Altman, Boston, 1985 and May 1982. Weis, Elisabeth, and John Belton, editors, Film Sound: Theory and Self, Robert, The Perfect Couple: Two Are Halves of One, in the Practice. New York, 1985 Films of Robert Altman, in Wide Angle(Athens, Georgia), vol Wood, Robin, Hollywood from Vietnam to Reagan, New York, 1986 5,no.4,1983 McGilligan, Patrick, Robert Altman: Jumping off the Cliff-A Biog Edgerton, G, "" Capra and Altman: Mythmaker and Mythologist, in raphy, New York, 1988 Literature/Film Quarterly(Salisbury, Maryland), January 1983 Keyssar, Helene, Robert Altman's America, New York, 1991 Jaehne, K, and P. Audferheide, ""Secret Honor in Cineaste(New Bourget, Jean-Loup, Robert Altman, Paris, 1994 York), vol. 14. no. 2, 1985 O'Brien, Daniel, Robert Altman: Hollywood Survivor. New York, 1995 Farber, Stephen,"Five Horsemen after the Apocalypse, in Film On ALTMAN: articles- Self, Robert, Robert Altman and the Theory of Authorship, in Cinema Journal( Champaign, Illinois), Fall 1985 Cutts, John, MASH, McCloud, and McCabe, 'in Films and Filming of Positif(Paris), London), November 1971 White, A,""Play Time, in Film Comment(New York), January Dawson, J,"Altmans Images, in Sight and Sound (London), Self, Robert, and Leland Poague,"Dialogue, in Cinema Journal Engle, Gary, ""McCabe and Mrs. Miller: Robert Altman's Anti- Champaign, Illinois), Spring 1986 Western, in Journal of Popular Film(Bowling Green, Ohio), Combs, Richard, "A Trajectory Built for Two, in Monthly Film Fal1972. Bulletin ( London), July 1986. Baker, C.A., ""The Theme of Structure in the Films of robert"Robert Altman, " "in Film Dope(London),March 1988 Altman, in Journal of Popular Film(Bowling Green), Sum. Wolcott, James, Jack Tanner, for Real, "in Vanity Fair, July 1988 mer 1973 Film Comment(New York), September/October 1989 Brackett, Leigh, " "From The Big Sleep to the The Long Goodbye and "Altman at Calvin, in Sight and Sound (London), no 2, 1990 More or Less How We got There. in Take One(Montreal) McGilligan, Patrick, Altman in Kansas City, in Sight and Sound January 1974 (New York), no. 2, 1990 Stewart, Garrett, "The Long Goodbye from Chinatown. 'in Film Combs, R, "The World Is a Bad Painting, "in Monthly Film Bulletin Quarterly(Berkeley ) winter 1974/75 osenbaum, Jonathan, "Improvisations and Interactions in Giddins, Gary, "Altmans Back, 'in Village Voice(New York) Altmanville, in Sight and Sound (London), Spring 1975. 6 November 1990 Oliver, Bill, The Long Goodbye and Chinatown: Debunking the Fisher, W, "" Vincent and Theo and Bob, in Millimeter, Septem- Private Eye Tradition, in Literature/Film Quarterly(Salisbury, ber1990. Maryland), Summer 1975 Sanjek, David, The Case for Robert Altman, 'in Literature/Film ' Altman Issue"of Film Heritage Dayton, Ohio), Fall 1975 Quarterly, no. 1, 1991 Wood, Robin, ""Smart-ass and Cutie-pie: Notes toward an Evaluation Walker, Beverly, Altman91"in Film Comment, January/Febru- of Altman in Movie. Fall 1975 Benayoun, Robert,"Altman, U.S.A., in Positif(Paris), Decem- Andersen, Kurt, "A Player Once Again, ""in Time, April 20, 199 ber 1975 Ansen, David, and others, ""Hollywood Is Talking: The Player, Byrne, Connie, and william O. Lopez, hville(An Interview Newsweek. 2 March 1992. Documentary), in Film Quarterly(Berkeley), Winter 1975/76. Kasindorf Jeanine 'Home Movies. in New york. 16 March 1992

