Short Cuts (1993)

Director:

Robert Altman

Writers (WGA):

Raymond Carver (writings)
Robert Altman (screenplay) ...

Release Date:

3 October 1993 (USA)

Genre:

Comedy | Drama

Tagline:

From two American masters comes a movie like no other

Plot:

The everyday lives of a number of Los Angeles residents are the subject of this loosely-knitted collection of short stories.

Plot Keywords:

Fishing | Helicopter | Drink | Jazz | Concert

Awards:

Nominated for Oscar. Another 13 wins & 4 nominations

Cast

  (Cast overview, first billed only)

Andie MacDowell	...	Ann Finnigan
Bruce Davison	...	Howard Finnigan
Jack Lemmon	...	Paul Finnigan
Zane Cassidy	...	Casey Finnigan
Julianne Moore	...	Marian Wyman
Matthew Modine	...	Dr. Ralph Wyman
Anne Archer	...	Claire Kane
Fred Ward	...	Stuart Kane
Jennifer Jason Leigh	...	Lois Kaiser
Chris Penn	...	Jerry Kaiser
Joseph C. Hopkins	...	Joe Kaiser
Josette Maccario	...	Josette Kaiser
Lili Taylor	...	Honey Bush
Robert Downey Jr.	...	Bill Bush
Madeleine Stowe	...	Sherri Shepard

MPAA:

Rated R for graphic sexual language, and for nudity

Runtime:

187 min | Argentina:190 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

Stereo | 70 mm 6-Track (70 mm prints)

Certification:

Portugal:M/16 | Norway:15 | Iceland:16 | New Zealand:M | Argentina:16 | Australia:MA | Canada:14 (Nova Scotia) | Finland:K-14 | France:U | Germany:16 | Israel:PG | Singapore:M18 | South Korea:18 | Spain:18 | Sweden:15 | UK:18 | USA:R

Filming Locations:

Bronson Caves, Bronson Canyon, Griffith Park - 4730 Crystal Springs Drive, Los Angeles, California, USA

Company:

Avenue Pictures Productions

Trivia:

All Jennifer Jason Leigh's phone-sex conversations are verbatim of the calls she heard when she was researching for the part.

Goofs:

Continuity: When Honey and Gordon eye each other suspiciously after mixing up their photo envelopes, they try to find identifying information on each other. Gordon repeats the phone number he sees on Jerry Kaiser's car to remember it better, however the last 4 digits of number he is repeating differ from the actual phone number on Kaiser's car.

Quotes:

Sherri Shepard: Wouldn't it be a trip if Alex Trebek bought a nude painting of me?

Movie Connections:

Referenced in I Want Someone to Eat Cheese With (2006)

Soundtrack:

I Don't Want To Cry Anymore

This then, is a rare gem: A Hollywood movie of artistic enormity.

After watching this film one thing I was left with was a feeling of tremendous euphoria, a glowing feeling which lasted well into the next morning. I could not help but think that this collage of events in the lives of 22 people in sunny LA was realism. Not the harsh gritty realism of 'Taxi Driver', but a different realism. This movie is who we are, as people. This movie chronicles the emotions we may have when confronted with a persistent crank caller, or the lingering suspicion of a partner's affair. And the acerbic intelligence of the script is tempered with director Altman's stunning technical virtuosity.

The style is very pastiche, and one scene cuts to another, as the title suggests, with reckless abandon. This lends a very fresh and watchable quality to what is by any standards a long film. While most of the characters never meet, the movie is given shape by the connections between scenes. The connections are of two kinds: thematic connections for which the credit goes to the script, and also visual connections whereby the direction and editing employed by Altman allow him to create recurring imagery with which he weaves the sprawling, kicking constituent bits and pieces of this movie together. This style works very well indeed and at the end of the film, miraculously you are left not with the impression of having just watched a series of 'short cuts', but something entirely more holistic in nature.

There was not a false note in the acting and the star-studded cast did great justice to a remarkable script. The casting is flawless, from Tim Robbins' adulterous cop to Julianne Moore's adulterous painter. The camera-work is refreshing in its fluidity and control, transmitting an intense watchability. However many feelings there are in the human emotional vocabulary (and I am sure there are a fair few), it seems that 'Short Cuts' is somehow able, in the course of three hours, to display (in the actors) and evoke (in the audience), each and every one of them. For those who are of the belief that modern Hollywood is unable to produce films of artistic merit, watch this movie now or hold your peace forever.