Film Review: ‘Altman’

Ron Mann takes the maverick Robert Altman on his own terms — and in his own words — in a stirring, comprehensive tribute doc.

Christine Altman, Kathryn Reed Altman, Robert Reed Altman, Stephen Altman, Paul Thomas Anderson, James Caan, Keith Carradine, Konni Corriere, Elliott Gould, Philip Baker Hall, Sally Kellerman, Lyle Lovett, Julianne Moore, Michael Murphy, Lily Tomlin, Robin Williams, Bruce Willis.

Given the who’s-who of collaborators and acolytes of the late Robert Altman assembled for this feature-length tribute, it would have been all too easy for director Ron Mann to let the film turn into a loose, digressive — indeed, Altmanesque — jamboree of war stories and portable wisdom. But to great, stirring effect, “Altman” charts a different course, drawing on a wealth of existing material to tell the filmmaker’s story largely in his own, brashly eloquent words, and through generous clips from his massive, admittedly uneven, always uncompromising filmography. The result captures Altman the artist and the man, the one inseparable from the other, about as well as any two-hour film could hope to do. The pic makes its broadcast debut on Epix Aug. 6, following its June 20 premiere as part of the UCLA Film and Television Archive’s ongoing Altman retrospective.

Working closely with Altman’s widow, Kathryn, and his frequent producer, Mathew Seig, Mann draws on a treasure trove of archival material (family photos, homemovies, unreleased short films and rare behind-the-scenes footage) to illustrate Altman’s journey from WWII fighter pilot to Kansas City industrial filmmaker and his early flirtations with Hollywood: a co-story credit on the 1948 RKO noir “Bodyguard,” and his 1957 debut feature, “The Delinquents.” The latter film brought Altman to the attention of Alfred Hitchcock, who enlisted the young director for two episodes of his CBS anthology series — the start of a prolific career in episodic television during which Altman honed his craft while chafing at the aesthetic constraints of the advertiser-controlled medium. When Altman drew on his own wartime experience for a shellshock-themed episode of the Vic Morrow “Combat” series, he was fired for his efforts; when Kraft balked at his desire to cast a black actor in an episode of their weekly “Suspense Theatre,” he quit TV altogether.

Altman’s early days in the movie business were scarcely smoother sailing. He was fired by Jack Warner from the editing of his first studio-backed feature, “Countdown” (1967), for one of the very traits — the use of multiple overlapping dialogue tracks — that would go on to become his signature. Then he retreated to Canada for the low-budget indie “That Cold Day in the Park” (1969). But “MASH” (1970) brought him back to Hollywood and bought him the creative freedom to continue making pictures there, on his own terms, for most of the next decade — none of which came close to replicating “MASH’s” box office success. Some of those films have since deservedly entered the canon (“Nashville,” “McCabe & Mrs. Miller”), while others loom as overlooked masterpieces (“The Long Goodbye,” “Thieves Like Us”) and still others (“Health,” “Images”) remains as obscure as on the day they were made. Per the director himself, in one of “Altman’s” most amusing passages, then-20th Century Fox board member Grace Kelly was so aghast at the sight of her friend Paul Newman in Altman’s little-seen 1979 sci-fi allegory “Quintet” that she pressured studio head Alan Ladd Jr. to resign on the spot.

But then, as Altman himself makes clear in the dozens of interviews and public appearances Mann draws on here, he rarely concerned himself with matters of public taste and commercial appeal, making the movies he wanted to make the way he wanted to make them — a free radical whose path only occasionally collided with the zeitgeist over the course of his exceptionally varied six-decade career. That Mann lets Altman himself be our guide proves invaluable, his sly, teasing growl of a voice explaining — in his plainspoken, Midwestern way — his love of actors, large ensembles and improvisation, the halcyon days of American moviemaking in the 1970s, and his indignation at what the studios later came to represent.

When Altman’s own words fall short, voiceover testimonials from Kathryn and sons Robert and Stephen (both longtime members of their dad’s crew) fill in the gaps, as “Altman” takes us through the filmmaker’s lean years in the 1980s (following the implosion of “Popeye”), his self-imposed Parisian exile, and the remarkable comeback that began with the landmark HBO series “Tanner ‘88” and continued apace through “The Player” (1992), “Short Cuts” (1993) and “Gosford Park” (2001). Yes, everyone agrees, Altman put his work first and his family second, at least until his final years, but it is said without any resentment, the old wounds long smoothed over.

Mann also stages original interviews with such close Altman collaborators as Keith Carradine, Elliott Gould, Sally Kellerman and Lily Tomlin, as well as longtime fan Paul Thomas Anderson (who served as Altman’s insurance-dictated “backup” director during the 2006 shooting of “A Prairie Home Companion”). But in a bold formal stroke, he asks each of these subjects — elegantly photographed in medium closeup against a black background by Mann and d.p. Simon Ennis — only a single question: to define, in their own words, the term Altmanesque.

