By Leo Racicot

Liza with a Z – 1972 – dir. Bob Fosse

It is hard to describe to those who weren’t there just how famous Liza Minnelli was in the 1970s. During that decade, along with Barbra Streisand who bested her, but not by much, she cornered the market on kooky chic, and a singing voice like a locomotive coming straight at you right out of the dark (Liza was a “belter” in the tradition of her mother, Judy Garland).  Get out of her way!  She was out to overthrow the curvaceous Monroes, MacLaines and Lollobrigidas of the 50s and 60s and create a place for the ugly duckling becoming the swan.
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Robert Altman in the 1970s

by Paul Monticone

“See, death is the only ending I know. A movie doesn’t end; it has a stopping place. That story, those people don’t die then: they live on and have terrible lives if it’s a happy ending, or if it’s a sad ending, they may survive it and recover and have happy lives. So death is the only ending and I deal with death as an ending. The people I have die are usually the wrong people, the ones you don’t expect to die. That’s the way it seems when people die.” (Robert Altman, 1992)

Altman’s quote, initially describing his resistance to narrative closure before digressing into the sort of modest wisdom that marked all of his interviews, sprung to mind on November 2oth. To anyone who takes American film seriously, the passing of Robert Altman was the sort of news that makes the world seem a little smaller and dimmer. Whether one thinks Altman the greatest American filmmaker since John Ford or a self-indulgent provocateur, the vitality and exuberance of each of his films is beyond dispute, to such an extent that the death of a frail, old man, who had just made the perfect swan song, Prairie Home Companion, came as something of a shock. The prodigious output of the indestructible Hollywood rebel had inexorably stopped, and a world without future Altman films is still hard – if not downright depressing – to imagine. To quantify what it is that we’ve lost, we can look to the works he left us, and his films of the 1970s – a decade of filmmaking that many identify with Altman – is the most obvious point of departure. Continue reading