Brewster McCloud

Following his enormously successful M*A*S*H, Brewster McCloud, with its deliberately faltering beginning and wandering narrative line, took a determinedly different direction. It tells the story of a boy (Bud Cort) who yearns to fly. Hiding out in the Houston Astrodome under the mentorship of a bird woman (Sally Kellerman), he builds a pair of life-size wings. Brewster’s world is disrupted, however, by the arrival of a detective investigating the mystery of several guano-covered corpses. Altman parodies such films as The Birds, Bullitt, and The Wizard of Oz (the Wicked Witch herself, Margaret Hamilton, stars in a minor role), while exploring a young boy’s dreams of freedom and flight in the sociopolitical bounds of Nixon’s America.

Genres: Comedy

Other Films by Robert Altman

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That Cold Day in the Park

THAT COLD DAY IN THE PARK displayed Altman’s iconoclastic fascinations: a sensitivity to schisms within normalcy, a fascination with female subjectivity, and the construction of atmospheres as expressive of psychological states. Sandy Dennis portrays Frances Austen, a young spinster living in a well-appointed apartment in Vancouver, where she listlessly entertains an older suitor and engages

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3 Women

3 Women is often under-appreciated among Altman’s films, yet it remains one of his most fascinating. Shelly Duvall was nominated for the Best Actress award at Cannes for her portrayal of Millie Lammoreaux, a happily, and perhaps purposefully, naïve young woman who meets the shy and introverted Pinky Rose, portrayed by Sissy Spacek. The two

1973, THE LONG GOODBYE

The Long Goodbye

As a tribute to, or perhaps in contempt of, the noir detective story, Altman subverts genre convention by re-imagining the usually hard-boiled character of Philip Marlowe as a nebbish private eye. Elliot Gould plays Marlowe, who digs himself deep into trouble when he decides to investigate the murder of a friend. Based on the book

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Short Cuts

Adapting several short stories by the Pacific Northwest author Raymond Carver and transplanting them to a bristling early-90s Los Angeles, Altman deploys his trademark restless camera coupled with overlapping, densely layered sound to concentrate on the idea of the American family in the Reagan-Bush era while exploring dominant notions of masculinity and marital fidelity.  As