- What The Third Man is to post-WWII Europe, Nashville is to 1970's America. It is the defining film of this country during that era, nevermind the fictional details. Arranged around a confluence of country music performers in Nashville, the film touches upon an incredibly broad set of subjects, political and social alike. Disembodied politicians, race relations, the free love movement, the terrifying specter of assassination, and nothing less than America's changing role in the world on the eve of its 200th birthday, to name a few. And, of course, country music.
- The film contains such a staggeringly large and talented cast that I'll apologize up front for the omissions. Central to the festivities is Haven Hamilton (Henry Gibson), country music's diminutive grand old master who sings patriotic songs and wields plenty of influence. There's also everyone's favorite country diva, Barbara Jean (Ronee Blakley), who would love to give her fans a show once she recovers from this week's headline-grabbing accident. Her rival, Connie White (Karen Black), will do as a substitute in the meantime. Linnea Reese (Lily Tomlin) is a white gospel singer in a black choir, while Tommy Brown (Timothy Brown) is the black lead singer in a good old country band. Folk trio Bill, Mary, and Tom (Allan F. Nicholls, Cristina Raines, and Keith Carradine) are in town to record an album if they can keep the band together long enough, and poor, talentless Sueleen Gay (Gwen Welles) would do, and does, just about anything to get on stage.
- But, as Nashville's brilliant opening credits might say, that's not all! Various family members (Ned Beatty, Barbara Baxley) and/or managers (Allen Garfield) are along for the ride, not to mention plenty of strange hangers-on (Scott Glenn, Keenan Wynn, Robert DoQui, Jeff Goldblum). My favorite secondary character may be Winifred (Barbara Harris) who waits the entire movie for her first at-bat, only to hit one right out of the park. And let's not forget the hilariously clueless BBC reporter Opal (Geraldine Chaplin), visiting Nashville as if on safari, or L.A. Joan (Shelley Duvall), the epitome of self-absorbed West Coast culture. And what's with the only person in town (David Hayward) who doesn't take his instrument out of its case?
- I haven't left myself much room to describe the plot, but thankfully this is a Robert Altman film. Everybody is there, they're all interacting, and it somehow all manages to be absolutely engrossing and wonderful to watch. My favorite scene is probably the one in which three different women assume that the sexually libertine Tom is singing to them. There's nothing said, just watch their faces. The film's settings are unquestionably authentic, the actors all amazing, and the music surprisingly well-performed (Henry Gibson and Keith Carradine clearly could have had alternative careers). The film's overarching tone is a strangely touching mix of comedy and sadness. Is it merely the end of an old way of life, or the end of America itself? One thing is certain: "It's Nashville!"
- And Elliot Gould! And Julie Christie!!