DIRECTORS, 4 ALTMAN th EDITION 19 On ALTMAN: books— Hardin, Nancy, editor, On Making a Movie: Brewster McCloud, New York, 1971. Feineman, Neil, Persistence of Vision: The Films of Robert Altman, New York, 1976. Tewkesbury, Joan, Nashville, New York, 1976. Kass, Judith M., Robert Altman: American Innovator, New York, 1978. Terry, Bridget, The Popeye Story, New York, 1980. Kolker, Robert Phillip, A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman, Oxford, 1980, revised edition, 1988. Bourget, Jean-Loup, Robert Altman, Paris, 1981. Karp, Alan, The Films of Robert Altman, Metuchen, New Jersey, 1981. Fink, Guido, I film Di Robert Altman, Rome, 1982. Kagan, Norman, American Skeptic: Robert Altman’s Genre-Commentary Films, Ann Arbor, Michigan, 1982. Micciche, Lino, L’incubo americano: Il cinema di Robert Altman, Venice, 1984. Wexman, Virginia Wright, and Gretchen Bisplinghoff, Robert Altman: A Guide to References and Resources, Boston, 1984. Plecki, Gerard, Robert Altman, Boston, 1985. Weis, Elisabeth, and John Belton, editors, Film Sound: Theory and Practice, New York, 1985. Wood, Robin, Hollywood from Vietnam to Reagan, New York, 1986. McGilligan, Patrick, Robert Altman: Jumping off the Cliff—A Biography, New York, 1988. Keyssar, Helene, Robert Altman’s America, New York, 1991. Bourget, Jean-Loup, Robert Altman, Paris, 1994. O’Brien, Daniel, Robert Altman: Hollywood Survivor, New York, 1995. On ALTMAN: articles— Cutts, John, ‘‘MASH, McCloud, and McCabe,’’ in Films and Filming (London), November 1971. Dawson, J., ‘‘Altman’s Images,’’ in Sight and Sound (London), Spring 1972. Engle, Gary, ‘‘McCabe and Mrs. Miller: Robert Altman’s AntiWestern,’’ in Journal of Popular Film (Bowling Green, Ohio), Fall 1972. Baker, C.A., ‘‘The Theme of Structure in the Films of Robert Altman,’’ in Journal of Popular Film (Bowling Green), Summer 1973. Brackett, Leigh, ‘‘From The Big Sleep to the The Long Goodbye and More or Less How We Got There,’’ in Take One (Montreal), January 1974. Stewart, Garrett, ‘‘The Long Goodbye from Chinatown,’’ in Film Quarterly (Berkeley), Winter 1974/75. Rosenbaum, Jonathan, ‘‘Improvisations and Interactions in Altmanville,’’ in Sight and Sound (London), Spring 1975. Oliver, Bill, ‘‘The Long Goodbye and Chinatown: Debunking the Private Eye Tradition,’’ in Literature/Film Quarterly (Salisbury, Maryland), Summer 1975. ‘‘Altman Issue’’ of Film Heritage (Dayton, Ohio), Fall 1975. Wood, Robin, ‘‘Smart-ass and Cutie-pie: Notes toward an Evaluation of Altman,’’ in Movie, Fall 1975. Benayoun, Robert, ‘‘Altman, U.S.A.,’’ in Positif (Paris), December 1975. Byrne, Connie, and William O. Lopez, ‘‘Nashville (An Interview Documentary),’’ in Film Quarterly (Berkeley), Winter 1975/76. Self, Robert, ‘‘Invention and Death: The Commodities of Media in Robert Altman’s Nashville,’’ in Journal of Popular Film (Bowling Green, Ohio), no. 5, 1976. Levine, R., ‘‘R. Altman & Co.,’’ in Film Comment (New York), January/February 1977. Canby, Vincent, ‘‘Film View: Altman—A Daring Filmmaker Falters,’’ in The New York Times, 18 February 1979. ‘‘Playing the Game, or Robert Altman and the Indians,’’ in Sight and Sound (London), Summer 1979. Bonnet, J.-C., and others, ‘‘Dossier: Robert Altman,’’ in Cinématographe (Paris), January 1980. Yacowar, Maurice, ‘‘Actors as Conventions in the Films of Robert Altman,’’ in Cinema Journal (Evanston), Fall 1980. Eyman, S., ‘‘Against Altman,’’ in Focus on Film (London), October 1980. Altman, D., ‘‘Building Sand Castles,’’ in Cinema Papers (Melbourne), July/August 1981. Self, Robert, ‘‘The Art Cinema and Robert Altman,’’ in Velvet Light Trap (Madison, Wisconsin), no. 19, 1982. Durgnat, Raymond, ‘‘Popeye Pops Up,’’ in Films (London), April and May 1982. Self, Robert, ‘‘The Perfect Couple: ‘Two Are Halves of One,’ in the Films of Robert Altman,’’ in Wide Angle (Athens, Georgia), vol. 5, no. 4, 1983. Edgerton, G., ‘‘Capra and Altman: Mythmaker and Mythologist,’’ in Literature/Film Quarterly (Salisbury, Maryland), January 1983. Jaehne, K., and P. Audferheide, ‘‘Secret Honor,’’ in Cineaste (New York), vol. 14, no. 2, 1985. Farber, Stephen, ‘‘Five Horsemen after the Apocalypse,’’ in Film Comment (New York), July/August 1985. Self, Robert, ‘‘Robert Altman