OPEN DAILY | 10AM-6PM | FREE ADMISSION
Tue, Oct. 31, 2017 7:30pm — 9:30pm | Add this to Calendar
Join us Tuesday nights in the BIMA Auditorium for a curated selection of films.
Tickets: $10 Member, $12 Non-Member
Dinner seating in Bistro begins at 5:30pm. Reservations recommended - 206-451-4011.Auditorium opens at 7:00pmMovies at 7:30pm
"Mr. Altman makes movies the way other men go on binges — with an abandon that sometimes gets the better of him — and which should be preserved and protected."—Vincent Canby, The New York Times
Read curator Tova Gannana's essay on The Long Goodbye here.
Neo-noir film based on Raymond Chandler's 1953 novel of the same name. The screenplay was written by Leigh Brackett, who co-wrote the screenplay for The Big Sleep in 1946.
SINGLE TICKETS HERE | SERIES PASS HERE
Read curator Tova Gannana's essay on McCabe & Mrs. Miller here.
Musical score composed by Leonard Cohen!
This unorthodox dream western by Robert Altman may be the most radically beautiful film to come out of the New American Cinema. It stars Warren Beatty and Julie Christie as two newcomers to the raw Pacific Northwest.
Read curator Tova Gannana's essay on 3 Women here.
This dreamlike masterpiece from Robert Altman careens from the humorous to the chilling to the surreal, resulting in one of the most unusual and compelling films of the 1970s.
Read curator Tova Gannana's essay on Nashville here.
Critically acclaimed and often included on “best films” lists, Robert Altman’s biting satire is both brilliantly subtle and epic in scale.
Read curator Tova Gannana's essay on Secret Honor here.
Based on the original play by Donald Freed and Arnold M. Stone, and starring Philip Baker Hall in a tour de force solo performance, Robert Altman’s "Secret Honor" is a searing interrogation of the Nixon mystique and an audacious depiction of unchecked paranoia.
Read curator Tova Gannana's essay on The Player here.
Robert Altman has not really been away. Yet his new Hollywood satire titled "The Player" is so entertaining, so flip and so genially irreverent that it seems to announce the return of the great gregarious film maker whose "Nashville" remains one of the classics of the 1970's.
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“I like all the films I’ve made.” Robert Altman would say and he made over 34 films. Born in 1925 in Kansas City, Missouri, at 18 he joined the United States Air Force and flew over 50 bombing missions during WWII.
He was an American whose work centered around ensemble casts, overlapping dialogue and long camera shots. He brought humor as his investigative tool. He believed satire without human experience at its core is propaganda. He had dreams, he wrote them down in the morning and then turned them into films. He was ballsy, kind, loved working with his actors and never gave up making movies even as in the case with “Secret Honor” when he ran out of money.
Altman came of age when there was no film school. His education was won working for Calvin Company makers of industrial films in California. In 1956 after directing and writing 65 of these films he made “The Delinquents” which was picked up by United Artists.
“I don’t work for them.” Altman said of Hollywood. And in his way he didn’t. For Hollywood the success of a film is in relation to money. Those are not the films Altman wanted to make. “The Player” in 1992 was a political film. An eight minute no cut sequence for an opening shot introducing the audience to the players. This was a metaphorical film on greed. On who as Americans we tend to worship, those who make money.
“All of my work is one body of work” Altman said. Which is how his films feel. As one long genre crossing conversation between Altman and his cast.
We begin our “Ultimate Altman” film series with the 1973 film “The Long Goodbye” based on the book by Raymond Chandler. In this film Elliot Gould plays the role of private eye Phillip Marlowe, a role Dick Powell and Humphrey Bogart decades past made their impression. Throughout the film Gould says “It’s ok with me”, his own ad lib as an actor. And it is all ok with Gould as Marlowe until the shocking ending when it isn’t. Of “The Long Goodbye” Gould said in a recent interview “When you say the 1970’s, it’s the present. That picture was now.” Which can be said of the oeuvre of Altman. He though he has passed is of the present. Film essayist Kareem Abdul-Jabbar said “We would not understand America were it not for film. The humor, the pathos, the tragedy." In our continual search for understanding, the films of Robert Altman have answers.
—Tova Gannana, curator