free ebooks ==> www.ebook777.com free ebooks ==> www.ebook777.com Robert Altman’s Soundtracks free ebooks ==> www.ebook777.com THE OXFORD MUSIC / MEDIA SERIES Daniel Goldmark, Series Editor Tuning In: American Narrative Television Music Ron Rodman Special Sound: The Creation and Legacy of the BBC Radiophonic Workshop Louis Niebur Seeing Through Music: Gender and Modernism in Classic Hollywood Film Scores Peter Franklin An Eye for Music: Popular Music and the Audiovisual Surreal John Richardson Playing Along: Digital Games, YouTube, and Virtual Performance Kiri Miller Sounding the Gallery: Video and the Rise of Art-Music Holly Rogers Composing for the Red Screen: Prokofiev and Soviet Film Kevin Bartig Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema Katherine Spring We’ll Meet Again: Musical Design in the Films of Stanley Kubrick Kate McQuiston Occult Aesthetics: Synchronization in Sound Film K.J Donnelly Sound Play: Video Games and the Musical Imagination William Cheng Sounding American: Hollywood, Opera, and Jazz Jennifer Fleeger Mismatched Women: The Siren’s Song Through the Machine Jennifer Fleeger Robert Altman’s Soundtracks: Film, Music, and Sound from M*A*S*H to A Prairie Home Companion Gayle Sherwood Magee free ebooks ==> www.ebook777.com Robert Altman’s Soundtr acks Film, Music, and Sound from M*A*S*H to A Prairie Home Companion Gayle Sherwood Magee free ebooks ==> www.ebook777.com Oxford University Press is a department of the University of Oxford It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2014 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Library of Congress Cataloging-in-Publication Data Magee, Gayle Sherwood, 1965–, author Robert Altmans soundtracks : film, music, and sound from M*A*S*H to a Prairie home companion / Gayle Sherwood Magee pages cm Includes bibliographical references and index ISBN 978–0–19–991596–5 (hardcover : alk paper) 1. Altman, Robert, 1925–2006—Criticism and interpretation. 2. Motion picture music—United States—History and criticism. I. Title ML2075.M18 2014 781.5′42—dc23 2014008905 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper free ebooks ==> www.ebook777.com CONTENTS List of Figures vii Acknowledgments xi Introduction: Listening to Robert Altman 1. The Sweet Music of Kansas City 2. New Hollywood Song Tracks 36 3. Nostalgia Trips 72 4. A New Hollywood Musical 106 5. Battling the Empire 129 6. The Wilderness 143 7. Indiewood and Improvisation 167 8. The Perfect Servant 189 9. Midwestern Musicals 221 Conclusion: Altmanesque 243 Notes 247 Bibliography 281 Index 285 free ebooks ==> www.ebook777.com free ebooks ==> www.ebook777.com LIST OF FIGURES 1.1 Postcard illustration of the Country Club Plaza in Kansas City, Missouri, from around 1937 The theater in which Altman watched his first films (including King Kong in 1933) is located on the left Author’s collection. 12 1.2 Newspaper illustration promoting blackface performers and radio stars Amos and Andy, who appeared at Kansas City’s Mainstreet Theater Kansas City Star, May 7, 1933, 5D. 17 1.3 Excerpts from Altman’s early songwriting career, with music by Bob Ecton: (a) “Let’s Begin Again”; (b) “Walter Hasn’t Mentioned Me in Weeks,” words and music; and (c) Altman’s extra lyrics for “Walter,” all late 1940s Permission of the Robert Altman Archives, University of Michigan Special Collections, Ann Arbor, Michigan, and the Robert Altman Estate Copyright Sandcastle Productions. 28 1.4 Music and images using a silent film model in Bonanza, “Silent Thunder.” 33 2.1 Excerpts from the original handwritten score and Michael Altman’s note to his father from “Suicide Is Painless,” from M*A*S*H Permission of the Robert Altman Archives, University of Michigan Special Collections, Ann Arbor, Michigan, the Robert Altman Estate, and Michael Altman. 49 2.2 Select hits in “The Last of the Unnatural Acts” in Brewster McCloud on the lines “Look down on your earth,” “all of the heavens,” and “the last of the unnatural acts.” 59 2.3 Select hits from “The Stranger Song” in McCabe and Mrs Miller on the phrase “I told you” (mumbled by McCabe), free ebooks ==> www.ebook777.com “curling up like smoke,” and “just some Joseph looking for a manger.” 67 3.1 The Firestone Voice of the Farm, using Schumann’s “The Happy Farmer.” 87 3.2 The pervasiveness of music, radio, and sound, represented in the backdrop behind Bowie in Thieves Like Us. 88 3.3 A central music/sound/dialogue segment referencing They Live by Night from Thieves Like Us. 89 3.4 The Yazoo bank robbery scene, using Roosevelt’s Second Inaugural Address, in Thieves Like Us with hits on the phrases “problems of a complex civilization,” “blindly selfish men,” and “protect its people.” 91 3.5 A key musical moment in the original version of California Split, altered for the DVD release In the original, Shotwell sings, “There’s nobody there!” followed immediately by Charlie echoing, “There’s nobody there!” The music has been replaced and Charlie’s line lifted in the DVD release. 101 4.1 Concert documentary references in Nashville. 126 5.1 The band Keepin’ ’Em Off the Streets in A Perfect Couple. 135 6.1 Photo of Altman’s production of The Rake’s Progress in Ann Arbor in 1982 Reproduced (with caption) from The Christian Science Monitor, November 22, 1982, 16. 150 6.2 Altman’s “Les Boréades” segment for the film Aria. 153 6.3 Comparison of the opera McTeague’s main characters with those in the film Greed, from the opening credits of the television special The Real McTeague. 160 6.4 The opening flashback in the opera McTeague. 