Robert Altman

Nashville

Nashville

This cornerstone of 1970s American moviemaking from Robert Altman is a panoramic view of the country’s political and cultural landscapes, set in the nation’s music capital. Nashville weaves the stories of twenty-four characters—from country star to wannabe to reporter to waitress—into a cinematic tapestry that is equal parts comedy, tragedy, and musical. Many members of the astonishing cast wrote their own songs and performed them live on location, which lends another layer to the film’s quirky authenticity. Altman’s ability to get to the heart of American life via its eccentric byways was never put to better use than in this grand, rollicking triumph, which barrels forward to an unforgettable conclusion.

Film Info

  • United States
  • 1975
  • 160 minutes
  • Color
  • 2.35:1
  • English
  • Spine #683

Special Features

  • New 2K digital film restoration, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
  • Audio commentary featuring director Robert Altman
  • New documentary on the making of the film, featuring interviews with actors Ronee Blakley, Keith Carradine, Michael Murphy, Allan Nicholls, and Lily Tomlin; screenwriter Joan Tewkesbury; assistant director Alan Rudolph; and Altman’s widow, Kathryn Reed Altman
  • Three archival interviews with Altman
  • Behind-the-scenes footage
  • Demo of Carradine performing his songs from the film
  • Trailer
  • English subtitles for the deaf and hard of hearing
  • PLUS: An essay by critic Molly Haskell

    New cover illustration by Jay Shaw, design by Rob Jones

Purchase Options

Special Features

  • New 2K digital film restoration, with 5.1 surround DTS-HD Master Audio soundtrack on the Blu-ray
  • Audio commentary featuring director Robert Altman
  • New documentary on the making of the film, featuring interviews with actors Ronee Blakley, Keith Carradine, Michael Murphy, Allan Nicholls, and Lily Tomlin; screenwriter Joan Tewkesbury; assistant director Alan Rudolph; and Altman’s widow, Kathryn Reed Altman
  • Three archival interviews with Altman
  • Behind-the-scenes footage
  • Demo of Carradine performing his songs from the film
  • Trailer
  • English subtitles for the deaf and hard of hearing
  • PLUS: An essay by critic Molly Haskell

    New cover illustration by Jay Shaw, design by Rob Jones
Nashville
Cast
David Arkin
Norman
Barbara Baxley
Lady Pearl
Ned Beatty
Delbert Reese
Karen Black
Connie White
Ronee Blakley
Barbara Jean
Timothy Brown
Tommy Brown
Keith Carradine
Tom Frank
Geraldine Chaplin
Opal
Robert DoQui
Wade
Shelley Duvall
L.A. Joan
Allen Garfield
Barnett
Henry Gibson
Haven Hamilton
Scott Glenn
Pfc. Glenn Kelly
Jeff Goldblum
Tricycle man
Barbara Harris
Albuquerque
David Hayward
Kenny Fraiser
Michael Murphy
John Triplette
Allan Nicholls
Bill
Dave Peel
Bud Hamilton
Cristina Raines
Mary
Bert Remsen
Star
Lily Tomlin
Linnea Reese
Gwen Welles
Sueleen Gay
Keenan Wynn
Mr. Green
Thomas Hal Phillips
Hal Phillip Walker
Credits
Director
Robert Altman
Produced by
Robert Altman
Written by
Joan Tewkesbury
Executive producers
Martin Starger
Executive producers
Jerry Weintraub
Director of photography
Paul Lohmann
Sound
Jim Webb
Sound
Chris McLaughlin
Production coordinator
Kelly Marshall
Assistant directors
Tommy Thompson
Assistant directors
Alan Rudolph
Edited by
Sidney Levin, A.C.E.
Edited by
Dennis Hill
Music arranged and supervised by
Richard Baskin

Current

Keith Carradine on Nashville
Keith Carradine on Nashville

Keith Carradine was even more essential to Robert Altman’s Nashville than you may realize.

Nashville: America Singing
Nashville: America Singing

With its dazzling array of characters, acerbic take on American entertainment and politics, and innovative approach to sound, this is the ultimate Robert Altman movie.

By Molly Haskell

Steve James Explores the American Tapestry of Nashville

Under the Influence

Steve James Explores the American Tapestry of Nashville

The veteran documentary filmmaker behind Hoop Dreams and the recently released Abacus: Small Enough to Jail discusses the ways in which Robert Altman’s masterpiece combines epic scope with intimate detail.

Hlynur Pálmason’s Top 10
Hlynur Pálmason’s Top 10

The director of Godland pays tribute to Robert Bresson, Andrei Tarkovsky, Stanley Kubrick, and other filmmakers with an awe-inspiring command of their craft.

The Ross Brothers’ Top 10
The Ross Brothers’ Top 10

The filmmaking duo behind Bloody Nose Empty Pockets share with us the movies they turn to time and again for inspiration.

Karyn Kusama’s Top 10
Karyn Kusama’s Top 10

For her list of favorite Criterion titles, the director of Girlfight and Destroyer celebrates the Hollywood classics, cult pleasures, and art-house masterpieces that inspire her, pairing movies that resonate with each other in style and theme.

Explore

Robert Altman

Director

Robert Altman
Robert Altman

Few directors in recent American film history have gone through as many career ups and downs as Robert Altman did. Following years of television work, the rambunctious midwesterner set out on his own as a feature film director in the late 1950s, but didn’t find his first major success until 1970, with the antiauthoritarian war comedy M*A*S*H. Hoping for another hit just like it, studios hired him in the years that followed, most often receiving difficult, caustic, and subversive revisionist genre films. After the success of 1975’s panoramic American satire Nashville, Altman once again delved into projects that were more challenging, especially the astonishing, complex, Bergman-influenced 3 Women. Thereafter, Altman was out of Hollywood’s good graces, though in the eighties, a decade widely considered his fallow period, he came through with the inventive theater-to-film Nixon monologue Secret Honor and the TV miniseries political satire Tanner ’88. The double punch of The Player and the hugely influential ensemble piece Short Cuts brought him back into the spotlight, and he continued to be prolific in his output into 2006, when his last film, A Prairie Home Companion, was released months before his death at the age of eighty-one.