Word: barhydt
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Dates: during 1990-1999
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...prestigious opening-night slot at the New York Film Festival this Friday, achieves its highest aims is likely to prove hotly debatable as it rolls slowly into theaters during the fall. L.A. is, after all, the world's easiest satirical target. Moreover, Altman and co- screenwriter Frank Barhydt are adapting -- freely commingling is a better description -- short stories by the late Raymond Carver. These have quite a different bleakness about them and are, anyway, resistant to the implicit cultural generalizations the movie tries to impose on them. Carver was content to capture discrete moments of confusion and loss in everyday...
Maybe Altman gives Carver's people more interesting or eccentric jobs than they originally had; maybe he condescends to them occasionally; maybe one story that is his own and Barhydt's invention is melodramatically overweening. Nevertheless, this movie works. In part, that's because Altman and Carver do share one important characteristic: short attention spans. They like to touch a moment and move quickly on. True to his title, Altman does not linger on any of his stories. Nobody is ever on long enough to grow tedious, and his linkages between stories (the screenwriters used color-coded file cards pinned...
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