Alan Rudolph Movies

The Z Channel wasn't America's first premium cable outlet specializing in feature films, and it wasn't the most commercially successful, but few, if any, had as strong an impact on the film industry or a more influential list of customers. Based in California and blanketing sections of the state dominated by the movie business, Z Channel had been operating for several years before former screenwriter Jerry Harvey took over as head of programming in 1980. Under the guidance of Harvey and his staff, the channel became a film buff's dream, screening rare classics, important foreign films, and maverick American titles that had fallen through the cracks of commercial distribution. Harvey and his staff also programmed original and uncut versions of films which had only played American theaters in altered form (including Heaven's Gate, Once Upon a Time in America, Pat Garrett and Billy the Kid, and The Leopard) long before the concept of the "director's cut" had currency beyond the most hardcore of film fans. And The Z Channel aggressively championed pictures they believed were overlooked, and programmed deserving Oscar-nominated movies during the Academy's voting period, years before studios began distributing video "screeners" to potential voters. (More than one industry expert has credited Z Channel's showings of Annie Hall as a key factor in the film winning Best Picture.) But Jerry Harvey was also a deeply troubled man, and when legal and economic problems began dogging the company in the late '80s, he snapped, leading to a horrible and tragic murder and suicide. The Z Channel: A Magnificent Obsession is a documentary that looks at the channel's short but remarkable history as well as Harvey's damaged personal life. It includes interviews with Robert Altman, Quentin Tarantino, James Woods, Jim Jarmusch, Alexander Payne and a number of other filmmakers and critics who attest to Z Channel's lasting impact. ~ Mark Deming, Rovi

A group of bohemian intellectuals struggle to have an intelligent discussion of perhaps the world's most emotional subject in this comedy-drama from director Alan Rudolph. Edgar (Dermot Mulroney) is an artist living in Paris during the 1920s who believes that sex is a subject of vital importance, but almost no one discusses it with the gravity it deserves. With this in mind, Edgar gathers together a panel of fellow creative types at the home of a wealthy tycoon (Nick Nolte) and his oddly accented spouse (Tuesday Weld) for an evening in which they will discuss their erotic lives without self-serving wit or exaggeration. Joining Edgar for this experiment is an artist from Germany (Til Schweiger), an arrogant film director (Jeremy Davies), a self-obsessed painter (Alan Cumming) whose fey personality may cross the boundaries of Edgar's prohibition of homosexuality as a topic of conversation, and a student from England (Terrence Dashon Howard) who has attracted the eye of a lovely French girl (Julie Delpy) with whom Edgar has fallen in love. Certain that a number of profound thoughts will be shared with the group, Edgar hires a pair of stenographers to record the proceedings, but the presence of the two young and beautiful secretaries -- innocent Alice (Neve Campbell) and provocative Zoe (Robin Tunney) -- has an unexpectedly strong effect on the group. Investigating Sex had its U.S. premiere as the closing night attraction of the 2001 Seattle Film Festival. ~ Mark Deming, All Movie Guide

In a small American town called Midland City, Dwayne Hoover (Bruce Willis) -- a loyal father, a successful car dealer, and a respected member of the community --lives with his wife Celia (Barbara Hershey), who's addicted to pills and TV shows, and his son Bunny (Lukas Haas), who is a weakling. What's more, his best friend and employee Harry Le Sabre (Nick Nolte) is a paranoid red-lace-lingerie fetishist. Dwayne finds short-term consolation in the arms of his secretary and mistress, Francine (Glenne Headley). As the American Dream slowly becomes his nightmare, Hoover begins to retreat into a fantasy world, filled with strange voices and fearful visions. It takes only the arrival of third-rate science-fiction writer Kilgore Trout (Albert Finney) -- whose novels are turned into fourth-rate porno comics -- at the Midland City Art Festival for things to explode. Hoover's only hope is Kilgore, whom he has raised to the status of a guru in his fantasies. However, the two men meet when time, space, and reality have already lost their meaning. Now it is only nonsense that makes sense and madness that reigns; the American dream has turned into lunacy. Breakfast of Champions, which had its world premiere during the 49th International Berlin Film Festival in 1999, is the outcome of a project in the making for over twenty years. Director Alan Rudolph wrote the script when the novel by Kurt Vonnegut was first published. However, it took all this time (and perhaps the casting of someone like Bruce Willis in order to get it financed) for the project to be realized. ~ Gönül Dönmez-Colin, Rovi