162 8.1 Select hits in “The Land of Might-Have-Been” and “And Her Mother Came Too” in Gosford Park For “The Land of Might-Have-Been,” “King” as Meredith looks up sharply; “queen” as Mabel walks into the frame; and “Love grows never old” as Isabelle looks at Rupert; “whispering” as Renee whispers to Mary; “love” as Parks looks at Mary; and “death” as Parks leaves the room For “And Her Mother Came Too,” “victim” as Meredith looks up; “the girl I love” shows Lavinia on the couch; ‘be alone” as Meredith surprises the servants; [ viii ] List of Figures free ebooks ==> www.ebook777.com several hits on “mother” showing Mrs Wilson; “tea” as Mrs. Wilson offers coffee; “snub” for Countess Trentham; “Sulk” for Sir William McCordle; “and though we’ve parted” as Mrs. Wilson prepares his drink; and the fatal swig. 204 8.2 Comparative transcriptions of “I Can Show You the Starlight” in Gosford Park as played by Jeremy Northam in the film and by Christopher Northam on the commercial soundtrack release. 212 8.3 Sample comparison between Gosford Park and La règle du jeu. 213 8.4 Select hits in “Why Isn’t It You?” in Gosford Park. 215 8.5 Comparison of “The Thought Never Entered My Head” with “That’s Not the Way It’s Meant to Be.” 216 8.6 Excerpt of a draft of lyrics for “That’s Not the Way It’s Meant to Be” from October 1, 2001 Permission of the Robert Altman Archives, University of Michigan Special Collections, Ann Arbor, Michigan, and the Robert Altman Estate. 217 9.1 Cover of Opera News from August 2004 promoting the premiere of Altman, Bolcom, and Weinstein’s A Wedding © Opera News 2004, 2014/Cover photo by Michael Voltattorni. 233 List of Figures [ ix ] free ebooks ==> www.ebook777.com Doherty, Thomas “Vietnam and Film.” In America and the Vietnam War: Re-Examining the Culture and History of a Generation, edited by Andrew Wiest, Mary Kathryn Barbier and Glenn Robins New York: Routledge, 2010 Dorsett, Lyle W The Pendergast Machine New York: Oxford University Press, 1968 Driggs, Frank, and Chuck Haddix Kansas City Jazz from Ragtime to Bebop: A History New York: Oxford University Press, 2005 Ehrlich, George Kansas City: An Architectural History Kansas City, MO: Historic Kansas City Foundation, 1979 Ferrell, Robert H Truman and Pendergast Columbia: University of Missouri Press, 2000 Gabbard, Krin “The Hypertext of Short Cuts: The Jazz in Altman’s Carver Soup.” In Robert Altman: Critical Essays, edited by Rick Armstrong, 20–38 Jefferson, NC: McFarland, 2011 Gabbard, Krin Jammin’ at the Margins: Jazz and the American Cinema Chicago: University of Chicago Press, 1996 Gabbard, Krin “Kansas City Dreamin’: Robert Altman’s Jazz History Lesson.” In Music and Cinema, edited by James Buhler, Caryl Flinn and David Neumeyer, 142–61 Hanover, NH: Wesleyan University Press, 2000 Gerstner, David A and Janet Staiger, eds Authorship and Film AFI Film Readers New York: Routledge, 2003 Gotham, Kevin Fox Race, Real Estate, and Uneven Development: The Kansas City Experience, 1900–2000 Albany: State University of New York Press, 2002 Gottlieb, Robert, ed Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism from 1919 to Now New York: Vintage Books, 1999 Harris, Mark Pictures at a Revolution: Five Movies and the Birth of New Hollywood New York: Penguin, 2008 Higson, Andrew English Heritage, English Cinema: Costume Drama since 1980 New York: Oxford University Press, 2003 Hipsky, Martin A “Anglophil(m)ia: Why Does America Watch Merchant-Ivory Movies?” Journal of Popular Film and Television 22, no (Fall 1994): 98–107 Hooker, Richard Mash: A Novel about Three Army Doctors New York: William Morrow, 1968 Hughes, James “It’s Okay with Me: The Stop Smiling Interview with Robert Altman.” Stop Smiling: The Auteur Issue 21 (November 2006) Accessed January 12, 2013 http://stopsmilingonline.com/story_print.php?id=705 Hunt, Mary Ellen “The Company [Film Review].” Ballet-Dance Magazine, January 2004 Accessed January 17, 2013 http://www.ballet-dance.com/200402/articles/ companymovie.html Kaplan, Mike, John Dorr, and Robert Altman Luck, Trust & Ketchup: The Making of Short Cuts [S.l.]: New Line Home Video, 1995 Kass, Judith M Robert Altman: American Innovator New York: Popular Library, 1978 Keyssar, Helene Robert Altman’s America Oxford: Oxford University Press, 1991 Kolker, Robert A Cinema of Loneliness, 4th edition New York: Oxford University Press, 2011 Krämer, Peter The New Hollywood: From “Bonnie and Clyde to Star Wars”: London: Wallflower Books, 2005 Larsen, Lawrence H., and Nancy J. Hulston Pendergast! Columbia: University of Missouri Press, 1997 Lewis, Jon, ed The New American Cinema Durham, NC: Duke University Press, 1998 [ 282 ] Bibliography free ebooks ==> www.ebook777.com Loviglio, Jason Radio’s Intimate Public: Network Broadcasting and Mass-Mediated Democracy Minneapolis: University of Minnesota Press, 2005 Magee, Gayle “Robert Altman and the New Hollywood Musical.” In The Sound of Musicals, edited by Steven Cohan, 152–63 London: British Film Institute, 2010 Maltby, Richard “The Production Code and the Hays Office.” In Grand Design: Hollywood as a Modern Business Enterprise, 1930–1939, edited by Tino Balio Berkeley: University of California Press, 1996 Marchetti, Gina Romance and the “Yellow Peril”; Race, Sex, and Discursive Strategies in Hollywood Fiction Berkeley: University of California Press, 1993 McCullough, David Truman New York: Simon and Schuster, 1992 McGilligan, Patrick Robert Altman: Jumping Off the Cliff New York: St Martin’s Press, 1989 Miller, Richard Lawrence Truman: The Rise to Power New York: McGraw Hill, 1986 Morton, Ray “King Kong”; The History of a Movie Icon from Fay Wray to Peter Jackson New York: Hal Leonard, 2005 Ness, Richard R “ ‘Doing Some Replacin’.” In Robert Altman: Critical Essays, edited by Rick