OSCARS '75: Nashville
A movie desperately in need of a story.
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CONTENT WARNING: Physical abuse, emotional abuse, assassination, sexual harassment, mild mention of racism.
The only thing either of us knew about this week’s movie was that it was incredibly well-respected, and it inspired a lot of great mockumentaries that came after. So imagine our surprise (sort of) when we sat through a sprawling, lackluster, aimless movie that feels more Important(TM) than it is good. Perhaps it’s the relentless cynicism, or the overly ambitious scope of the characters and plot that make this so frustrating, and frustrating it is. This movie is, to put it mildly, wasting the talents of at least a dozen of the 70’s best character actors, though one star’s debut performance does shine through. Still, it’s not enough to save an overly broad and bloated movie that doesn’t really go anywhere at all. We’re meandering through Oscars ‘75 series with the incredibly messy Nashville.
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Intro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive.
Excerpt taken from “200 Years” from the film Nashville, written by Henry Gibson and Richard Baskin, and performed by Henry Gibson. Copyright 1975 ABC Records, Inc.
Excerpt taken from “The Man Who Would Be King,” composed and conducted by Maurice Jarre and performed by the National Philharmonic Orchestra. Copyright 1975 Capitol Records, Inc.