Jennifer Jason Leigh offers an acclaimed performance as humorist Dorothy Parker, who together with such 1920s luminaries as Robert Benchley, Alexander Woollcott and George S. Kaufman, was a charter member of the legendary Algonquin Round Table. The story is related in flashback form, as Mrs. Parker, in Hollywood to cowrite the 1937 feature A Star is Born with her second husband Alan Campbell (Peter Gallagher), recalls her glory days as an Algonquinite. A great deal of attention is afforded Parker's vituperative bon mots, her alcoholism, her self-destructiveness, her suicide attempts, and her affairs with such literary contemporaries as Charles MacArthur (an uncharacteristically unsympathetic Matthew Broderick) and Robert E. Sherwood (Nick Cassavetes). The one person Parker truly seems to care about is humorist Robert Benchley (Campbell Scott), who prefers to keep their friendship platonic. Director Alan Rudolph attempts to convey the ambience of the 1920s by having dozens of that decade's luminaries appear in fleeting cameos, from Will Rogers (Keith Carradine) to Harpo Marx. Also featured in Mrs. Parker are Tom McGowan as the waspish Alexander Woollcott and Andrew McCarthy as Dorothy's near-invisible first husband, Eddie Parker. ~ Hal Erickson, Rovi

Robert Altman takes a scalpel to Hollywood ethics in the 1990s (or the lack thereof) in his acidic satire The Player, adapted from Michael Tolkin's novel. (Tolkin also wrote the screenplay.) The film concerns a sleek and smooth Hollywood studio executive who starts receiving death threats from a disgruntled writer because he has committed the ultimate Hollywood sin -- he promised the writer he would call him back and he never did. This is particularly ironic because the studio executive, Griffin Mill (Tim Robbins), is considered "writer-friendly," spending his days listening to pitches from such noted screenwriters as Buck Henry, who is pushing "The Graduate, Part II" and Alan Rudolph, who is hawking a Bruce Willis action film described as "Ghost meets The Manchurian Candidate." But The Player finds Griffin's comfortable life style in danger of collapse. He is trying to find a way to unload his girlfriend (Cynthia Stevenson) whose independence and intelligence make her a poor candidate for a trophy wife. More importantly, it seems that Larry Levy (Peter Gallagher), a slippery executive from Twentieth Century Fox, is angling for his job. And then there are those nasty postcards and faxes from a screenwriter threatening to kill him. Altman cast over 65 stars in cameo roles as texture for his scabrous tale. ~ Paul Brenner, Rovi

This documentary respectfully interviews a number of important American directors who have in one way or another "bucked the system." It also explores the life and work of earlier American mavericks through the tributes, reflections, and recollections of the first group. Prominent among the living directors interviewed are Martin Scorsese, Peter Bogdanovich, Francis Ford Coppola, Paul Schrader, and David Lynch. Among the directors who are discussed are Orson Welles, D.W. Griffith and Samuel Fuller. Clips from the films of these men, and interviews with important actors who have worked with them (e.g. Robert DeNiro) are another feature of this documentary, commissioned by Japanese public television corporation NHK. ~ Clarke Fountain, Rovi

In the expatriate-littered Paris of the 1920s, painter Nick Hart (Keith Carradine) mingles with Ernest Hemingway (Kevin O'Connor) and other leading lights of the Lost Generation while palling around with gossip columnist Oiseau (Wallace Shawn), whose reportage has helped establish the international reputation of the writers and artists who fled America for France after WWI. Older and less successful than many of his fellow painters, Hart relies on gallery owner Libby Valentin (Genevieve Bujold) to sell what she can of his work while he supports himself drawing cartoons for Oiseau's weekly column. In a café one day, Hart spies Rachel Stone (Linda Fiorentino) on the arm of her husband, Bertram (John Lone), a condom magnate and art patron who's trying to buy his way into society. It seems Hart and Rachel share a romantic past of which Stone is completely unaware. At the salon of writers Gertrude Stein (Elsa Raven) and Alice B. Tolkas (Ali Giron), Hart suffers a nasty run-in with the Stones and meets Nathalie de Ville (Geraldine Chaplin), a rich socialite who wants to steal three paintings from her estranged husband. Nathalie plies Hart with sexual favors and the promise of cash in exchange for his help in forging copies of the paintings. Although he's loath to follow in the footsteps of his father, a gifted forger, Hart acquiesces, and soon his rivalry with Stone and his involvement with the forgeries leads to death, destruction, and scandal in the art world. Bujold, Shawn, Chaplin, and Carradine are all regular collaborators of iconoclastic director Alan Rudolph, who filmed The Moderns in Montréal and would go on to lens the similarly intellectual Mrs. Parker and the Vicious Circle. ~ Brian J. Dillard, Rovi

