The following is from the [London] National Film Theatre’s program guide in December-January 1975-76, introducing a retrospective that I curated. If the valuation that I placed on Altman seems more idealized to me now than it did at the time, the fact that it came shortly after his best run as a filmmaker explains much of my enthusiasm. But my disillusionment with the media support of Altman already began to sour after I described at length the use of sound in a particular sequence from California Split to a BBC-Radio interview, only to discover that the broadcast version blithely substituted a different sequence from the film to illustrate my point, thereby reducing my analysis to gibberish. -– J.R.
While most commercial American streamliners turn all members of an audience into second-class passengers following the same route from an identical vantage point, Robert Altman’s multilinear adventures oblige us to take some initiative in charting out the trip -– supplying one’s own connections, and pursuing one’s own threads and interpretations in order to participate in a game where everyone, on-screen and off, is entitled to a different piece of the action.
Admittedly, this is a somewhat idealized description of an approach that is still in a state of development, and not every Altman film conforms precisely to this model.… Read more »