Armstrong Jefferson, NC: McFarland, 2011 Newman, Michael Z Indie: An American Film Culture New York: Columbia University Press, 2011 Perren, Alisa “Sex, Lies and Marketing: Miramax and the Development of the Quality Indie Blockbuster.” Film Quarterly 55, no (Winter 2001): 30–39 Platte, Nathan “Musical Collaboration in the Films of David O. Selznick, 1932–1957.” PhD diss., University of Michigan, 2010 Powrie, Phil and Robynn Stilwell, eds Changing Tunes: The Use of Pre-Existing Music in Film Aldershot: Ashgate, 2006 Quart, Leonard “Altman’s Metaphoric America.” Film and History 7, no (September 1977): 59–63 Rickey, Carrie “Fassbinder and Altman: Approaches to Filmmaking.” Performing Arts Journal 2, no (Autumn 1977): 33–48 Rosenbaum, Jonathan “Doing the California Split.” Stop Smiling: The Gambling Issue 35 Accessed on June 22, 2008 http://stopsmilingonline.com/story_detail. php?id=1099 Russell, Ross Jazz Style in Kansas City and the Southwest Berkeley: University of California Press, 1971 Schamus, James “To the Rear of the Back End: The Economics of Independent Cinema.” In Contemporary Hollywood Cinema, edited by Steve Neale and Murray Smith New York: Routledge, 1998 Schatz, Thomas “The New Hollywood.” In Film Theory Goes to the Movies, edited by Jim Collins, Hilary Radner, and Ava Preacher Collins New York: Routledge, 1993 Schirmer, Sherry Lamb A City Divided: The Racial Landscape of Kansas City, 1900–1960 Columbia: University of Missouri Press, 2002 Schultze, Quentin James, and Roy M. Anker, et al Dancing in the Dark: Youth, Popular Culture, and The Electronic Media Grand Rapids, MI: Wm B. Eerdmans, 1991 Schumacher, Michael Francis Ford Coppola: A Filmmaker’s Life New York: Crown Publishers, 1999 Self, Robert T “Art and Performance.” In Robert Altman: Critical Essays, edited by Rick Armstrong Jefferson, NC: McFarland, 2011 Self, Robert T Robert Altman’s “McCabe and Mrs Miller”: Reframing the American West Lawrence: University of Kansas Press, 2007 Bibliography [ 283 ] free ebooks ==> www.ebook777.com Self, Robert T “Resisting Reality: Acting by Design in Altman’s Nashville.” In More Than a Method, edited by Cynthia Baron, Diane Carson, and Frank P. Tomasulo Detroit: Wayne State University Press, 2004 Self, Robert T “Robert Altman.” Senses of Cinema 35 (2005) http://www.sensesofcin ema.com/contents/directors/05/altman.html Self, Robert T “Robert Altman and the Theory of Authorship.” Cinema Journal 25, no (Autumn 1985): 3–11 Self, Robert T Subliminal Reality Commerce and Mass Culture Series Minneapolis: University of Minnesota Press, 2002 Smith, Jeff The Sounds of Commerce: Marketing Popular Film Music New York: Columbia University Press, 1998 Stilwell, Robynn J Sense and Sensibility Form, Genre, and Function in the Film Score.” Acta Musicologica 72, no (2000): 219–40 Stuart, Jan The “Nashville” Chronicles: The Making of Robert Altman’s Masterpiece New York: Simon and Schuster, 2000 Wexman, Virginia Wright Robert Altman: A Guide to References and Resources Boston: C.K Hall, 1984 Whitehead, J. W Appraising “The Graduate”: The Mike Nichols Classic and Its Impact in Hollywood Jefferson, NC: McFarland, 2011 Wierzbicki, James Film Music: A History New York: Routledge, 2009 Wikstrom, Patrik The Music Industry: Music in the Cloud London: Polity, 2009 Wyatt, Justin “The Formation of the ‘Major Independent.’ ” In Contemporary Hollywood Cinema, edited by Steve Neale and Murray Smith New York: Routledge, 1998 Yacowar, Maurice “Actors as Conventions in the Films of Robert Altman.” Cinema Journal 20 (Fall 1980): 14–28 Zuckoff, Mitchell Robert Altman: The Oral Biography New York: Alfred A. Knopf, 2009 [ 284 ] Bibliography free ebooks ==> www.ebook777.com INDEX Page numbers in bold indicate illustrations ABBA: The Movie, 134 ABC (American Broadcasting Company), 41, 117, 118, 188, 264n46 Academy Awards (“Oscars”), 40, 132, 133, 159, 168, 180, 181, 184, 221, 242, 264n3, 272n41, 276n1 Altman’s honorary Oscar, 238, 241, 242, 269n52 music categories, 37, 72, 118, 122–3, 125, 129, 269n52 nominations and win for Nashville, 118, 122–3, 125, 129, 269n52 Adams, John, 267n17 Adler, Lou, 55, 58, 60, 71 Afterglow, 188 Air Force See Altman, Robert Bernard: service in World War II Allen, Woody, 134, 259n8 Altman, Barbara (sister), Altman, Bernard Clement (“BC,” father), 9–11 Altman, Frank G., Sr (grandfather), 9, 11, 248n3 Altman, Helen (mother), 9, 10, 15, 17, 18 Altman, Joan (sister), 9–10, 17 Altman, Kathryn Reed (wife), 182, 222, 236 Altman, Michael (or Mike) (son), 36, 45, 48, 49 Altman, Nettie (grandmother), 9–10 Altman, Rick, 5–7, 106–7, 110–1, 114, 126 Altman, Robert Bernard See also individual film, opera, television series, and theater titles as auteur, 2–5, 54, 70, 151, 157, 168–70, 179, 191–2, 211, 223, 240–1, 244 childhood, 8–26, 71, 222, 236 family, 9–11, 15, 17, 18, 36, 45, 48, 49, 182, 222, 236, 248n3 (see also individual entries) health problems, illnesses and death, 180, 181–2, 222, 231, 239–40, 241, 243, 270n52, 272n43, 279n53 and jazz, 6, 17–21, 26, 50–2, 71, 75, 81, 105, 172–4, 182, 186–7, 242–3, 252n48, 253n61 musical training, 27, 147, 235, 267n20 and overlapping dialogue, 1, 18, 23, 34, 54, 114, 126, 211, 234, 244, 258n46 and radio, 2, 8, 15–26, 50, 53, 71, 75, 82–92, 105, 172, 209, 222, 236, 241, 254nn76-7 (see also Corwin, Norman; and radio) service in World War II, 26–7, 254n77, 254n89 as songwriter, 2, 26–31, 28–31, 111, 217, 217, 231, 254n87, 255n97, 267n2 work in opera and theater, 1, 7, 144–66, 150, 153, 160, 162–3, 168, 221–2, 231–6, 233, 244–5, 267n17, 267n20, 268n31, 268n34 work in television, 1–2, 7, 26–7, 32–5, 33, 40–1, 61–2, 70, 72, 128, 144, 146, 160, 165–6, 171, 