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Nashville, Secret Honor, ​And​ Nashville Nashville​

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Nashville, Secret Honor, ​And​ Nashville Nashville​ Nashville, Secret Honor, and Nashville Nashville: ​ ​ ​ A Journey Through the Robert Altman Archives By Ava Burnham 1 Table of Contents Abstract 3 Preface 4 Introduction 6 Chapter 1: Nashville 7 ​ Nashville Marketing and Reception 7 ​ American Politics and the Origin of Nashville 12 ​ Finding Joan Tewkesbury 13 ​ Interview with Joan Tewkesbury 15 Journal Entry #1 18 Chapter 2: Secret Honor 21 ​ Journal Entry #2 21 ​ Secret Honor Archives 22 ​ Secret Honor Production 24 ​ ​ Meaning and Symbolism in Secret Honor 25 ​ Secret Honor Reception 28 ​ Secret Honor and Nashville 30 ​ ​ ​ Chapter 3: Nashville Nashville 32 ​ Journal Entry #3 32 ​ Nashville Nashville Introduction 32 ​ A Call with Robert Harders 36 ​ Nashville Nashville Production 38 ​ ​ Chapter 4: Nashville Today 44 Conclusion 50 Epilogue: The Nashville Screening 52 ​ ​ Acknowledgements 55 Bibliography 58 2 Abstract Was Robert Bernard Altman a mediocre director who was in the right place at the right time, or was he a truly talented innovator who deserves his reputation as one of Hollywood’s greatest film directors? In this paper I answer this question by providing evidence from The Robert Altman Archives at The University of Michigan, and from interviews with Frank Beaver (Professor of Communications and a colleague of Altman’s at Michigan), Joan Tewkesbury (screenwriter for Nashville), and Robert Harders (screenwriter for the unmade Nashville ​ ​ ​ Nashville). Specifically, I will address three Altman films: Nashville (1975), Secret Honor ​ ​ ​ ​ (1985), and Nashville Nashville (unmade). In uncovering new information about these films, ​ ​ ​​ their public receptions, and Altman’s rationale and techniques for making them, I show that Altman was a thoughtful and politically-driven director who used both innovative film techniques and symbolism to create his films. Finally, as proof of his artistic achievements, I describe the enduring relevance of Altman’s films over 30 years after they were made. 3 Preface: Diving Into The Archives I discovered the Special Collections Library at The University of Michigan about two years ago, when I took the course, “Major Directors,” with Matthew Solomon, professor of screen arts and cultures. This course focused on Michigan’s Orson Welles collection, which contains nearly 100 linear feet of materials, including rare and minimally analyzed documents from Welles’ personal life and career, as well as scripts and materials for several unfinished projects. This assortment of boxes is the most extensive Welles collection in the world. Although I was exposed to just a small fraction of the boxes in the collection, I was fascinated by the intimate and little-known details that were still discoverable, even about one of the most famous directors of all time. After completing this course I was eager to explore more collections in the archives. Around this time I learned that a 600-box collection about Robert Altman, famed director of Nashville (1975), MASH (1970), and The Player (1992), was also stored in the Michigan library.1 ​ ​ ​ ​ ​ Although I didn’t know much about Altman, I knew he was one of the more influential directors th of the 20 ​ century, so I set forth to learn more about him, intrigued by the largely-unknown ​ documents and other secrets that might be hidden in the archives. I learned that over the course of his career, which lasted from 1951 - 2006, Altman directed 51 films, several of which had music-related themes or premises. As I too had an interest in country music, I was particularly interested in studying Altman’s film, Nashville ​ (1975). As a student at Michigan with access to the Special Collections Library, I considered 1 "The many hats of Robert Altman." Michigan Today. N.p., n.d. Web. 28 Mar. 2017. 4 myself a privileged voyeur of Altman’s directorial history and set forth to learn more about the influences that shaped his career. As I learned more, I decided to expand my study to include two other films: Secret Honor ​ (1984) and Nashville Nashville (unmade). Nashville Nashville interested me not only because it ​ ​ ​ ​ ​ ​ was the intended sequel to Nashville, but also because the screenplay was largely unstudied and ​ ​ unknown, and was there – in its original format – in the Michigan archives. Finally, I chose to focus on Secret Honor, as this is the film that Altman created at The University of Michigan, and ​ ​ is the reason why all of his archives are now stored there. During the course of my research I was not only fortunate enough to have access to the Altman archives, but also to two key people from Robert Altman’s life: Joan Tewkesbury, the Nashville screenwriter, and Robert Harders, the Nashville Nashville screenwriter. Both ​ ​ ​ individuals brought a personal dimension to my study of Robert Altman, and provided a historic perspective on his career that was not available in the archives. Along the way, I also made journal entries about my observations, reflections, and research process. These too are included in my thesis as they reflect my musings and attempts to bring focus to a complicated but compelling filmmaker. What themes would connect these films together, and what inspired Altman to create a film about country music? With an interest in Nashville and an open mind, I opened the first box ​ ​ in the fall of 2016, ready to piece together as much as I could about Altman and his works. 