JohnHowardReid NOTES: Negative cost: $4 million. Shot on location in Canada.COMMENT: "McCabe and Mrs Miller" could be tightened a bit as the scenes between the two protagonists are actually the dullest in the film. Altman's anti-clericalism is very noticeable. The crook-backed minister loping through the town is caricaturised as a figure of fun in the early scenes and as an evil fanatic in the later. As in MASH every character is strongly individualized and there is a 3- dimensional quality in the writing and acting that brings them vividly to life. Every scene is full of acutely observed touches, though the final shoot-out is perhaps too bizarre, it is almost ludicrous at times, but this too could well be intentional.The support cast is superb, everyone wearing his character like a glove, but the principals seem miscast. Beatty is too intellectual and has to live down too clean-cut a screen image to be wholly convincing as an unprincipled, uncouth, small-time entrepreneur of low cunning. The sequence with the lawyer is especially unconvincing and, as the scene's point has already been made, the whole scene would have been better left on the cutting-room floor. The lawyer doesn't convince either and Altman's disinterest in the scene is shown by his over- use of undemanding and uninvolving close-ups. Miss Christie also has too high-class a screen image to be convincing as a low-class, dope-addicted madam. Her fans will be disappointed by her frowzy appearance too, but the film is nothing if not squalidly realistic. The photographic texture of the film is remarkable.I don't usually quote studio publicity departments, but this one provides some interesting info: Altman entered the picture-making business in his hometown of Kansas City, Mo., where he started off in industrial films, learning his craft from the cutting-room floor up to the director's suite. An Altman film engages his talents in all of the creative aspects of the medium. He wrote the screenplay of McCabe and Mrs Miller with Brian McKay.At the University of Missouri, he majored in a most non- theatrical subject, mathematical engineering. His switch to more creative action came during World War II; as a B-24 pilot, he had leisure time on his hands, enough of it to take up letter-writing. He composed long and humorous letters about anything and everything, and writing soon developed into a pleasurable undertaking for him. After the war, he stopped off in Los Angeles to collaborate with a friend, George W. George, on original screen treatments, several of which sold. He also wrote successfully for magazines and radio shows. Then he spent a year in New York writing plays and novels. He formed his own company and produced documentary films, and when he traveled to Hollywood it was a one-way trip. In 1955 he wrote, produced and directed his first feature film, The Delinquents, for United Artists. Two years later, Altman and George W. George, made the award-winning documentary The James Dean Story.Alfred Hitchcock was impressed, too. He offered Altman a contract but Bob elected to direct individual shows for him instead. For the next six years, Altman was one of television's busiest behind-the-camera talents. He wrote, produced and directed such shows as Roaring Twenties and Bonanza. In 1963 Altman formed his own motion-picture production company and began acquiring and developing properties. He directed Countdown and then directed That Cold Day In The Park. Producer Ingo Preminger then signed him to directed M.A.S.H.

framptonhollis "McCabe & Mrs. Miller" is a work of cinematic brilliance, not only because of its fascinating characters, unique plot, and entertaining dialogue-but also because of its setting and atmosphere! Both of these elements make the film far more memorable. I have never seen such a cold, wintry film, a film that perfectly captures the atmosphere of the Wild West. This film deglamorizes the Wild Wild by making the scenery chilling, dirty, and yet somehow indescribably beautiful. Altman creates a breathtakingly realistic, yet fantastic world with this film, which creates a most unique and intriguing mood.The film buried within this bleak setting is also extraordinary. I will admit that at times the film got slightly tedious, but by the end I was absolutely enthralled. The final moments of this film showcase humanity at its weakest. In the opening of this film, McCabe enters a town with a powerful and popular presence, however this film chronicles his fall-and in the film's climax he is stripped of his masculine and mighty strength, and turns into the weak prey rather than the flawless hero. The performances in this film are also quite fantastic. Julie Christie impresses with her charming and chilling performance as the lovely Mrs. Miller, while Warren Beatty is shockingly good as the tragic protagonist McCabe. The rest of the cast is also very spectacular, and it includes the Altman regulars Shelley Duvall, Keith Carradine (who I thought was especially good, and quite funny, in his brief role as Cowboy), John Schuck, Bert Remsen, and Michael Murphy. All of these actors do brilliantly and form an excellent ensemble to surround the compelling lead performers.I also feel the need to mention the film's underrated sense of humor. Much of the dialogue and earlier sequences made me giggle a surprising amount, but this can sometimes be expected during an Altman film, since he does have a great sense of humor. Both Warren Beatty and Keith Carradine are able to show off their funniest selves in this film, despite it being a cold drama.A film as powerful, unique, and beautiful as this one is absolutely essential. It is a compelling, funny, dreary, and breathtaking masterpiece.

