ksf-2 Good gawd, that's Margaret Hamilton, trying to sing the Star Spangled Banner at the opening... she keeps stopping and starting, and changing octave, and key. doesn't end well for her here, but they do give her a Wizard of Oz salute. Brewster (Bud Cort, from Harold and Maude) lives under the Astrodome, and just wants to fly. He had been a driver for a wacky old crazy rich guy. its silly, its fun. so irreverant. Sally Kellerman driving a red Gremlin. Rene Auberjonois, Shelley Duvall, John Schuck, probably best known for MacMillan and Wife. Michael Murphy is Detective Shaft, but he doesn't really play much of a part in this. The story is all over the place, but we follow Brewster around when he meets up with Suzanne (Duvall). and Louise (Kellerman). Zany. Fun. a caper. will Brewster ever get to fly? and what an ending. took a minute to figure out what was going on. Directed by Robert Altman (M*A*S*H). If you like zany, offbeat films, then this one is for you!

success-9 The key to understanding this film is to realize it is unmistakably surrealist in the formal sense - directly comparable to the works of European Surrealists like for example Luis Buñuel. His film "The Discreet Charm of the Bourgeoisie" came out in '72, that is after Brewster McCloud, and if you've seen both films, it is not a stretch at all to surmise that it may well have been Buñuel who was influenced by Robert Altman's Brewster McCloud (which after all came out two years before Buñuel's film.) And as in Buñuel's film, the surrealism in Brewster McCloud certainly has a humorous aspect, but is at its heart a vehicle for subversive but oblique social commentary: oblique because this movie in its ultra-hip cool sensibility would feel obliged to start mocking itself if it actually started preaching to anyone. But of course this film does actually mock itself, along with everything else in the known universe. That is what surrealism is: When you start literally mocking *everything* it ceases to be funny, and rather something much more fundamentally disturbing. And yet this film is easily one of the most accessible of the truly surrealist masterpieces. It is good-natured about everyone and everything it mocks.One of the pleasant surprises I had upon discovering this film was how realistically it portrays Texans and Houstonians. There is no hackneyed accents or cowboy hats - it really does depict Texans (and specifically Houstonians) as they are - at least as they were in 1970. I'll give one example: The undercover cop is at the zoo with his wife and kid, and his wife says, "Johnny wants to go see the monkeys", and the dad responds, "Well, let him go to N*gger Town then." Now, as a matter of fact, I have scores of relatives from Houston, and I remember as a child how people from Houston talked around 1970, and I know that that was a common but offensive colloquialism for the black part of town in Houston back then. So the period detail is just spot on. And there's no judgment when the character says this. It could be he dies mysteriously later in the film with bird poop on him, but so do a dozen other characters - not all of them bad. And also, they must have had real Houston cops playing some of the cops in the film, or they might as well have. But beyond the negative attributes of the period, this film is in many ways a heartfelt homage to the city of Houston - there are plenty of just plain normal folks who must have been local extras plunked down into this phantasmagoria of a film.When I say "surrealist" one big aspect of that is the disjointed, disengaged banal "conversations" between various characters, where they seem to be saying stuff at random, and not even paying attention to each other. And yet its still simply fascinating for some odd reason to listen to them - you are literally hanging on every meaningless word. Sally Kellerman is some sort of angel, but for no apparent reason decides to shop-lift a huge amount of film while at the camera store. When the employee who was previously lusting after her chases her down to confront her about the theft, she start pulling bottles of shampoo out of her purse and giving some convoluted explanation why she has so much shampoo, which has nothing to do with any action that has transpired previously in the film. But even banal bits of conversation that are superficially "normal" come off as highly ironic. Shelly Duvall throws up over the railing at the Astrodome, her boyfriend walks up right then and they passionately kiss right after she throws up. Then they notice his dad who is cop is dead nearby, And Shelly says, "What should we do". And her boyfriend says, "Call the cops." And he reaches down and starts pulling something out of the dead guy's shirt pocket, and Shelly Duvall says, "What are you doing?" And he responds, "Getting the phone number." Oh well, its interesting in the film for some reason.And then there are an unending series of clever and surprising visual gags throughout the film that seem to have occurred by accident somehow. At other times there is visual lyricism and poetry. But this film never ever stops surprising you - by the end it is wowing us with technological wizardry because the depiction of the main character's flying machine is truly amazing. And as I indicated it is somehow, above all of this, a film about an actual real place -Houston Texas - and it has plenty of elements that would undeniably appeal to a lot of real good old boys from Texas - things like great sounding cars like Camaro Z28's and Roadrunners and car chases.It is without question in the top five of Robert Altman's films and I never heard about it till last night. BIll Hader from Saturday Night Live was a guest on Turner Classic Movies and Brewster McCloud was one of four films he had selected as personal favorites of his that were shown. (The others were Rashomon, This is Spinal Tap, and something else. I had never seen all of Rashomon before either - its overrated.) But that old guy who is the standard host on TCM seemed mystified or something by Hader's choice of Brewster McCloud, but regardless, its a really, really memorable film.

valis666 Bookish virgin Brewster lives in the fallout shelter of the Houston Astrodome and dreams of flying one day with the mechanical wings of his own creation. Every time he leaves his sanctuary he's affronted by some manner of uptight goon who seeks to hinder Brewster for one reason or another. These antagonists all end up dead and covered in bird poop -- is it Brewster? His guardian angel (with two scars where wings would've been) Abraham? Does it matter? Not really.Like most great art films, this will take some reading and reflection to truly get the most out of. The theme is freedom, obviously, and how our attachments and desires and fears keep us from reaching it. Brewster is told he needs to stay a virgin or he won't be able to fly, but in typical human fashion, temptation takes over as he falls for the beautiful Suzanne in Shelley Duvall's first role as an actress. The bulbous-shaped Astrodome is a metaphor for the birdcage in which Brewster lives. The ending is tragic and even silly and absurd at the same time. It is a strange, funny and poignant movie, and probably Altman's best.

Lee Eisenberg To follow up "MASH", Robert Altman made this quirky gem about a young man (Bud Cort) living in Houston's Astrodome, who is obsessed with flying to the point that he's building a set of wings. Louise (Sally Kellerman) is the only person in the world who really understands him. Simultaneously, a string of bizarre murders is plaguing the city: the victims are always covered with bird droppings. To solve it, the city hires Bullitt-esquire detective Shaft (Michael Murphy) to investigate. Then things really get weird. Rene Auberjonois plays the narrator, who gets more and more birdlike as the movie progresses.I actually have a connection to "Brewster McCloud": when they were filming it, my mom and her sister went to audition for a part, but the line was too long, so they decided not to (the role eventually went to Shelley Duvall). But that's just a side note. It's a really neat movie.