There are many who cite Robert Altman’s Nashville as the pinnacle of New Hollywood’s rise in the ‘70’s. It’s ironic that the very same summer would see the release of Jaws, which would eventually derail the movement by creating the template we still live with today.
There are so many angles from which to approach Nashville that it can be a bit overwhelming. There’s the innovation of having 24 characters and no leads, thereby rendering the entire community as the protagonist. There’s Altman’s improvisational style and use of overlapping dialogue. We can discuss the parallels brought up between celebrity and politics or Altman’s symbolic use of color (the ever-present red, white & blue and the ominous yellow.) There’s the relation of the film to the
'70’s and, of course, what it says about America.
Many of the songs are written by the actors who sing them and most are thematically connect to the film itself. SPOILERS AHEAD!
Two Hundred Years – That Nashville is about the state of the nation is made clear right off the bat with this patriotic to the point of parody hymn sung by Haven Hamilton. Just a few years after Watergate and with the troops leaving Viet Nam, such sentiment is set up for mockery, reinforced by Haven’s comic arrogance. Haven, however, is nothing but sincere as he sings of America’s history and Altman does not dismiss such old-fashioned ideas as this character will be redeemed.
Bluebird – Tommy Brown is not a character we get to know well in Nashville. He’s the only African-American star in this very white country music culture. Perhaps Bluebird is meant to fill in some biography as it’s about the unlikely climb from poor and humble beginnings.
For The Sake Of The Children – More Haven Hamilton schmaltz, but the lyrics are a fierce defense of family at all costs.
Keep A-Going – While the kids are singing “It Don’t Worry Me” all over town, Haven’s generational anthem is this. Optimistic, conservative, naïve and seductive, it shows an understanding of the status quo that Altman seeks to change.
Memphis/Rolling Stone – These songs are written by Karen Black who play’s Connie White, Barbara Jean’s chief competitor. Not sure they’re meant to advance any particular themes.
I’m Easy – Folk singer Tom’s chief trait is his womanizing and this is the song he sing’s to the one woman he loves, although his other conquests are sure it’s about them. It represents Tom vis-à-vis his feelings towards Lily Tomlin’s character, but could also be from the point of view of Mary or any of the other women he’s seduced.
Tapedeck in His Tractor – While the rest of the cast are actors playing country singers, Ronee Blakley is an actual country singer. This casting was savvy on Altman’s part as Barbara Jean is THE Nashville superstar so Blakley’s songs being the best in the film is appropriate. Tapedeck is a high energy romp about falling in love with a modern cowboy.
Dues – Barbara Jean is about to have a breakdown and she has been shown to be fragile and vulnerable throughout. This beautiful heartbreaking song drives home that vulnerability more than any dialogue could.
One, I Love You – An excuse for a Haven / Barbara Jean duet. Can’t find any further significance.
My Idaho Home – Whereas Haven’s tributes to county and family come off as corny, this final number from Barbara Jean is anything but. It’s a poignant recollection of true old fashioned Americana. Family means something in this song. This song about roots also connects to the presidential candidate’s slogan, “New Roots for a Nation.” The flag is prominently featured on screen, connecting personal family with the national family. This is the dream that could have been. Can this dream survive an assassin’s bullet?
It Don’t Worry Me – Who will replace Barbara Jean? As it turns out, it’s Barbara Harris’ Winifred an unknown with dreams of stardom who, by pure chance, is pushed center stage. Was Altman looking into our American Idol future? She sings “It Don’t Worry Me,” the big hit of the day. It’s basically a call to apathy. By the mid-seventies, counter-culture ideals had given way to the Me Generation. The shit may be hitting the fan, but it won’t matter if you’re taking enough drugs.
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