5 Introduction: Robert Altman, the Man Behind the Camera Robert Bernard Altman was a Hollywood icon and five-time nominee for the Best Director Academy Award. Today, seven years after his death, he is still considered by some to be one of America’s most influential film directors, and is known for his unorthodox techniques, such as improvisation from actors, overlapping dialog, and bold camera movement. However, although many people like Altman for his innovation and the unique sense of realism he brought to film, he also attracts many critics for these same reasons. In watching some of Altman’s films, I too was underwhelmed and wondered if he just an average director who got lucky. When I first watched Nashville, for example, I felt that the film was too long and relied too heavily on ​ ​ improvisation, perhaps at the expense of a coherent plot. Was this style really brilliance, or just noteworthy for going against the typical Hollywood formula? In this thesis I will draw on evidence in the Michigan archives to show that Altman’s motivations were more clever and intentional than is visible at first glance. Specifically, works such as Nashville, Secret Honor, and Nashville Nashville show that many of Altman’s decisions ​ ​ ​ ​ ​ ​ were carefully arrived at and reflect a consistent artistic vision. Central to this vision was a strong political message that was not always evident on the surface level. In this thesis, I hope to show a new side of Altman, demonstrating his deserved reputation as one of Hollywood’s most influential directors. Finally, I will also provide evidence that Altman’s techniques and ideas were not only revolutionary for his time, but they are still important and influential today. 6 Chapter 1: Nashville ​ Nashville Marketing and Reception ​ On June 11th, 1975, the movie Nashville was released in theaters across the United ​ ​ States. Director Robert Altman and his crew waited anxiously, unsure what to expect from the audience upon viewing their nearly-three-hour-long film (161 minutes, to be exact). Unlike most Hollywood films of the time, Nashville had no protagonist, no three-act structure, and essentially ​ ​ no plot. Instead, Nashville is a bold ensemble film that tells the stories of twenty-four different ​ ​ characters who come to Nashville for various reasons. Many come to pursue music, but some arrive as reporters, politicians, or for other reasons. Throughout the film, various characters cross paths, and, at the end, they all convene at the Parthenon in Nashville for presidential candidate Hal Phillip Walker’s concert rally. The rally itself ends in the shooting of country star Barbara Jean, and a powerful performance of a song called, “It Don’t Worry Me,” by an aspiring singer named Albuquerque. Although many critics and viewers gave the film rave reviews, I was among the cohort who questioned Altman’s style and the credibility of Nashville as a masterpiece. Despite my ​ ​ initial excitement to watch a classic film about country music, my enthusiasm faltered upon actually viewing it. I found the opening sequence, where a character named Haven Hamilton performs a catchy song called “200 Years” to be entertaining, but I began to lose interest as subsequent scenes dragged on and I was bombarded with new characters and stories. I had trouble distinguishing between characters and following so many different plot lines, and the music was hard to fully enjoy since all songs were unfamiliar and performances were uncut. 7 Struggling to keep up with the plot, I found it difficult to relate to fans who described Nashville ​ as “the greatest film since Citizen Kane.” I hunkered down in The Special Collections Library and began to read through documents pertaining to Nashville. The Robert Altman collection was massive, but I was able to ​ ​ narrow my initial search to the 47 linear feet contained in the “Robert Altman Archive: Projects - 1970s (1971-1977)” portion of the collection. Within this subset I found scripts, legal files, publicity materials, photographs and correspondences from Altman’s career in the 1970s. Although this included documents pertaining to other films such as The Long Goodbye, MASH, ​ ​ ​ ​ McCabe and Mrs. Miller, and several others, I focused on the ones from Nashville. ​ ​ ​ The collection contained a multitude of letters to Altman from his contemporaries, most of them full of praise for Nashville and extolling the film for its political and cultural relevance. I ​ ​ found myself identifying strongly with those who panned Nashville, but I hoped that be reading ​ ​ fan letters might give me a new perspective on the film.
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