Robert AltÂman has died at 81, leavÂing behind a legaÂcy of ambiÂtious films. After makÂing his mark with MASH in 1970, AltÂman’s career moved along in fits and starts. He would give us The Long GoodÂbye in 1973, Nashville in 1975, unforÂtuÂnateÂly PopÂeye in 1980 (and nothÂing else too remarkÂable durÂing the 1980s), then two career-revivÂing films, The PlayÂer and Short Cuts, in 1992 & 1993, and GosÂford Park in 2001. Despite being a five-time AcadÂeÂmy Award nomÂiÂnee for best direcÂtor, AltÂman nevÂer received an Oscar until this past year, when he received a lifeÂtime achieveÂment award, recÂogÂnizÂing his disÂtincÂtive film-makÂing style. Glimpses into disÂcrete slices of AmerÂiÂcan life (HolÂlyÂwood, the counÂtry music scene, the fashÂion world, etc.), large casts, long improÂvised scenes, comÂplex mosaics of charÂacÂters — these were all tradeÂmarks of AltÂman’s filmÂmakÂing, and what his legaÂcy will call to mind.
AltÂman’s comÂplete filÂmogÂraÂphy
New YorkÂer Review of Nashville (1975)
Here, AltÂman talks about the difÂfiÂculÂties of makÂing MASH
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