The time is The Future; the place is Rain City, formerly Seattle. The city is a police state, while the citizens have adopted the manner and dress of 1940s gangsters. Recently released from prison, ex-cop Kris Kristofferson tries to touch base with his ex-girlfriend Genevieve Bujold, who runs a 1950s-style cafe. Hoping to make up for past sins, thereby redeeming himself in Bujold's eyes, Kristofferson endeavors to save innocent, newly arrived couple Keith Carradine and Lori Singer from the evil designs of crooked Joe Morton. Trouble in Mind strives mightily for a film noir ambience, right down to the presence of a sinister, Greenstreetesque "fat man," played in male drag (for a change) by Divine. The title tune for Trouble in Mind is sung over the credits by Marianne Faithful. ~ Hal Erickson, Rovi

The lives of five L.A. natives intertwine in this romantic comedy from independent filmmaker and former Robert Altman protégé Alan Rudolph. Eve (Lesley Ann Warren) is a bar owner who has sworn off permanent commitments, seeking only the temporary sexual satisfaction of men. Her roommate Ann (Genevieve Bujold) is her polar opposite. In reality, Ann is secretly the radio sex therapist Dr. Nancy Love, but she has little romantic experience despite her profession. Into their lives comes Mickey (Keith Carradine), a recent mental patient who might be an enigmatic pathological liar. Though she's powerfully attracted to Mickey, Eve's kept at arm's length by her lover Zack (Patrick Bauchau), a married man whose wife (Rae Dawn Chong) also finds Mickey irresistible. When Nancy sleeps with Mickey, he proposes marriage, but she rejects him, though the assignation does have a positive effect on her radio show. Considered Rudolph's seminal work, Choose Me (1984) was the third in a thematically-linked trilogy from the quirky low-budget director, the first two being Welcome to L.A. (1977) and Remember My Name (1978). ~ Karl Williams, Rovi

Based on a true story, Endangered Species stars Robert Urich and JoBeth Williams. Urich plays vacationing ex-cop Ruben Castle, while Williams portrays Harriet Purdue, a small-town sheriff. Intrigued by Purdue's investigation of a rash of cattle mutilations, Castle begins following the evidence trail himself. What has been attributed to a religious cult or extraterrestrials by the locals turns out to be a covert operation conducted by a corrupt cartel. ~ Hal Erickson, Rovi

This disquieting domestic thriller from writer and director Alan Rudolph was produced by his long-time mentor Robert Altman. Anthony Perkins stars as Neil Curry, a construction worker living happily in suburbia with his wife Barbara (Berry Berenson) until their home becomes vandalized during the holiday season by a stalker. It seems that the assailant, Emily (Geraldine Chaplin), is Neil's chain-smoking, mentally disturbed ex-wife, who has just been released from jail after serving a long sentence for murder. Now she seems to be both seeking revenge for some past wrongs and attempting to win Neil back at the same time. Meanwhile, the television broadcasts the mounting death toll from a devastating earthquake in Hungary, increasing the sense of menace, though no one seems to take much notice. In supporting roles, Remember My Name (1978) featured early motion picture performances from a trio of actors that would go on to become well-known, Jeff Goldblum, Alfre Woodard and Dennis Franz. ~ Karl Williams, Rovi

Alan Rudolph's first feature Welcome to L.A. displays his characteristic mood of romantic despair utilizing a La Ronde-like circle of sexual adventures and failed affairs centered around song-writer Carroll Barber (Keith Carradine) which spread out through the city. Barber is an aloof womanizer who cannot commit or love and is used by Rudolph to illustrate the loneliness inherent in big-city life. The film, featuring a haunting score by Richard Baskin, is a bit too ambitious for the beginning director. However, he gets good performances from Sally Kellerman as a lonely real estate agent, Geraldine Chaplin, as a Valley housewife addicted to taxi rides and Lauren Hutton as the mistress of a wealthy man. ~ Linda Rasmussen, Rovi