oOoBarracuda Director Robert Altman spanned great lengths of symbolism to bring audiences a tale of an unlikely pairing in life on the frontier. The tale of "a savior for everyone" lays as a backdrop for the 1971 film. Warren Beatty and Julie Christie join forces to bring a sense of civilization to the town of Presbyterian Church, which has little civilization and no church. A heavy western dealing with themes of isolation and redeemers, McCabe and Mrs. Miller came off a touch thematically weighed down.Upon his arrival to the town of Presbyterian Church, gambler John McCabe (Warren Beatty) quickly learns that the town of God is nearly God-less, as the church remains under construction. McCabe then designates himself to be the town's savior, the first nod to this enduring theme. He wants to bring his brand of civility to a township that, is, well, lacking. Deciding to build a brothel, McCabe is soon joined in his exploits by Mrs. Miller, a shrewd business-minded woman who seems to believe that she acts as a savior to the girls she "employs". Soon, as their mutual business thrives, so do budding feelings between the entrepreneurs. Competing moral compasses keep McCabe and Mrs. Miller apart, as each walk among the desolate winter scene McCabe traverses reminds the viewer that the only certainty in life is solitude; we enter, and leave this world, alone. Soon, a battle erupts as the business is challenged by corporate interests who have invaded the town. The choice McCabe makes was perhaps the only one he could live with, but it holds desperate consequences for everyone else involved. The forever in solitude, John McCabe was played well by Warren Beatty who was able to execute the competing dualities of McCabe's character, who both wanted to be alone, but also wanted to be loved and needed. Julie Christie plays Mrs. Miller well also as the gruff, shrewd business woman, yet angel to the girls she employed. Personally, I get pulled into a movie's lighting. If the lighting is not right for the mood, the story is not being told properly. The lighting in McCabe and Mrs. Miller was overly dark, which fit the mood well, but was not contrasted enough with brightening during the lighter parts of the film. Another compelling aspect of the film was the cinematography. Shots of trees and mountains slated against the unfruitful harsh winter that was being endured were a true treat to the viewer. The shots were also pivotal to illustrate the deeper themes of the film. There's not much that photographs lonelier than a bare tree in the middle of winter. The audience learns that McCabe is like this tree, alone, yet seeking the cover of its familiarity. The audience eventually starts rooting for McCabe, in hopes that someday find his leaves.All-in-all, I applaud Robert Altman for providing audiences with such a deep film, and bringing such allegory and theme to the western genre. That being said, it was a little symbolism heavy. The Jesus-like moment in this film was not executed as well as the one in say, Raging Bull (1980), nor was it necessary to prove that theme to the audience. If only the director had more faith in his audience to reach the conclusions he was intending, rather than weighing down the film with so much symbolism, McCabe and Mrs. Miller could have risen to "Classic" status outside of the western genre. We will never know what could have happen, and even though I found the thematic elements over the top, I would recommend this film to any fans of great westerns, or Warren Beatty.

Donald Buehler I loved it in 1971 and I still love it. There is so much to like about McCabe and Mrs Miller: Warren Beatty is superb as the blow-hard, big shot - who has trouble adding in his head - has next to no business sense - but is smart enough to take Julie Christie (Mrs Miller) as a partner in the brothel business. Not a great fan of Mr. Beatty (Is Carly Simon's famous song about him? I think so), he is great in this role - showing that bluster and chutzpa can get you somewhere - although in the end of course it gets him killed.Julie Christie is beautiful, fiery, and mysterious as Mrs Miller. An opium addict, she tries to escape her quite sordid world through drugs ( sound familiar?) as she prods and cajoles McCabe to be what he pretends to be. One of my favorite scenes is when she is challenging him to "think big - you always think small." This is interesting as he always talks big, but in fact has a very limited vision of what can be.I love to see growth (both good an bad) in characters. Check out the progression of evil in Walter White in Breaking Bad. McCabe, although he is 90% bluff (he is a gambler) does rise to the occasion when threatened by the gunslingers at the end. It is great to see him step up when the time came - even thought the end is tragic and very poignant.But the best part of the movie for me is the ambiance and setting and the cinematography. The bleak scenery and town provide a perfect backdrop for what I believe life was like in the early days of Western expansion. Mud, cold, unwashed people, ugly women, uglier men - this is what I imagine life was like in the Old West. Loving snow scenes, the weather portrayed in the movie is excellent, especially the heavy snow at the end. The way the film was shot with the haunting Leonard Cohen music gives this film an atmosphere of dark intrigue.BTW Leonard Cohen is still at it - check him out on one of the tracks in Sons of Anarchy (Come Healing).Finally there is the mystery. Is Warren Beatty actually John McCabe - the gunslinger who killed Bill Roundtree? Or is that part of the disguise he is willing to assume to gain respect? You can point out to events in the movie which support either theory. I'm interested in your take on this - let me know what you think. Hopefully I have motivated you to see this classic film. It is in my all-time top ten (although my Mom and Dad hated it!).Thanks for reading the review of one of my favorites. DonB