Stephen Farber

  • Altman in Music City

    IN A LEAN YEAR FOR movies, Robert Altman’s Nashville—a rich, tart slice of Americana—has perhaps inevitably been somewhat overrated. Critics have called Nashville the best American movie since Citizen Kane, and Pauline Kael even compared it to Joyce’s Ulysses. The film deserves much of its acclaim, but these inflated comparisons only get in the way of a more rigorous analysis of Altman’s achievement.

    Since his first critical and commercial success, M∗A∗S∗H, Altman has made eight movies, remarkably uneven, sometimes (as in the case of Images) disastrously misconceived, but always enterprising and