Nashville (1975)

Film: Nashville

Director: Robert Altman

Country: USA

Released: June 1975

Runtime: 160 minutes

Genre: Comedy

Studio: ABC / Paramount

Influenced: Lars von Trier, Paul Thomas Anderson, Spike Lee, Wes Anderson, Kelly Reichardt

Nashville is one of many Altman movies with large ensemble casts, from M*A*S*H" (1970) to Short Cuts (1993) and Gosford Park (2001), this time featuring 24 main characters (two more than Short Cuts). Altman masterfully weaves the narratives of each character together, creating a mosaic of interconnected lives, each representing various aspects of American society, including politicians, musicians, reporters, promoters and fans. Nashville is arguably Altman's funniest film and also – to my mind – his crowning achievement. The humour is dark and witty, like when Linnea Reese (Lily Tomlin) is prompted by the sight of the silent Tricycle Man (Jeff Goldblum) to talk about the popularity of low slung bikes since Easy Rider and how there’s a whole ward of pretty young boys paralysed from the waist down because the bikes are so impractical and dangerous. 

Altman's use of overlapping dialogue reached a whole new level in Nashville, creating a sense of naturalism and realism, as conversations unfold simultaneously, reflecting the chaos and complexity of real life. It also allows the audience to catch glimpses of multiple perspectives and storylines, enhancing the film's depth and complexity. Altman's approach to dialogue is so original and daring that at times the improvisation almost threatens to descend into total chaos, such as in the argument scene between John Triplette (Michael Murphy) and Barnett (Allan F. Nicholls) at the political fundraiser near the end of the film, where they clash so intensely that words almost fail them both. The row between Triplette and Barnett represents the collision of two worlds, politics and entertainment respectively, each driven by its own agenda and willing to exploit any opportunity for personal gain.

The use of 24-track recording technology was highly significant in the production of Nashville and contributed to the film's unique style. At the time, 24-track recording technology was relatively new and offered increased flexibility and creative possibilities compared to the previously prevalent 16-track systems. This advancement allowed for the simultaneous recording of multiple audio channels, enabling a greater level of complexity and depth in Nashville's sound design. Altman and sound engineer Jim Webb used the 24-track recording technology to capture the film's musical performances and overlapping dialogue in a realistic and immersive manner.

Given its setting in the country music scene of Nashville, the film features numerous musical performances that form an integral part of the narrative and provide insights into the characters' aspirations, struggles and desires. The original songs composed for the film contribute to its emotional resonance and serve as a commentary on the characters and the society they inhabit. Henry Gibson's performance as Haven Hamilton is one of the film's highlights, playing the character of a self-proclaimed patriot with aplomb, full of grandiose self-importance. All of Nashville's songs were original compositions, including the patriotic numbers Keep a-Goin' and 200 Years performed by Gibson in his over-the-top and satirical style.

Other highlights include Geraldine Chaplin (Charlie's daughter) as a pretend BBC reporter, a cutting satire of the British middle-class who often profess to have liberal values but are actually small-minded and bigoted, as well as the opening traffic jam shot (inspired by Fellini) and Keith Carradine's performances I'm Easy and It Don't Worry Me, the latter a unifying anthem that captures the film's themes of optimism and disillusionment. There are also little moments of comic gold, like the jingles for Goo Goo Cluster at the Grand Ole Opry that point to the rampant commercialism in American society. The film delves into themes of ambition, power and the illusion of the American Dream, revealing the dark underbelly of the entertainment industry and the country's political landscape.