Altman famously likened making films to building castles in the sand (and even named his production company Sandcastle 5). The waves of time, though, have little eroded Altman’s films, and it is the primary accomplishment of “Altman” to simply set them before us once again, side by side and rock solid.

Popular on Variety

Film Review: 'Altman'

Reviewed online, New York, June 18, 2014. Running time: 96 MIN.

Production: (Documentary — Canada) An Epix, the Movie Network and Movie Central presentation of a Sphinx Prods. production. Produced by Ron Mann. Co-producer, Bill Imperial.

Crew: Directed by Ron Mann. Written by Len Blum. Camera (color, HD), Simon Ennis; editor, Robert Kennedy; music, Guido Luciani, Phil Dwyer; music supervisor, Mike Rosnick; art directors, Craig Small, Matthew Badiali; sound designer/supervising sound editor, John Laing; re-recording mixers, Keith Elliott, Lucas Roveda; animation, Craig Small, Matthew Badiali; associate producer, Michael Boyuk.

With: Christine Altman, Kathryn Reed Altman, Robert Reed Altman, Stephen Altman, Paul Thomas Anderson, James Caan, Keith Carradine, Konni Corriere, Elliott Gould, Philip Baker Hall, Sally Kellerman, Lyle Lovett, Julianne Moore, Michael Murphy, Lily Tomlin, Robin Williams, Bruce Willis.

More Film

  • The Girl Who Loved Tom Gordon

    Film News Roundup: Stephen King's 'Girl Who Loved Tom Gordon' Movie in the Works

    In today’s film news roundup, a Stephen King horror movie is in the works, “Downton Abbey” is seeing strong sales and a project about Revolutionary War soldier Deborah Sampson is in development. KING ADAPTATION Stephen King’s “The Girl Who Loved Tom Gordon” has been set up as a movie at George A. Romero’s Sanibel Films, [...]

  • Moviepass

    MoviePass Confirms Security Issue With Customer Records

    MoviePass, the struggling movie ticket subscription service, has confirmed a security issue may have exposed customers’ records. In a statement, MoviePass said Wednesday that the security lapse was recently discovered and its system was immediately secured. Reports of the data breach first surfaced Tuesday through the Tech Crunch site, which alleged that tens of thousands [...]

  • Matthew Modine

    Matthew Modine Accused of Violating Labor Laws With Campaign Videos

    Matthew Modine has been accused by SAG-AFTRA president Gabrielle Carteris of violating federal laws in his campaign to unseat Carteris. The production of three campaign videos for Modine by the for-profit New York Film Academy — on whose board Modine sits — has been blasted by Carteris for alleged violations of federal labor law prohibiting [...]

  • Ready or Not Movie

    'Ready or Not,' 'Angel Has Fallen' Enter Box Office Race

    Three more contenders are joining what has lately been a hostile box office arena. Can anyone emerge from August victorious? Fox Searchlight’s “Ready or Not,” a black comedy about a diabolical game of hide-and-seek, will debut in 2,244 North American theaters on Wednesday. The low-budget film is expected to earn upwards of $6.5 million over [...]

  • Rules Don't Apply

    Warren Beatty and Arnon Milchan Settle Suit Over 'Rules Don't Apply' Flop

    Arnon Milchan and Warren Beatty have settled their two-year legal battle over the disastrous release of “Rules Don’t Apply,” Beatty’s period drama about Howard Hughes. Milchan’s attorneys have filed a notice with the court dismissing his suit against Beatty. Terms of the settlement were not disclosed. Milchan’s company, New Regency, sued Beatty and other investors [...]

  • Brazil's President Jair Bolsonaro attends a

    Bolsonaro LGBTQI Outburst, Subsidy Freeze, Stirs Outrage

    Ramping up the drive into censorship in Brazil, its Minister of Citizenship, Omar Terra, has suspended a call for applications for governmental TV funding – until new criteria are established for its application. The country’s secretary for culture, Henrique Pires, who reports to Terra, has resigned in protest of the incentive freeze. The suspension, for [...]

  • Adam Brody'Ready or Not' film premiere,

    Adam Brody to Executive Produce, Star in 'The Kid Detective'

    “Ready or Not’s” Adam Brody has signed on to star in “The Kid Detective.” Sophie Nelisse will co-star in the dramedy from writer-director Evan Morgan. Brody will star as a once-celebrated kid detective, now 31, who continues to solve the same trivial mysteries between hangovers and bouts of self-pity until a 16-year-old client (Nelisse) brings [...]

More From Our Brands

Access exclusive content