and the Theory of Authorship,’’ in Cinema Journal (Champaign, Illinois), Fall 1985. ‘‘Altman Section’’ of Positif (Paris), January 1986. White, A., ‘‘Play Time,’’ in Film Comment (New York), JanuaryFebruary 1986. Self, Robert, and Leland Poague, ‘‘Dialogue,’’ in Cinema Journal (Champaign, Illinois), Spring 1986. Combs, Richard, ‘‘A Trajectory Built for Two,’’ in Monthly Film Bulletin (London), July 1986. ‘‘Robert Altman,’’ in Film Dope (London), March 1988. Wolcott, James, ‘‘Jack Tanner, for Real,’’ in Vanity Fair, July 1988. Film Comment (New York), September/October 1989. ‘‘Altman at Calvin,’’ in Sight and Sound (London), no. 2, 1990. McGilligan, Patrick, ‘‘Altman in Kansas City,’’ in Sight and Sound (New York), no. 2, 1990. Combs, R., ‘‘The World Is a Bad Painting,’’ in Monthly Film Bulletin, July 1990. Giddins, Gary, ‘‘Altman’s Back,’’ in Village Voice (New York), 6 November 1990. Fisher, W., ‘‘Vincent and Theo and Bob,’’ in Millimeter, September 1990. Sanjek, David, ‘‘The Case for Robert Altman,’’ in Literature/Film Quarterly, no. 1, 1991. Walker, Beverly, ‘‘Altman ‘91’’ in Film Comment, January/February 1991. Andersen, Kurt, ‘‘A Player Once Again,’’ in Time, April 20, 1992. Ansen, David, and others, ‘‘Hollywood Is Talking: The Player,’’ in Newsweek, 2 March 1992. Kasindorf, Jeanine, ‘‘Home Movies,’’ in New York, 16 March 1992

ALTMAN DIRECTORS, 4 EDItION Kroll, Jack, " Robert Altman Gives Something Back, in Esquire more ambiguous than that of Raymond Chandler's conventional May1992. lonely moralist. Similarly, Countdown can be seen in relationship to Myers, E,""Mining McTeague's Gold, in New York Times, 2 the science-fiction film; Thieves like Us(based on They Live by Night) October 1992 in relationship to the bandit-gangster film; That Cold Day in the Park Pond, Steve, Flushing the Locusts, ' in Premiere, May 1992 relationship to the psychological horror film inaugurated by Alfred Schiff, Stephen, "" Auteur! Auteur!"in Vanity Fair, April 1992. Hitchcock's Psycho; and California Split in relationship to that Smith, Gavin, and Richard T Jameson, " The Movie You Saw Is the generic phenomenon so common to the 1970s, the"buddy Movie Were Going to Make in Film Comment(New York) Even Nashville, Altmans complex bicentennial musical released in May/June 1992. 1975, can be seen in relationship to a generic tradition with roots in Rico, Diana, ""S*M*A*S*, in Gentleman's Quarterly, May 1992 Grand Hotel and branches in earthquake, for it is a kind of disaster Wilmington, Michael, "Robert Altman and The Player--Laughing film about the American dream and Killing: Death and Hollywood, in Sight and Sound(Lon- Aside from his generic preoccupations, Altman seems especially don), June 1992. interested in people. His films characteristically contain perceptive Hoberman, J, Rerunning for President, in Village Voice(New observations, telling exchanges, and moments of crystal clear revela York ), 14 July 1992 tion of human folly. Altmans comments are made most persuasively einraub, B, Robert Altman, Very Much a Player Again, "in New in relationship to a grand social organization: that of the upper classes York Times, 29 July 1993 and nouveaux riches in A Wedding: health faddists and, metaphor- Henry, B, Gavin Smith, and F. Anthony Macklin, "Back/Roads to cally, the American political process, in Health; and so forth. Cer- Short Cuts: Faultlines of a Daydream Nation, in Film Comment tainly, Altmans films offer a continuous critique of American (New York), September/October 1993 society: people are constantly using and exploiting others, though Sugg, Richard, ""The Role of the Writer in The Player, "" in Literature/ often with the tacit permission of those being exploited. One thinks of Film quarterly, no 1, 1994 the country-western