Robert Altman Study Part 20: California Split & Nashville

I've fallen a bit behind on these, so just brief notes for now...

Probably my favorite of Altman's films, California Split is where the director truly finds his ideal comedic rhythm. Previous films had veered too strongly toward juvenile sneering (M*A*S*H) or scattershot farce (Brewster McCloud), but in this tale of sad sack gamblers the laughs are fully integrated into Altman's spontaneity-embracing style.

Given Altman's own penchant for gambling, the temptation is to assume autobiographical intent in the film. It's there, certainly, though perhaps not in the way one might think. California Split is an analogue for Altman the filmmaker, not the card player or dice roller. As I've mentioned before, his movies are gambles; where he seemed to be happiest was on set, embracing the whim of the moment. How they came together in the end appears to be secondary. It's the same sobering realization that George Segal's Bill has at the end of the film, where he's confronted with the fact that his jackpot doesn't sate his urge to gamble. It's the thrill of the risk that appeals, not the payoff.

Nashville is typically acclaimed as Altman's masterpiece, and it's hard to argue that fact. It's one of the best films ever made about the American psyche, and feels as sadly relevant today as it did in 1975 - maybe more so, as the lines between celebrity and politicians are ever more blurred, especially in the age of a looming Trump presidency, and the desperation for fame is at a fever pitch given the newfound ease of "celebrity" in the modern day. Altman's masterful juggling of a true ensemble cast gives the illusion of being about nothing in particular while making profound points from the accumulation of details. Different things stand out with every viewing; this last time I was more struck than ever by the subtle grace of Lily Tomlin's performance, which is deeply moving without spelling out anything. Her loneliness, intelligence, dedication to family and need for love - but not fantasy, as in her brilliantly mature leave-taking of Keith Carradine's self-loathing rock star shows - are all communicated but never advertised.