Nashville (1975) 1080p YIFY Movie

Nashville (1975) 1080p

Over the course of a few hectic days, numerous interrelated people prepare for a political convention as secrets and lies are surfaced and revealed.

IMDB: 7.81 Likes

  • Genre: Comedy | Drama
  • Quality: 1080p
  • Size: 3.06G
  • Resolution: 1920x816 / 23.976 (23976/1000) FPSfps
  • Language: English  
  • Run Time: 159
  • IMDB Rating: 7.8/10 
  • MPR: Normal
  • Peers/Seeds: 0 / 0

The Synopsis for Nashville (1975) 1080p

This movie tells the intersecting stories of various people connected to the music business in Nashville. Barbara Jean is the reigning queen of Nashville but is near collapse. Linnea and Delbert Reese have a shaky marriage and 2 deaf children. Opal is a British journalist touring the area. These and other stories come together in a dramatic climax.


The Director and Players for Nashville (1975) 1080p

[Director]Robert Altman
[Role:]Ronee Blakley
[Role:]Keith Carradine
[Role:]Karen Black


The Reviews for Nashville (1975) 1080p


Reviewed bygftbiloxi ([email protected])Vote: 10/10/10

Robert Altman is an extremely divisive director in the sense that youeither "get it" or you don't--and those who don't despise his work andtake considerable pleasure in sneering at NASHVILLE in particular. Butthere is no way around the fact that it is an important film, a highlyinfluential film, to most Altman fans his finest films, and to mostseries critics quite possibly the single finest film made during thewhole of the 1970s.

According to the movie trailer available on the DVD release, NASHVILLEis "the damnedest thing you ever saw"--and a truer thing was neversaid, for it is one of those rare film that completely defiesdescription. On one level, the film follows the lives of some twentycharacters over the course of several days leading up to a politicalrally, lives that collide or don't collide, that have moments ofsuccess and failure, and which in the process explore the hypocrisythat we try to sweep away under the rug of American culture. If it weremerely that, the film would be so much soap-opera, but it goes quite abit further: it juxtaposes its observations with images of Americanpatriotism and politics at their most vulgar, and in the process itmakes an incredibly funny, incredibly sad, and remarkably savagestatement on the superficial values that plague our society.

What most viewers find difficult about NASHVILLE--and about many Altmanfilms--is his refusal to direct our attention within any single scene.Conversations and plot directions overlap with each other, and so muchgoes on in every scene that you are constantly forced to decide whatyou will pay attention to and what you will ignore. The result is afilm that goes in a hundred different directions with a thousanddifferent meanings, and it would be safe to say that every person whosees it will see a different film.

In the end, however, all these roads lead to Rome, or in this case tothe Roman coliseum of American politics, where fame is gained or lostin the wake of violence, where the strong consume the weak without anyreal personal malice, and where the current political star is only asgood as press agent's presentation. For those willing and able to diveinto the complex web of life it presents, Altman's masterpiece will bean endlessly fascinating mirror in which we see the energy of lifeitself scattered, gathered, and reflected back to us. A masterpiecethat bears repeated viewings much in the same way that a great novelbears repeated readings. A personal favorite and highly, highlyrecommended.

Gary F. Taylor, aka GFT, Amazon Reviewer

Reviewed bykagakaVote: 10/10/10

After having seen this film for the third time - the first was in filmschool many years ago - I'm struck by the amount of action going on withinmany of the shots. Mention is frequently made of Altman's use ofoverlapping dialogue in the sound but what struck me this time around ishowoften two or more characters, acting out different lines of the story arecaptured within the same shot - giving this film much of its sense ofverisimilitude, a fantastic control of pace while feeling natural.Unarguably, much of its naturalism comes from the lens and cinematographicchoices but part of it also stems from the choices made available in thecutting room, which give it an excellent pace and rhythm.

Add to that some wonderful performances, especially by Henry Gibson andRonee Blakely, and you have a quintessential American Independent filmthatspeaks about America in terms that no marketing agency of the currentgeneration would ever tolerate.

Weren't the 70s a time?Reviewed byLt_ZoggVote: 10/10

In the 70s, before "Star Wars," there was a sort of renaissance going on in Hollywood. Vietnam was over, we could finally put some of that stridency aside (regardless of which side you were on), and we could start enjoying some of the more subtle aspects of life.

Robert Altman was the experimentalist of the bunch. I saw this flick after a summer of feverishly reading William Faulkner and seeing "Brewster McCloud", so I was primed and ready for it.

If you don't mind movies that don't have traditional plots and protagonists, movies that find epiphanies where you're not supposed to be looking, they you're probably going to find something of value here. On the other hand, if this sort of thing bothers you, or if you're a serious adherent to the Nashville music factory's party line, you're probably going to hate this movie. If you can't love your tacky relatives in spite of the way they irritate you, you're probably going to hate this movie.

Now I love experimentalism almost as much as I love country music, so this is like heaven for me. There is a lot of disparagement because these characters act so self-centered, like with the knowing gazes from the women Tom Frank has boinked, as he sings "I'm Easy." But we know that these are good people.

Linnea (Lily Tomlin) is dedicated to her children and her church. Barbara Jean is an artist whose dedication to the music and her fans is driving her

to psychotic exhaustion. Even the pompous Haven Hamilton has his moment of heroism when he shields Barbara Jean after she's been shot, with a bullet in his own shoulder. Later, he steps to the microphone to reassure the crowd, but he knows he needs help, so he cries out for it -- "Somebody sing something!"

Some people need their heroes to be one-dimensional, as if they never had a single longing for a personal gratification like a lover who cares, a voice that wants expression, a little comfort or some recognition and admiration. I don't know where these kinds of saints live, but if they are somewhere, I sure don't want to see them because they're going to make me feel like real heel.

Now I'd like to say something about what is known in lit circles as "the Faulkner woman," Barbara Harris' portrayal of Albuquerque. Tattered and apparently clueless, she's a woman on a mission, guided by a vision that the rest of us can only see as delusional. When that microphone ends up in her hand and she sings, we finally understand who she is and how much we underestimated her.

Our joy in finding the power of her voice is what this movie wants to reveal to us, but only after guiding us through the vanity and sorrow of everyday life.

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