singers' exploitation by the politicians P.R.man Murphy, Kathleen, "A Lions Gate: The Cinema according to Robert in Nashville, for instance, or the spinster in That Cold Day in the Park. atman, in Film Comment(New York), 1994. Violence is often the climax of an altman film-almost as if the omney, Jonathan, "In the Time of Earthquakes, in Sight and tensions among the characters must ultimately explode. Notable Sound (London), March 1994 examples include the fiery deaths and subsequent" surprise endin Wollen, Peter, ""Strike a Pose, in Sight and Sound (London), in A Wedding, or the climactic assassination in Nashville. Another March 1995 recurring interest for Altman in his preoccupation with the psycho- Yaffe, D M, " He Am What He Am, in Village Voice(New York) pathology of women: one thinks of the subtly encroaching madness of Sandy Dennis's sexually repressed spinster in That Cold Day in the Wyatt, Justin, "Economic Constraints/Economic Opportunities: Robert Park, an underrated, early Altman film; the disturbing instability of Altman as Auteur, in Velvet Light Trap(Austin), Fall 1996 Ronee blakley in Nashville; the relationships among the unbalanced Golden, Mike, "A Robert Altman Film? ""in Creative Screenwriting subjects of Three Women, based on one of Altman's own dreams, and (Washington), Fall 1997. the real/surreal visions of Susannah York in the virtual horror film. Combs, R, Kansas City, ""in Film Comment(New York), March/ Images. Because almost all of Altman's characters tend to be hypo- April 1997 critical, psychotic, weak, or morally flawed in some way, with very few coming to a happy end, Altman has often been attacked for a kind of trendy cynicism. The directors cynicism, however, seems a result of his genuine attempt to avoid the conventional myth-making of the The American 1970s may have been dominated by a""New American cinema. Altman imbues as many of his characters as Wave of younger, auteurist-inspired filmmakers including George possible with that sloppy imperfection associated with human beings Lucas, Peter Bogdanovich, Steven Spielberg, Martin Scorsese, and as they are, with life as it is lived Francis Ford Coppola, all contemporaries as well as sometime Performers enjoy working with Altman in part because he pro- colleagues. It is, however, an outsider to this group, the older robert vides them with the freedom to develop their characters and often Altman-perhaps that decade's most consistent chronicler of human alter the script through improvisation and collaboration. Like Bergman behavior-who could be characterized as the artistic rebel most Altman has worked often with a stock company of performers who committed to an unswerving personal vision. If the generation of whiz appear in one role after another, among them Elliott Gould, Sally kids tends to admire the American cinema as well as its structures of Kellerman, Rene auberjonois, Keith Carradine, Shelley duvall, production, Altman tends to regard the American cinema critically Michael Murphy, Bert Remsen, and Henry Gibson. and to view the production establishment more as an adversary to be Altman's distinctive style transforms whatever subject he ap- unningly exploited on the way to an almost European ambiguit proaches. He often takes advantage of widescreen compositions in Although Altman has worked consistently within American gen- which the frame is filled with a number of subjects and details that res, his work can instructively be seen as anti-genre: McCabe and compete for the spectators attention. Working with cinematographer Mrs. Miller is a kind of ant Wayne and John Ford)and replacing it with an almost Marxist view use of the zoom lens in the smoky cinematography of Mccabe and of the Westerner as financier, spreading capitalism and corruption Mrs. Miller, the reds, whites, and blues of Nashville: the constantly with opportunism and good cheer. The Long Goodbye sets itself mobile camera, specially mounted, of The Long Goodbye, which opposition to certain aspects of the hard-boiled detective genre, as effortlessly reflects the hazy moral center of the world the film Elliott Gould's Philip Marlowe refects a moral stance decidedly presents; and the pastel prettiness of A Wedding particularly the first