176, 188, 192, 221, 223, 245, 254n87, 264n64 free ebooks ==> www.ebook777.com Altman, Stephen (son), 169, 180 Amadeus, 157 amateur musical performances, 41, 53–4, 61, 70, 99–100, 130–1, 136, 139, 142, 199, 244 (see also individual film and television series titles) American Ballet Theater, 224, 228 Amos and Andy, 16–7, 17, 21, 188, 189, 252n44, 273n56 Anderson, Edward, 82 Anderson, John, 143, 255n97, 267n3 Anderson, Paul Thomas, 168, 192, 240– 1, 243, 244, 247n2 on Altman and music, 1–2, 82 Ann Arbor, MI, 145–6, 148, 224, 267n17 Apollo 13, 255n103 Aria, 146, 152–7, 153–5, 159, 161, 165 Armour Hills, 10, 18, 249n9 Armstrong, Louis, 183 Arpino, Gerald, 227–9, 277n13, 277n17, 278n24 Astaire, Fred, 125 At Long Last Love, 110, 139 Atlas, Jacoba, 51 Auberjonois, René, 61 Auden, W.H., 150 Austen, Jane, 197, 199, 274n27 Axton, Hoyt, 124 Ayers, Roy, 52 Bacall, Lauren, 180 Balaban, Bob, 192–4, 200, 222 Bancroft, Anne, 38 barbiere di Siviglia, Il (The Barber of Seville), 157 Barhydt, Frank, 169 Barry Lyndon, 129 Basie, William James (“Count”), 19–20, 22, 185, 253n61, 253n63 Basinger, Kim, 181, 272n40 Baskin, Richard, 7, 106–8, 111–17, 119, 120, 122–5, 130, 263n42 Baxley, Barbara, 115 Beatles, The, 39 Beatty, Warren (as John McCabe in McCabe and Mrs Miller), 55, 64–68, 67 (see also Bonnie and Clyde) Bee Gees, 133 [ 286 ] Index Belafonte, Harry, 18, 182, 188, 189, 222, 273n56 Benton, Robert, 132 Beresford, Bruce, 165 Bergman, Ingmar, 72, 131, 148, 268n21 Berlin, Irving, 108, 257n34 Berliner, Paul, 20 Bernstein, Leonard, 183 Bernstein, Steve, 185 Best in Show, 192 Better Films Council of Greater Kansas City, 15 Beyond Therapy, 144 Bicentennial, 106, 264n4 Big Sleep, The, 75 Birth of a Nation, The, 9, 14 Black, Karen, 108, 113–5, 116, 123, 124–5, 264n61 Black and Blue, 183, 272n47 blackface See minstrelsy Blair Witch Project, The, 191 Blakley, Ronee, 116–7, 129, 263n36 musical experience prior to Nashville, 115–6, 122, 124–5, 239, 262n32, 263n33, 263n60 songs used in Nashville, 108, 112–3, 116–7, 120–3 Blanchard, Terence, 183 Blue Gardenia, The, 76 Bogart, Humphrey, 75 Bogdanovich, Peter, 73, 110, 139 Bolcom, William, 147, 267n20, 269n50 collaboration with Altman on McTeague, 7, 146, 158–65, 162–3 collaboration with Altman on A Wedding (opera), 7, 146, 222, 231–6, 233, 270n62 Bonanza, 2, 32, 33, 62, 254n87 Bono (aka Paul David Hewson), 178 Bonnie and Clyde, 2, 36, 73–4, 82–3, 255n108 Boogie Nights, 240, 243–4 Bordwell, David, Boréades, Les See Aria Bouton, Jim (as Terry Lennox in The Long Goodbye), 75–6, 81, 82 Boyd, Joe, 68–9 Boylan, Paul, 147, 148, 268n20 Brahms, Johannes, 244 free ebooks ==> www.ebook777.com Branagh, Kenneth, 189, 272n34 Brewster McCloud, 7, 54–61, 59, 63, 70, 71, 72, 192, 241, 258n51, 259n54 Bridges of Madison County, The, 184 Brookside Theater, 12–13 Brown, David, 169 Brown, Timothy, 115, 117, 257n21 Buchanan, Elsie (or Elsa), 218 Buffalo Bill and the Indians, or Sitting Bull's History Lesson, 130–1, 245, 264n4 Burnett, Carol, 233 Busby, Gerard, 133 Buscemi, Steve, 222 Busey, Gary, 113, 115, 118 Bushnell, Scotty, 132 Butch Cassidy and the Sundance Kid, 62 Caan, James, 33–4 Cabaret, 231 cable television See television Cadfael, 200 Caine Mutiny Court-Martial, The, 238 Cahiers du Cinéma, California Split, 7, 54, 73–5, 105, 106, 132, 171, 172, 173, 241, 262nn28–36 soundtrack of the theatrical version compared to DVD release, 92–104, 101, 223, 245, 260n25, 261n27 Calloway, Cab, 21 Calvin Company, The, 27, 30 Campbell, Neve, 223–4, 228–30, 277n9, 278n24 Campion, Jane, 180 Canby, Vincent, 100, 261n28, 261n7 Cannes Film Festival, 35, 54, 72, 133, 159, 180, 191 Cape of Good Hope, 243 Carnegie Hall, 109 Carradine, Keith, 69, 279n54 as Bowie in Thieves Like Us, 83–92, 87, 88, 89, 91, 111 as Tom Frank in Nashville, 106, 108, 111–13, 115–21, 123, 129, 262n32, 263n33, 269n52 Carter, James, 183 Carter, Ron, 184, 186 Carver, Raymond, 169, 172–5, 177, 178–9, 223, 248n19, 271n16, 271n19, 271n21, 272n34 Catch-22, 40, 53 Catholic League of Decency, 16 CBS (Columbia Broadcasting System), 21, 22, 41 CD recordings See recordings, music Champlin, Charles, 75, 82, 255n105, 259n9 Chandler, Raymond, 74–5 Chaplin, Geraldine, 130, 131 Charles, Ray, 70 Charlie Chan films, 193–4, 200, 214, 218, 220 Cher, 144, 170, 267n10 Chéreau, Patrice, 165 Chestnut, Cyrus, 183, 185 Chicago, 231, 239 Chicago, IL, 7, 18, 35, 42, 146, 158, 165, 222–4, 227–8, 230–2, 239, 278n24 Chinatown, 73 Chitty Chitty Bang Bang, 37 Chopin, Frédéric, 198 Christie, Agatha, 192, 214 Christie, Julie (as Mrs Miller in McCabe and Mrs Miller), 64–66, 68, 69 Ciby 2000, 180 Cineplex, 167, 184, 200 Clapton, Eric, 110 Clayton, Merry, 56–9, 61, 259n54 Client, The, 189 Clooney, George, 236 Close, Glenn, 190 Close Encounters of the Third Kind, 132, 133, 192 Coen Brothers, 236 Cohen, Leonard, 48, 63–71, 178, 259nn62–4 Colbert, Claudette, 201 Columbia Pictures, 92–3, 103–4, 197, 223, 260n23 Columbia Records, 68–9, 187, 273n54 Combat!, 32–33, 41–2, 44, 51, 255n101, 256n13 Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (Film), 145 Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (Play), 144–5, 149, 268n31 Index [ 287 ] free ebooks ==> www.ebook777.com Company, The, 1, 7, 168, 221–22, 223–36, 237, 240, 241, 245, 276n2, 277nn17–8, 278n24 Connick, Harry, Jr., 183 Cookie's Fortune, 168, 190–1, 235, 241 Cool Hand Luke, 36 Coppola, Francis Ford, 2, 3, 144, 148–49 Corelli, Lotus, 27 Corn’s-A-Poppin’, 31–2, 239 Correll, Charles See Amos and Andy Corriere, Konni, 279n53 Cort, Bud (as Brewster McCloud), 55, 58–61 Corwin, Norman, 22–5, 253n68, 253n72, 254n76 Costello, Elvis, 175, 178 Coughlin, Father, 92 Countdown, 33–4, 36, 40, 189–90, 255n103 