Synopsis
Robert Altman--visionary director, hard-partying hedonist, eccentric family man, Hollywood legend--comes roaring to life in this rollicking cinematic biography, told in a chorus of voices that can only be called Altmanesque. His outsized life and unique career are revealed as never before: here are the words of his family and friends, and a few enemies, as well as the agents, writers, crew members, producers, and stars who worked with him, including Meryl Streep, Warren Beatty, Tim Robbins, Julianne Moore, Paul Newman, Julie Christie, Elliott Gould, Martin Scorsese, Robin Williams, Cher, and many others. There is even Altman himself, in the form of his exclusive last interviews. After an all-American boyhood in Kansas City, a stint flying bombers through enemy fire in World War II, and jobs ranging from dog-tattoo entrepreneur to television director, Robert Altman burst onto the scene in 1970 with the movie "M*A*S*H." He revolutionized American filmmaking, and, in a decade, produced masterpieces at an astonishing pace: "McCabe & Mrs. Miller, Thieves Like Us, The Long Goodbye, ""3 Women, "and, of course, "Nashville." Then, after a period of disillusionment with Hollywood--as well as Hollywood's disillusionment with him--he reinvented himself with a bold new set of masterworks: "The Player, Short Cuts, " and "Gosford Park." Finally, just before the release of the last of his nearly forty movies, "A Prairie Home Companion, " he received an honorary Oscar for lifetime achievement from the Academy, which had snubbed him for so many years. Mitchell Zuckoff--who was working with Altman on his memoirs before he died--weaves Altman's final interviews, an incredible cast of voices, and contemporary reviews and news accounts, into a riveting tale of an extraordinary life. Here are page after page of revelations that force us to reevaluate Altman as a man and an artist, and to view his sprawling narratives with large casts, multiple story lines, and overlapping dialogue as unqu
Extrait
M*A*S*H
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M*A*S*H (1970)
Pauline Kael, review inThe New Yorker, January 24, 1970: M*A*S*H is a marvelously unstable comedy, a tough, funny, and sophisticated burlesque of military attitudes that is at the same time a tale of chivalry. It's a sick joke, but it's also generous and romantic—an erratic episodic film, full of the pleasures of the unexpected. . . . It's a modern kid's dream of glory: Holden Caulfield would, I think, approve of [the heroes played by Donald Sutherland and Elliott Gould]. They're great surgeons, athletes, dashing men of the world, sexy, full of noblesse oblige, but ruthless to those with pretensions and lethal to hypocrites. . . . I think M*A*S*H is the best American war comedy since sound came in, and the sanest American movie of recent years.
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From the M*A*S*H theme song, "Suicide Is Painless," lyrics by Michael Altman:
A brave man once requested me,
to answer questions that are key.
Is it to be or not to be?
And I replied, "Oh, why ask me?"
[Refrain] Suicide is painless. It brings on many changes,
and I can take or leave it if I please.
Memo titled "Synopsis of M*A*S*H " from James Denton, director of publicity, Twentieth Century Fox, July 16, 1969: Soon after Hawkeye Pierce (Donald Sutherland), Duke Forrest (Tom Skerritt) and Trapper John McIntyre (Elliott Gould) join the 4077th Mobile Army Surgical Hospital (MASH), Col. Henry Blake (Roger Bowen) ruefully realizes how placid his Korean War command had been before. The three surgeons have two things in common: They are the best in the Far East and they are hell- raising lunatics who make a shambles of army bureaucracy.
Michael Murphy: George Litto was an unsung hero of this movie. As brilliant as Bob was, studios worried about him because he was really an artist and he was rebellious and he wouldn't do it the way they wanted it. That's where George came in.
George Litto: The way it started was my client, Ring Lardner, Jr., was asked to review the book M*A*S*H for The New York Times. You know Ring's story? He was one of the blacklisted guys from the Hollywood 10, a brave guy who went to jail not to name names. I'm not a Communist. If anything I'm a capitalist—if anything I'm a royalist [laughs]. But I was very sympathetic to the fact that the blacklist was unfair. People have the right to disagree, they didn't do anything in my mind illegal; you know, believing in something that's not popular is not a crime. They have their First Amendment right. And they were treated terribly.
Anyway, he called me and said, "George, I think it would make a terrific movie." Well, Ingo Preminger was Ring's agent before me, and we were very friendly, and he was moving into producing. So I called up Ingo, and I said, "Ingo, your ex- client just sent me a terrific book. I read the book and I think it would make a wonderful movie. But one condition: If you like it and you buy it, you've got to hire Ring to write it." He said, "No problem."
Richard Zanuck (studio executive and producer): Ingo Preminger came into my office one day—he had a big literary agency—and he came in and he said, "I've read a book I'd like you to read over the weekend. If you like it I'll sell the agency if you let me produce it." I said, "Jesus, Ingo." He had substantial clients. It was a thriving agency. Ingo was much more civil than his brother Otto, who was an arrogant prick. Well, I read it, and I called him up and I said, "I have your office ready."
George Litto: I had a house in Benedict Canyon. We had a poker game there on Sundays with a lot of people in the industry—writers, directors, producers—and Bob came to the poker game, and at the end of the poker game he said, "George, I read M*A*S*H. I think it's great. Do you think you can get me this movie?" I said, "I don't really think so, but I'm going to try."