ALTMAN DIRECTORS, 4th EDITION 20 Kroll, Jack, ‘‘Robert Altman Gives Something Back,’’ in Esquire, May 1992. Myers, E., ‘‘Mining McTeague’s Gold,’’ in New York Times, 25 October 1992. Pond, Steve, ‘‘Flushing the Locusts,’’ in Premiere, May 1992. Schiff, Stephen, ‘‘Auteur! Auteur!’’ in Vanity Fair, April 1992. Smith, Gavin, and Richard T. Jameson, ‘‘The Movie You Saw Is the Movie We’re Going to Make,’’ in Film Comment (New York), May/June 1992. Rico, Diana, ‘‘S*M*A*S*H,’’ in Gentleman’s Quarterly, May 1992. Wilmington, Michael, ‘‘Robert Altman and The Player—Laughing and Killing: Death and Hollywood,’’ in Sight and Sound (London), June 1992. Hoberman, J., ‘‘Rerunning for President,’’ in Village Voice (New York), 14 July 1992. Weinraub, B., ‘‘Robert Altman, Very Much a Player Again,’’ in New York Times, 29 July 1993. Henry, B., Gavin Smith, and F. Anthony Macklin, ‘‘Back/Roads to Short Cuts: Faultlines of a Daydream Nation,’’ in Film Comment (New York), September/October 1993. Sugg, Richard, ‘‘The Role of the Writer in The Player,’’ in Literature/ Film Quarterly, no. 1, 1994. Murphy, Kathleen, ‘‘A Lion’s Gate: The Cinema according to Robert Altman,’’ in Film Comment (New York), 1994. Romney, Jonathan, ‘‘In the Time of Earthquakes,’’ in Sight and Sound (London), March 1994. Wollen, Peter, ‘‘Strike a Pose,’’ in Sight and Sound (London), March 1995. Yaffe, D.M., ‘‘He Am What He Am,’’ in Village Voice (New York), 20 August 1996. Wyatt, Justin, ‘‘Economic Constraints/Economic Opportunities: Robert Altman as Auteur,’’ in Velvet Light Trap (Austin), Fall 1996. Golden, Mike, ‘‘A Robert Altman Film?’’ in Creative Screenwriting (Washington), Fall 1997. Combs, R., ‘‘Kansas City,’’ in Film Comment (New York), March/ April 1997. *** The American 1970s may have been dominated by a ‘‘New Wave’’ of younger, auteurist-inspired filmmakers including George Lucas, Peter Bogdanovich, Steven Spielberg, Martin Scorsese, and Francis Ford Coppola, all contemporaries as well as sometime colleagues. It is, however, an outsider to this group, the older Robert Altman—perhaps that decade’s most consistent chronicler of human behavior—who could be characterized as the artistic rebel most committed to an unswerving personal vision. If the generation of whiz kids tends to admire the American cinema as well as its structures of production, Altman tends to regard the American cinema critically and to view the production establishment more as an adversary to be cunningly exploited on the way to an almost European ambiguity. Although Altman has worked consistently within American genres, his work can instructively be seen as anti-genre: McCabe and Mrs. Miller is a kind of anti-western, exposing the myth of the heroic westerner (as described by Robert Warshow and executed by John Wayne and John Ford) and replacing it with an almost Marxist view of the Westerner as financier, spreading capitalism and corruption with opportunism and good cheer. The Long Goodbye sets itself in opposition to certain aspects of the hard-boiled detective genre, as Elliott Gould’s Philip Marlowe reflects a moral stance decidedly more ambiguous than that of Raymond Chandler’s conventional lonely moralist. Similarly, Countdown can be seen in relationship to the science-fiction film; Thieves like Us (based on They Live by Night) in relationship to the bandit-gangster film; That Cold Day in the Park in relationship to the psychological horror film inaugurated by Alfred Hitchcock’s Psycho; and California Split in relationship to that generic phenomenon so common to the 1970s, the ‘‘buddy film.’’ Even Nashville, Altman’s complex bicentennial musical released in 1975, can be seen in relationship to a generic tradition with roots in Grand Hotel and branches in Earthquake, for it is a kind of disaster film about the American dream. Aside from his generic preoccupations, Altman seems especially interested in people. His films characteristically contain perceptive observations, telling exchanges, and moments of crystal clear revelation of human folly. Altman’s comments are made most persuasively in relationship to a grand social organization: that of the upper classes and nouveaux riches in A Wedding; health faddists and, metaphorically, the American political process, in Health; and so forth. Certainly, Altman’s films offer a continuous critique of American society: people are constantly using and exploiting others, though often with the tacit permission of those being exploited. One thinks of the country-western singers’ exploitation by the politician’s P.R. man in Nashville, for instance, or the spinster in That Cold Day in the Park. Violence is often the climax of an Altman film—almost as if the tensions among the characters must ultimately explode. Notable examples include the fiery deaths and subsequent ‘‘surprise ending’’ in A Wedding, or the climactic assassination in Nashville. Another recurring interest for Altman in his preoccupation with the psychopathology of women: one thinks of the subtly encroaching madness of Sandy Dennis’s sexually repressed spinster in That Cold Day in the Park, an underrated, early Altman film; the disturbing instability of Ronee Blakley in Nashville; the relationships among the unbalanced subjects of Three Women, based on one of Altman’s own dreams; and the real/surreal visions of Susannah York in the virtual horror film, Images. Because almost all of Altman’s characters tend to be hypocritical, psychotic, weak, or morally flawed in some way, with very few coming to a happy end, Altman has often been attacked for a kind of trendy cynicism. The director’s cynicism, however, seems a result of his genuine attempt to avoid the conventional myth-making of the American cinema. Altman imbues as many of his characters as possible with that sloppy imperfection associated with human beings as they are, with life as it is lived. Performers enjoy working with Altman in part because he provides them with the freedom to develop their characters and often alter the script through improvisation and collaboration. Like Bergman, Altman has worked often with a stock company of performers who appear in one role after another, among them Elliott Gould, Sally Kellerman, Rene Auberjonois, Keith Carradine, Shelley Duvall, Michael Murphy, Bert Remsen, and Henry Gibson. Altman’s distinctive style transforms whatever subject he approaches. He often takes advantage of widescreen compositions in which the frame is filled with a number of subjects and details that compete for the spectator’s attention. Working with cinematographer Vilmos Zsigmond, he has achieved films that are visually distinguished and tend toward the atmospheric. Especially notable are the use of the zoom lens in the smoky cinematography of McCabe and Mrs. Miller; the reds, whites, and blues of Nashville; the constantly mobile camera, specially mounted, of The Long Goodbye, which so effortlessly reflects the hazy moral center of the world the film presents; and the pastel prettiness of A Wedding, particularly the first

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