To many film fans and aspiring filmmakers, Robert Altman is an icon in screen storytelling. This month on VOD, Ron Mann’s documentary on the auteur, simply titled “Altman,” is featured for instant viewing.
Eight years ago this week, Altman died at the age of 81 after a well-lived life that included three wives, five children and 87 directing credits consisting of TV, film and theater. Mann co-profiles the director’s life and career with Len Blum, and their effort plays as an act of love from his widow and kids.
“Altman” is told through archival commentary footage of Altman himself, home videos and behind-the-scenes outtakes, clips from his films and TV programs and voice-overs from his family.
In between segments showing his versatile career are short clips of his former collaborators describing what “Altmanesque” means to them.
Altman is remembered for classics like “MASH” (1970), “McCabe & Mrs. Miller” (1972), “Nashville” (1975) “3 Women” (1977), “The Player” (1992), “Short Cuts” (1993) and “Gosford Park” (2001). There was also the experimental, faux-documentary style series “Tanner ‘88,” which garnered much praise.
Mann’s documentary also takes note of Altman’s short periods of flops and underachievement with projects like “Quintet,” “Popeye,” “Health” and “Beyond Therapy.”
Despite his ups and downs creatively and financially, Altman became the archetype director for larger-than-life ensemble storytelling seen in “MASH,” “Nashville” and “Gosford Park.” He also succeeded at intimate character studies such as “3 Women” or “Secret Honor.”
It’s obvious the main point of view for this doc is not only Altman’s prodigious resume, but also his personal experiences with his third wife, Kathryn, and their children. With all the narration from his family, the film is practically their love letter to how they want audiences to view and remember the filmmaker.
Altman’s last feature, the 2006 film “A Prairie Home Companion,” was completed with P.T. Anderson hired as a “stand-by director” to assist the aging director, who was confined to a wheelchair the last few years of his life. Anderson was given comparisons to Altman at the beginning of his career with “Boogie Nights” (1997) and “Magnolia” (1999). Near the end of the documentary, Anderson calls the term Altmanesque “inspiring.”
Robert Altman’s filmography lives on for movie lovers and filmmakers to enjoy and aspire to, with “Altman” just reaffirming it.
mbianco@durangoherald.com. Megan Bianco is a movie reviewer and also contributes other entertainment related features and articles.
