THE LONG GOODBYE

In 1973, director Robert Altman took a swing at bringing the classic noir detective Philip Marlowe to the big screen, and into the 1970s. The Long Goodbye, based on the Raymond Chandler novel of the same name, features Elliott Gould as the iconic gumshoe. Whether or not this outing is a success largely depends on what you’re more a fan of: filmmaking as an art form, or the character of Marlowe himself.

BEYOND THERAPY

Beyond Therapy (1987) is, without a doubt, one of the worst movies I’ve ever seen. I’ve said it, and I stand by it. If you want to know why, feel free to continue reading.

COUNTDOWN

Countdown (1967) opens with a bold, ominous score by Leonard Rosenman that sets a tone like one of those big-budget disaster movies that would dominate the '70s.  Unfortunately, the film doesn’t quite deliver on that tension, and never fully realizes any of the edge-of-your-seat thrill that the opening music promises.

THE DELINQUENTS

The Delinquents marked Robert Altman’s first solo effort as a narrative film director and screenwriter (he’d previously co-directed The James Dean Story, a documentary).  It’s an independent film shot in his hometown of Kansas City, Missouri, and with the exception of the three main male leads, most of the cast is made up of Altman's friends, family, and local actors.

VINCENT AND THEO

Following a string of theatrical successes in the 1970s, many of Robert Altman's films in the 1980s received a more muted critical response.  However, in 1990, he returned to form with Vincent & Theo, a biographical drama centered on the complex relationship between the artist Vincent van Gogh and his brother Theo.  The film earned Altman renewed acclaim.  At its core, Vincent & Theo is a richly textured exploration of two brothers bound by love, obligation, and a shared devotion to art.

THAT COLD DAY IN THE PARK

When That Cold Day in the Park premiered in 1969, it was met with lukewarm, if not outright dismissive, critical reception.  Today, its Rotten Tomatoes score stands at a mild 50%, but I find that judgment sorely lacking.  As Robert Altman’s fourth directorial effort, and his first foray into psychological drama, the film may not reach the heights of his later masterpieces, but it remains a striking and quietly unsettling work that deserves some thoughtful reconsideration.

CALIFORNIA SPLIT

Robert Altman's California Split is another triumph in his unique brand of filmmaking, one that thrives on character over plot and the nuances of human behavior over dramatic story arcs.  Released in 1974, the film is a quintessential example of Altman's improvisational style and his ability to drop viewers into fully realized worlds without conventional exposition.