So Ingo and Ring wanted to have a meeting. "George, who should direct this movie?" And I said, "Stanley Kubrick." They say, "Yeah, that's a good idea." So I say, "How could you get him? You can't. Or, Bob Altman." And Ring said, "Who's Bob Altman?" Ingo said, "George, we can never get Bob Altman this job." I said, "I'm telling you right now, you want to know who can direct this movie? Stanley Kubrick or Bob Altman. That's all I got to say. You know everybody in town, Ingo. But I'm telling you who can make this a terrific movie."
Ingo says, "George, I can't get him the job." So, dissolve. Ingo and Ring called me up some days later. They said, "George, we got a problem. Practically every meaningful director in Hollywood has turned down the script." Fifteen, sixteen top directors turned it down. I learned later that many directors turned down M*A*S*H because it had a group of characters, but it was a series of vignettes, and they were used to the traditional beginning, middle, and end. You have to have a motor to get you to the middle and a motor to get you to the end. And this series of vignettes didn't seem to have a motor. The way Bob fixed that was brilliant, but that comes later.
So Ingo said, "George, if we go to Fox with another turndown, they're going to cancel this project. We need a director who won't turn us down." I said, "Well, you know Kubrick probably will turn you down." He said, "George, stop being a smart- ass." I said, "But Bob Altman won't turn you down." That was the only lie I ever told Ingo. Because, you know, he did turn it down [laughs].
Ingo Preminger, from "Remembering M*A*S*H: The 30th Anniversary Cast and Crew Reunion": To get rid of George Litto, I went and met his client Robert Altman. And at that time he played a little film for me that dealt with the smoking of pot. It was short, it was sweet, and I loved it. I called Richard Zanuck and said, "We found the guy." He said, "You're crazy."
Richard Zanuck: Ingo said, "Look, this guy has done some talented work. Not much, but good work." That's when we ran the
Cold Day in the Park and something like fifteen episodes of Combat! He came in and we talked about his concept and how he would shoot it and all the rest. It was a gamble 'cause he really hadn't done anything quite like this.
David Brown (producer): We were absolutely bowled over by the book, but not by Altman. Ingo convinced us to go with Altman. Well, we weren't convinced, but we supported the producer.
George Litto: So I call up Bob, I tell him, "You won't believe this, but I got an offer from Ingo Preminger for you to direct M*A*S*H." It was like a hundred and twenty-five thousand dollars and five percent of the picture profits, but Ingo had two other options for more pictures. So that was the deal I made with him. Ingo was a good, smart guy. So Bob agrees and great, fine, I make the deal. Dissolve.
A few days go by. I get a call from Owen McLean, who was head of business affairs for Fox. He said, "George, we got a problem." He said, "Ingo did not have the authority to make a deal with you for Bob Altman. We're canceling that deal unless you agree to our terms." He said seventy-five thousand, flat, no profits. That's it, take it or leave it. I said, "You know, you're a big shit, Owen." He said, "George, are you leaving it? I guess you're leaving it." And you wonder why Bob had such an attitude about studios? I said, "Hey, Owen, I'm just a humble agent. I can only deliver your message. I cannot accept or reject your proposal" [laughs]. He said, "There's not a fucking thing that's humble about you" [laughs].
Richard Zanuck: When I made Jaws with Spielberg, he didn't have points and he had done a lot more work. He got no points and that was much later than Bob. In those days points weren't thrown around unless you were Bob Wise or Willie Wyler or somebody like that.
George Litto: So I called Bob and every profane word you can think of he uttered through the telephone about Owen and Fox, because he had a bad experience there. I don't know if you know this. He was doing a television show with a singer from Philadelphia, Fabian. Yeah, the Bus Stop thing.
So I said, "Bob, do you really want to fuck them?" He said, "Yeah, I'd love to fuck them." I said, "Take the deal." He said, "What?" I said, "Take the deal. You think it'll be a great movie. If it's a great movie, after that I'll get you anything you want. Any picture you want to make. I'll get you the biggest salary in Hollywood. Just take the deal." So I called Owen and I said, "Owen, I got bad news for you. Bob's taking the deal."
Richard Zanuck: When he was gearing up he came in and said, "I want to go scout Korea." I said, "Why? We're not going to Korea. We're going to the studio ranch in Malibu." He said, "This is ridiculous." I said, "Go out and look. I'll show you pictures of mountains in Korea. They match perfectly with what's out at the studio ranch." It was probably more Korea than had we gone to Korea. Nobody knows what Korea looks like, anyway. That's what I said to him and he got very angry.
He said, "We're going to shoot that golf scene in Tokyo." I said, "No we're not. We're going across the street to Rancho Park. There's a golf course. All you have to do is get a couple of Japanese girls and dress them up and they're caddies." One golf course looks like another. Why would we ever do that?
In those exchanges, Bob was a guy who didn't like authority. He was a real rebel. I always felt that underneath that anger there was kind of a playboy. I would see the way he would dress, in the Paris airport, with the hat, the flashy white suit. I think there was a rogue element about that.
George Litto: Now he's doing the picture. He's working with Ingo and Ring. They're doing the rewrite. They're planning the movie and talking to the production department. There's a guy by the name of Doc Berman that's like their executive in charge of physical production. Bob calls me up ...
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