Country Club Plaza, 8, 10–3, 12, 250nn19–20 Crash, 243 Creedence Clearwater Revival, 136 Criterion, 222 Cronenberg, David, 244 Crosby, Bing, 125 Dahl, Roald, 194, 274n17 dance, 17, 20, 21, 50, 61, 99, 120, 133, 136, 139, 147, 150, 151, 183, 221, 223–31, 242, 277n17 (see also Company, The) Dance, Helen Oakley, 19 Darst, Danny, 267n3 Davis, Miles, 184 De Laurentiis, Dino, 131 De Lory, Al, 52 Dead Again, 200 Demme, Jonathan, 165 Dennis, Sandy, 144–5 Dennison, Dale, 44 Denver, John, 109 Desrosiers, Robert, 229–30 Dick Van Dyke Show, The, 117 Disney, 131, 141, 142, 167, 168, 192, 231, 245 Doctor Zhivago, 37 Doctorow, E.L., 131 Dog Day Afternoon, 129 Don Giovanni, 148 [ 288 ] Index Doobie Brothers, The, 136 Dooley, Paul (as Alex Theodopoulos in A Perfect Couple), 134, 137, 265n17 DoQui, Robert, 130 Dotort, David, 254n87 Doyle, Abigail, 217, 217 Doyle, Patrick, 217, 217 Dr. T and the Women, 168, 171, 191, 240 Dreamgirls, 239 Dutton, Charles S., 190 Duvall, Robert, 33, 189 Duvall, Shelley, 55, 130, 133, 139 as Keechie in Thieves Like Us, 83–7, 87, 88 Dvořák, Antonín, 85, 177 Dylan, Bob, 48 Easter Parade, 53 Easy Rider, 2, 36, 38 Ebert, Roger, 35, 129, 133, 137, 140–1, 226, 264n1, 265n13 Ecton, Bob, 27–30, 28–30, 231, 267n2 Eddy, Nelson, 139 Edge, The (aka David Evans), 178 Eggenweiler, Robert, 132, 265n11 Ellington, Duke, 18–9, 137, 178, 183, 186 Ellis, Vivian, 214 Emma, 200 English Patient, The, 200 Evans, Bill, 52 Farinelli, 157 Farrow, Mia, 233 Fassbinder, Rainer Werner, 69–70 Felder, Jerome Solon See Pomus, Doc Fellowes, Julian, 193–4, 201, 269n52, 276n59, 276n1 film noir, 32, 74–6, 81, 82, 92, 189, 241, 259n6 Fine Line, 156, 168, 170, 180, 245 Firm, The, 189 flashbacks, 74, 145, 147, 149, 152, 161–4, 162–3, 234, 244 flashed film in McCabe and Mrs Miller and The Long Goodbye, 76 Fledermaus, Die, 213 Fonda, Bridget, 156 For a Few Dollars More, 62 Ford, John, free ebooks ==> www.ebook777.com forty-five rpm recordings See recordings, music Forman, Miloš, 129, 131, 157 Foster, Stephen, 99 Four Weddings and a Funeral, 200 Fox, Twentieth-Century, 41, 42, 52, 124, 131, 132, 142, 188, 194, 219, 223 Frakes, Jonathan, 267n6 Franco, James, 229 Frears, Stephen, 240 Friedkin, William, 165 Funny Girl, 37 Fly, The, 244 Gabbard, Krin, 6, 18, 19, 173–5, 252n48 Gallagher, Tess, 169, 174, 179, 270n8 Gallo, Paul, 145 Grabo, Greta, 202 George, George W., 32 Gershwin, George, 108 Gerstner, David A., 1, 3–4 Get Shorty, 184 Ghost, 169 Gibb, Barry, 133 Gibson, Henry, 108, 112–8, 120–1, 123 Gingerbread Man, The, 168, 189–90, 221, 245 Gish, Lillian, 233 Godard, Jean-Luc, 152 Godfather, The, film series, 73, 149 Goldmark, Daniel, Goldweber, Mark, 231 Good, the Bad and the Ugly, The, 62 Goodman, Alice, 267n17 Goodman, Benny, 183 Gosden, Freeman See Amos and Andy Gosford Park, 1, 7, 171, 192–222, 204–8, 212–3, 215–7, 234, 240, 241, 265n17, 274n35, 275nn39–42, 276n59, 276n63, 276n1 and the British heritage film genre, 192–3, 196–9, 204–5, 207–9 copyright challenges and music substitution in, 214–7, 217, 237, 276n57 decision to use Ivor Novello’s songs, 193–4, 196 live musical performances in, 171, 193, 196, 204, 211–2, 212, 219–20 success of, 129, 168, 192, 204–5, 221, 269n52, 276n1 Gottschalk, Louis Moreau, 151 Gould, Elliott, 55, 93, 222, 223, 260n20, 261n30, 277n8 as Charlie in California Split, 92–103, 101 as Philip Marlowe in The Long Goodbye, 75–82, 259n9 Graduate, The, 2, 5, 36–40, 42, 48, 63, 70–1, 255n2, 256n7 Gramercy Pictures, 168 Grand Hotel, 261n3 Grand Ole Opry, 238, 279n46 Grant, Hugh, 197, 198 Gravenor, Robert, 139 Grease, 133–4, 138 Great Day in Harlem, A, 184 Great Gatsby, The, 73 Great Gottschalk!, 151 Great Performances, 158, 183 Greed, 158–61, 160, 165 Greenberg, Richard, 231 Grier, David Alan, 267n6 Grisham, John, 189 Grossbach, Robert, 222 Guillaume Tell (William Tell), 157 Gun, 188 Hair, 125 Hairspray, 239 Hall, Philip Baker, 146 Hamilton, Margaret (as Daphne Heap in Brewster McCloud), 60–1 Hammond, John, 22, 253n63 Hancock, Herbie, 184 Hands on a Hard Body, 279n54 Handy, Craig, 185 Hang ’Em High, 62 Happy Endings, 243 Harkness, Rebekah, 226 Harrelson, Woody, 239 Harris, Barbara, 113, 115, 119, 120–2 Harry Potter films, 199–200 Hassan, Ahmed, 230 Hawkins, Coleman, 185 Hayden, Sterling, 75 “He Needs Me,” 240, 244 HealtH, 131–2, 143, 189, 267n2 Index [ 289 ] free ebooks ==> www.ebook777.com Heflin, Marta (as Sheila Shea in A Perfect Couple), 134, 135, 137–8, 182 Heinz, W.C., 42 Hell Is for Heroes, 41 Henderson, Fletcher, 253n63 Hendricks, Jon, 178 Henry V, 200 Heppner, Ben, 164 Herbert, Victor, 177 Herzog, Werner, 70, 165 High Fidelity, 240 Hill, George Roy, 32, 73 Hitchcock, Alfred, 16, 54, 72, 169, 194, 197 Hoffman, Dustin (as Ben Braddock in The Graduate), 37–8, 63 Hoffman, Philip Seymour, 222 Hogan’s Heroes, 41 Hogarth, William, 148 Hollywood Reporter, 35, 272n41 Holmes, Sherlock, 214 Hooker, Richard, 42 (see also Hornberger, H. Richard) Hornberger, H. Richard, 41–4, 256n14 Horse Whisperer, The, 200 House that Jack Built, The, 214–5 Howard, Ron, 255n103 Howards End, 192, 274n35 Hurley, Elizabeth, 156 Images, 55, 72, 172, 259nn1–2 improvisation, 1, 20, 39, 50, 53–4, 61, 70–1, 82, 93, 99, 102–3, 107, 120, 128, 159, 163–4, 168–9, 173, 176–7, 180–1, 186, 188, 238, 244, 261n33 independent film making, 2, 26–7, 31, 34, 36, 133, 141–2, 148, 151, 156–8, 166–8, 179, 189–93, 200, 204, 230, 235–6, 240, 244–5 (see also Indiewood and New Hollywood) Indian Hills Country Club, 11, 249n14 Indiewood, 2, 167–92, 196, 200, 232, 241, 245 (see also Fine Line, Gramercy Pictures, Miramax, major independents and mini majors, New Line, Paramount Vantage, Samuel Goldwyn Company, Sony Pictures Classics) industrial films, 27, 30 [ 290 ] Index Isham, Mark, 176–7 Ivory, James, 168, 192, 197 Jamal, Ahmad, 52 James Dean Story, The, 32 Jarman, Derek, 152, 156 Jarre, Maurice, 37 Jaws, 32, 128, 130, 132, 264n3 jazz See Altman, Robert Bernard: and jazz; California Split; Gabbard, Krin; Kansas City; Long Goodbye, The; and Short Cuts Jazz at Lincoln Center, 183 Jesus Christ, Superstar, 125 Jhabvala, Ruth Prawer, 192 Joffrey Ballet, 223–31, 277n11, 277n13, 277nn16–20, 278n24 John, Dr. (aka Malcolm John “Mac” Rebennack, Jr.), 175, 178 John, Elton, 110 Johnson, James Weldon, 61 Johnson, John Rosamond, 61 Jones, Quincy, 184 Jolson, Al, 16, 78, 252n43 Jones, Tom, 109 Junior League, 15 Kael, Pauline, 106–7, 259n9, 261n7 Kalinak, Kathryn, Kallman, Chester, 150 Kansas City, 1, 6, 104, 168, 172, 180–9, 211, 222, 236, 241–2, 252n48, 272n43, 279n53 “Kansas City” (song by Leiber and Stoller), 96, 100 Kansas City Life, 10–11, 249nn13–14, 249n16 Kansas City, MO, 27, 30, 144, 252n55 Altman’s childhood in, 2, 8–22, 12, 249nn13–14, 250n37, 251n39, 252nn43–44 filming of Kansas City in, 181, 185 and jazz, 16–22, 79, 185–6, 187, 188, 252n48, 253n63 Kansas City Star, 13, 15–7, 17, 181, 248n3, 249nn9–10, 252nn43–44 Kaquitts, Frank, 131 Keepin’ ‘Em Off the Streets, 135–8 Keillor, Garrison, 21, 221–2, 236–9, 243, 279n39, 279n41, 279n46 free ebooks ==> www.ebook777.com Keitel, Harvey, 131 Kellerman, Sally, 55, 180 as Margaret “Hot Lips” Houlihan in M*A*S*H, 43–4, 47, 51 Kelly’s Heroes, 40 Kennedy, John F., 260n19 Kennedy, Robert F., 36, 260n19 Keyssar, Helen, 54 King, Martin Luther, Jr., 36, 260n19 King Kong, vii, 8, 12, 13–4, 16, 17, 21, 37–8, 63, 250n28, 250n30, 251n39 Killarmy, 52 Kline, Kevin, 239 Kolker, Robert, 4, 7, 34, 54, 81, 87, 130, 175, 182, 190, 255n103, 258n46, 259n56, 259n13, 265n8, 273n5, 280n3 Konchalovsky, Andrei, 165 Kovács, Lásló, 34–5 Kraft Mystery Theater, 32, 255n102 Krainik, Ardis, 158–9 Kubrick, Stanley, 4, 37, 129, 255n2 Kuper, Yuri, 159 Lady in the Lake, 75 Lambert, Hendricks and Ross, 175 Lancaster, Burt, 131 Lang, John, 230 Lardner, Ring., Jr., 39, 43–4, 257n29, 270n52 Late Show, The, 132 Leaving Las Vegas, 184 Lee, Ang, 197 Lee, Peggy, 175 Leigh, Jennifer Jason, 177, 223 as Blondie O’Hara in Kansas City, 181, 186–7 Levy, David, 182, 193 Ligeti, György, 37 Lincoln Theater, 21, 253n61 Lion’s Gate, 103, 132, 143 Lipton, Peggy, 58 Little Big Man, 62 live musical performances, 1, 4, 6, 32, 37, 45, 48, 50, 53, 61, 133, 146–7, 151, 157, 165, 171, 183–4, 198 in California Split, 93, 99–102, 173 in Gosford Park, 193–4, 198, 202–3, 204, 211–2, 214, 219–21, 227–9 in Kansas City, 172, 181, 182, 184–8, 211, 222 in Nashville, 110, 114, 117–21, 126, 131, 133–4 in A Perfect Couple, 134–9, 135, 171, 181, 181, 188, 221, 224, 276n2 in A Prairie Home Companion, 236–42 in Short Cuts, 171–9, 184–5, 264n4, 276n2 See also amateur musical performances Lodger, The, 194 Lohan, Lindsay, 239 Lombardo, Louis, 101, 132 Long Goodbye, The, 7, 72–82, 105, 132, 137, 171, 172, 229, 241 “Long Goodbye, The,” (Williams and Mercer song), 72, 76–80, 76–82, 229 Lopez, Jennifer, 222 Los Angeles, 74, 125, 134, 135, 148, 172, 176, 178, 193, 224, 244 Los Angeles Actors’ Theatre, 144 Los Angeles Opera, 244 Los Angeles Philharmonic, 134 Los Angeles Times, 34, 273n56 Losey, Joseph, 148 Love Me Tonight, 199 Low Note Quintet, 175–8, 185 LP soundtracks See recordings, music Lucas, George, 2, 133, 144, 171 Luhrmann, Baz, 165 Lumet, Sidney, 129 Lunceford, Jimmie, 88 Lurie, John, 184 Lyles, Aubrey, 188, 273n56 Lyric Opera of Chicago, 7, 158, 221, 231–2 MacDonald, Jeanette, 139 Macy, William H., 222 Magnificent Stranger, 62 Magnolia, 240, 243–4 Mainstreet Theater, 13, 17, 21 major independents and mini majors, 167, 192–3, 196 Majors, Glendora (Glen), 17–8, 186, 252n48 Mamma Mia!, 239, 266n31 Manchurian Candidate, The, 169 Index [ 291 ] free ebooks ==> www.ebook777.com Mancini, Henry, 52 Mandel, Johnny, 45–8, 50, 52, 53, 257n29, 257n32 Manic Street Preachers, 52 Manson, Marilyn, 52 marijuana (pot), 20, 34, 37, 45 Marsalis, Wynton, 183–5 MASH (book), 41–3 M*A*S*H (film), vii, 7, 39–54, 170, 171, 178, 189, 245 and the Vietnam War, 39–40, 42–52 and war-themed films and television shows, 40–1 as blueprint for later soundtracks, 5, 53–4, 60–1, 63, 72, 83, 229 success of, 1, 2, 40, 54–5, 70–1, 92, 129, 143, 148, 159, 221, 269n52 M*A*S*H (television series), 42, 48, 54, 148 Mason, Lowell, 237 Master, The, 244 Maverick, 62 McBride, Christian, 183, 186 McCabe & Mrs Miller, 1, 6, 7, 55, 58, 61–73, 66–7, 76, 102, 132, 159, 171, 178, 241, 245 McDormand, Frances, 175 McDowell, Malcolm, 226, 278n24 McFerrin, Bobby, 164 McManus, Declan, 175 McQueen, Steve, 41 McTeague, 7, 146, 157–66, 160, 162–3, 222, 232, 234, 236 melodrama, 62, 83, 205–11, 219, 220 Mercer, Johnny, 72, 76, 81 Merchant, Ismail, 192 Merchant Ivory, 192–3, 196–202 MGM (Metro Goldwyn Mayer), 55, 194 Midnight Cowboy, 38, 192 Midnight in the Garden of Good and Evil, 189 Mighty Wind, A, 192 Milland, Ray, 218 Miller, Arthur, 221 Miller, Flournoy, 188, 273n56 minstrelsy and blackface performance, 16–8, 17, 21, 24, 78, 84, 87, 99, 103, 188, 251n42, 252n43 Miramax, 156–7, 167–8, 170, 180, 192, 200, 222, 245 [ 292 ] Index Mirisch, Walter, 122 Mirren, Helen, 200 Mitchell, Chuck, 187 Mogel, Leonard, 151 Monson, Ingrid, 20 Monsoon Wedding, 243 Montgomery, Robert, 75 Moore, Julianne, 190 Morgan, Freddie, 51 Morrow, Vic, 41, 223 Moten, Benny, 185 Motown, 137 Moulin Rouge!, 239 Mowbray, Alan, 218 Mozart, Wolfgang Amadeus, 148 Murder My Sweet, 75 Nashville, viii, 7, 58, 103, 106–42, 126–7, 131, 132, 134, 136, 137, 171, 176, 223, 228 as “Altmanesque,” 243, 245 and concert documentary style, 126–7, 126–7 music permissions and, 106, 110–1, 120–2, 237 and show business, 19, 31–2, 239, 241 sound design and recording in, 7, 54, 111, 114, 127, 171 success and reception of, 1, 92, 104, 106–9, 123–5, 128–30, 137, 139, 178–9, 221, 238–9, 264n3 National Ballet of Canada, 223, 229 National Review, 107 Navarro, Ramon, 203 NBC (National Broadcast Company), 21, 85, 192 Neal, Patricia, 190, 194 Ness, Richard R., 7, 239, 276n2 New Center Theater, 248n4, 253n61 New Hollywood, 2, 52, 73, 82, 110, 129, 144, 167, 172, 179, 231 and audiences, 36–7, 52 and music, 5, 36–40, 43, 48, 55, 69, 125, 127, 142, 187 and the Production Code, 36, 43, 110, 255n108 New Line, 167, 168 Newman, Alfred, 171 Newman, Paul, 130–31, 222, 264n6 free ebooks ==> www.ebook777.com Newman, Thomas, 171 Newsweek, 32 New York City Ballet, 224 New York Review of Books, The, 173 New York Times, 92, 143, 151, 164, 185, 196, 205, 231, 232, 243, 269n43 New Yorker, 232, 257n27 Nicholls, Allan, 7, 130, 133–8, 265n15 and Nashville, 108, 113, 115, 123, 125, 263n33 Nichols, J.C., 10, 12, 249n9, 250n19 Nichols, Mike, 38, 40, 255n2 Nilsson, Harry, 129, 140 Nirvana, 184 Nixon, Richard M., 36, 146, 267n17 Nixon in China, 267n17 Norris, Frank, 158, 161, 165 North, Alex, 255n2 Northam, Christopher, 196, 211, 212 Northam, Jeremy (as Ivor Novello in Gosford Park), 193–6, 198, 200, 202–3, 204, 210–2, 212, 214, 217–20, 265n17, 273n16, 275n39, 275n41, 276n59 Novello, Ivor, 193–6, 202–3, 210–2, 214, 217–20 NPR (National Public Radio), 222 O Brother, Where Art Thou?, 236 O Death, Where Is Thy Sting a Ling a Ling, 194 Oland, Warner, 218 One Flew Over the Cuckoo’s Nest, 129 opera, 130–1, 243, 265n8 (see also Altman, Robert Bernard: work in opera; and individual film and opera titles) Opera, 232 Opéra du Nord, 146, 152, 153–5 Opera News, 232, 233, 235 Opera Now, 232 Opera Quarterly, 232 Opernwelt, 232 O’Riordan, Cait, 175 Oscars See Academy Awards Out of Africa, 169 Pal Joey, 27, 231, 235, 236, 254n88, 278nn29–30 Paper Moon, 73 Paramount, 123–4, 131, 134, 141, 143–4, 167, 194, 245 Paramount Vantage, 245 Parker, Addie, 186 Parker, Charlie, 19, 185, 186, 252n48 Party of Five, 223 Patton, 40, 53 PBS (Public Broadcasting System), 129, 146, 158, 183–4, 187, 200 Peel, David, 123, 125 Pendergast, Tom (“Boss Tom”), 9–11, 19, 248n1, 249n14 Penn, Arthur, 73 Perfect Couple, A, 1, 7, 58, 131–9, 135, 142, 171, 181, 182, 188, 221, 224, 241, 265n11, 276n2 Persona, 72, 259n1 Persuasion, 197–8, 202 Phillips, John, 55–61, 71 Phoenix, Joaquin, 222 Piano, The, 180 Planco, Johnnie, 169 Platte, Nathan, 6, 13–4, 250n28, 260n17 Player, The, 19, 159, 165, 168–72, 176, 181, 200–1, 212, 221, 241 Plaza Theater, Kansas City See Country Club Plaza Polanski, Roman, 73, 75 Pollack, Sydney, 197 Pomus, Doc (aka Jerome Solon Felder), 175, 178 Pop, Iggy, 178 Popeye, 1, 7, 58, 129, 131, 134, 138–44, 168, 171, 222, 230, 240, 241, 244, 265n11 Porter, Cole, 108 Powell, Dick, 75 Prairie Home Companion, A, 1, 7, 21, 142, 221–2, 236–41, 279n31, 279n41, 279n46 Preminger, Ingo, 43 Presbyterian Church Wager, The See McCabe and Mrs Miller Presley, Elvis, 70, 109 Prêt-à-Porter, 168, 170, 180, 241, 279n53 Pretty Woman, 169 Pride and Prejudice, 197–8 Prime Suspect series, 200 Production Code, 2, 15–16, 36, 43, 250n37, 251nn39–40 Index [ 293 ] free ebooks ==> www.ebook777.com Public Enemy, 184 Puccini, Giacomo, 157 Punch-Drunk Love, 240, 244 Quintet, 72, 131, 134, 172 radio, 5, 15–7, 17, 19–26, 111, 188, 252nn43–4, 252n55, 253nn61–2, 253n72, 254n76, 273n56 and film promotion, 39, 52, 55, 63, 109, 138, 178 See also Altman, Robert Bernard: and radio; Corwin, Norman; Prairie Home Companion, A; and Thieves Like Us radio-mikes See recording, film sound Ragtime (film), 131, 161 ragtime (music), 99, 103 Raiders of the Lost Ark, 144 Raines, Cristina, 114–5 Rameau, Jean-Philippe See Aria Rawhide, 62 Ray, Nicholas, 74, 88–9 Ready to Wear See Prêt-à-Porter Real McTeague, The, 146, 158–60, 160, 165 Rebecca, 197 Rebennack, Malcolm John “Mac,” Jr See John, Dr recording, film sound, 4, 32, 71, 73, 102–3, 107, 111, 126, 139–40, 171, 211–2, 230 recordings, music, 4–5, 18, 21, 26, 39, 60, 71, 73, 138, 140, 178, 183–4, 188, 223, 255n97, 267n3 (see also individual film, television series, and opera titles) Redford, Robert, 190, 264n7, 277n5 Redman, Joshua, 185 règle du jeu, Le (The Rules of the Game), 212–4, 213, 219–20, 275n54 Reicheg, Richard, 117 Reilly, John C., 239 REM, 178, 184 Remains of the Day, The, 192, 197, 201, 274n22 Remsen, Bert, 60, 83, 130 Renoir, Jean, 54, 213, 219, 242, 275n54, 276n55, 279n55 (see also règle du jeu, Le) [ 294 ] Index Resurrection Blues, 221, 241 Reynolds, Burt, 110 Rich, Frank, 145 Rich Kids, 132 Richardson, Miranda (as Carolyn Stilton in Kansas City), 181, 186, 272n41 Ridgely, Robert, 254n87 Rigoletto, 152 RKO (Radio-Keith-Orpheum), 16 Robbins, Tim, 170, 175–6, 243 Robert Altman's Jazz '34, 187 Roberts, Julia, 170 Robertson, Davis, 230 Rodgers and Hammerstein, 37 Rodgers and Hart, 27, 229, 231, 254n88 Rodgers, Richard, 27, 37, 228, 229, 231, 254n88 Room with a View, A, 157, 192, 200–1 Roosevelt, Franklin Delano, 22, 90–2, 91 Rosemary’s Baby, 36 Ross, Annie (as Tess Trainer in Short Cuts), 172–8, 185 Ross, Herbert, 165 Ross, Katharine, 38 Rossini! Rossini!, 146, 157–8, 168–9 Rudolph, Alan, 132–3, 170, 188, 222, 243 Russell, Ken, 152 Rydell, Mark, 75 Samuel Goldwyn Company, 156 Sandcastle 5, 223, 254n83 Sarris, Andrew, 179 Saturday Night Fever, 133–4, 136, 138 Savalas, Telly, 40 Schell, Maximilian, 165 Schlesinger, John, 165 Schuck, John, 83 Schumann, Robert, 83, 260n17 Schwartz, Arthur, 214 Scorsese, Martin, 2, 3, 144, 190 Sgt Pepper, 134 Secret Honor, 72, 144, 146, 223, 238, 267n17 Segal, George (as Bill in California Split), 92–103, 101, 260n20 Seig, Matthew, 181–2, 184, 279n53 Self, Robert T., 3, 6, 19, 51, 61–2, 115, 145, 187, 219, 222, 229, 237, 272n34, 276n63 free ebooks ==> www.ebook777.com Sellars, Peter, 267n17 Selznick International Pictures, 6, 250n28 Sense and Sensibility, 197–8 Serreau, Coline, 165 Shalhoub, Tony, 222 Shepherd, Cybill, 110 Short Cuts, 1, 6, 7, 104, 168–80, 184–6, 188, 190, 223, 239, 241–2, 243, 245, 269n52, 271n8, 271nn16–7, 272n34 Shortage of Engineers, A, 222 Shotwell, Phyllis, 95–102, 101, 173 silent film, 5–6, 9–10, 14, 32–3, 53, 60, 83, 88, 146, 158–9, 194, 244, 251n40 Simon, Carly, 164 Simon and Garfunkel, 5, 37–9, 70–1, 255n2 Sinatra, Frank, 109 Singin’ in the Rain, 53, 120 Silverstein, Shel, 120–1 Siskel, Gene, 129, 133, 140–1, 264n1 Sister Act, 200 Smith, Jeff, 5, 38, 138 Smith, Jimmy, 52 Smith, Lois, 182 Smith, Maggie, 200 song track, 5, 37–40, 52, 55, 63, 70–2, 104, 177 Sony Pictures Classics, 168 Sound of Music, The, 37 “Sounds of Silence, The,” 5, 38, 48, 70–1 Sousa, John Philip, 53, 183 Spielberg, Steven, 2, 128–30, 132–3, 144, 264n3 Stagecoach, 61–2 Staiger, Janet, 1, 3–4 Stalag 17, 41 Star Wars films, 32, 133, 141, 171 Starger, Marty, 117–8 Steiner, Max, 13–4, 37, 250n28, 250n30 Sting (aka Gordon Sumner), 184 Sting, The, 73 Stipe, Michael, 178 Stoney Lake Reserve, 131 Stowe, Madeline, 167, 175, 177 Stravinsky, Igor, 146–56, 161, 177 Streep, Meryl, 237–9, 266n31 Strauss, Johann, Jr., 37, 213 Strauss, Richard, 37 Streamers, 144, 267n6 Sundance Film Festival, 167, 190–1 Sunshine State, 243 Sutherland, Donald, 40 Sweeney Todd, 239 Syriana, 243–4 Tanner '88, 144, 223, 267n6 Tarantino, Quentin, 168, 184, 192 Tate, Grady, 52 Taylor, Lili, 177 Teaching Mrs Tingle, 200 Ten Little Indians, 212, 218 Terkel, Studs, 146, 158, 165 television, 32, 34–5, 40–1, 45, 62, 72–3, 92, 117, 128, 130, 141, 176, 188, 192, 200, 223, 230, 233, 240, 257n27 (see also Altman, Robert Bernard: work in television; and individual television series titles) Tewkesbury, Joan, 82, 83, 107, 109–11, 121, 238, 260n16, 260n19 Thank God It’s Friday, 134 That Cold Day in the Park, 23, 34–6, 40, 55, 72, 259n1 Théâtre le Ranelagh (or du Ranelagh), 156 There Will Be Blood, 244 They Live By Night, 74, 82, 88–90, 90 Thieves Like Us, 7, 21, 73–5, 82–92, 87–91, 105, 111, 171–2, 241 Thomas, Kirstin Scott, 200 Thompson, Emma, 197, 198 Thompson, Tommy, 132 Thomson, Virgil, 265n14 Women, 131–3, 134, 223, 265nn13–4 Time to Kill, A, 189 Tolkin, Michael, 169 Tomlin, Lily, 103, 112, 114, 123, 129, 170, 176, 237–9, 243 Tommy, 110 Tonight Show, The, 260n20 Traffic, 243–4 Traviata, La, 148 Tribe Called Quest, A, 184 Tristan und Isolde, 152 Trixie, 133, 188 Trudeau, Garry, 243 Truman, Harry S., 11, 249n13 Index [ 295 ] free ebooks ==> www.ebook777.com Turandot, 152 Turner, Barbara, 223–4, 228 Turner Broadcasting, 168 Twentieth-Century Fox See Fox, Twentieth-Century Two by South, 144 2001: A Space Odyssey, 36, 37, 256n2 Tyler, Liv, 190, 222 U2, 178 Unfinished Life, An, 222, 223 United Artists, 109, 144 Universal Pictures, 168 University of Michigan, 145–6, 152, 158, 223, 267n17, 268n31 (see also Ann Arbor) USA Today, 151, 272n43 Valentino, Rudolph, 159, 203 Van Pallandt, Nina (as Eileen Wade in The Long Goodbye), 75–6, 81, 82 Variety, 33, 34, 40, 116, 180, 183–4, 255n102, 272n43 Verdi, Giuseppe, 148, 234 Verve, 186–7 Vietnam War, 36, 39–40, 42–52, 106, 257n27 Villella, Edward, 151 Vincent & Theo, 72, 144 Visit of the Old Lady, The, 148–9 Viva Villa!, 14, 250n35 von Einem, Gottfried, 148 von Stroheim, Erich, 158–61, 165 Waiting for Guffman, 192 Walsh, Jerry, 254n90 Walsh, Joe, 101, 261n30 Walsh, Pauline (née Altman), 27, 254n89 Walton, Douglas, 218 Waltons, The, 73 Warner, Jack, 34 Warner Brothers, 27, 39, 68–9 Watergate, 106, 146 Way We Were, The, 73 Webb, Jim, 102 Wedding, A (film), 131–2, 146, 221–2, 232–3, 235, 236, 265n14 [ 296 ] Index Wedding, A (opera), 131, 146, 221–2, 231–6, 233, 239, 241 Weinstein, Arnold, 7, 146, 158, 164–5, 222, 231–2, 233, 234–6 Weintraub, Jerry, 109–10, 117–8 Weissler, Barry, 254n88 Weissler, Fran, 254n88 Welcome Home, Soldier Boys, 124 Welcome to L.A., 132 Welles, Gwen, 99, 112–6, 120–1 Welles, Orson, 54, 169, 258n46 Wexman, Virginia Wright, 6–7, 20 When Harry Met Sally, 183 White Christmas, 120 Wild Bunch, The, 62 Wilder, Billy, 41 Williams, John, 32, 72, 76–7, 81, 128, 132, 135 Williams, Mary Lou, 19, 252n54 Williams, Michael, 202–3, 275n40 Williams, Paul, 124 Williams, Robin, 139, 141 Williamson, Fred, 43 Willie and Joe, 42, 44 Willis, Bruce, 170 Willner, Hal, 178, 185–6 Winslet, Kate, 198 Wiz, The, 134 Wizard of Oz, The, 60–1 Wonder, Stevie, 137 Woodstock, 39, 110, 177 World War I, 183, 194, 195, 203, 213 World War II, 22, 26, 37, 40, 42, 44, 51, 73, 74, 183, 186, 197, 203 Women’s City Club, 15 Wray, Fay, 16 Yamashta, Stomu, 72 York, Susannah, 72 Yoshida, Hasagawa, 51 Young, Lester, 185 Young, Robert, 132 Zauberflöte, Die (The Magic Flute), 148 Zeffirelli, Franco, 148 Zsigmond, Vilmos, 35, 76, 132 Zuckoff, Mitchell, 7, 248n21, 257n23, 267n16, 279n53 ... sustained study of music in his films exists Robert Altman s Soundtracks addresses this lacuna by analyzing Altman s celebrated, often innovative soundtracks in several of his most acclaimed works,... and circulated by the industry, and perhaps especially by Altman himself And, at the same time, there does seem to be something identifiable as “a Robert Altman film,” as stated by David A. Gerstner... discourse, by considering Altman s career in terms of the director’s own self-promotion as a visionary and artist; the film industry’s narrative of Altman the auteur; the emphasis on Altman s individual