'Gosford Park? marks another success for Altman

"Gosford Park"

Directed by: Robert Altman

Starring: A cast of dozens

Rated: R

No filmmaker working today can create such adept scenarios on which to paint his plots as Robert Altman. A master of the character-driven ensemble film, Altman has delivered such large cast feasts as "Nashville," "The Player," "Short Cuts," and "M*A*S*H." His other, less-populated pieces have always broken new ground and sometimes, as in the case of "McCabe and Mrs. Miller" redefined a film genre.

While doing research for this column, I was amazed at the depth of Altman's career.

His first credit (actually he's not credited, but wrote the screenplay nonetheless) dates back to 1947 for a film called "Sinner's Holiday." Throughout the 1950s and 60s he wrote for and directed episodes of an incredible array of TV shows including "Alfred Hitchcock Pre-sents," "Maverick," "The Gale Storm Show," "Combat," "Route 66"... the list goes on and on.

If ever there was a guy who would be fun for a film/TV buff to have lunch with (or a few drinks, as his reputation in this area is legendary as well) it's Robert Alt-man. Local connection: Altman, about to turn 77, was born and raised in Kansas City. So, not all film geniuses hail from one or the other coast.

His first big hit as a director came in 1970 with "M*A*S*H." Although set in the Korean war, the film was a perfect parable for the insanity going on in Vietnam and struck a chord with a generation that opposed that particular "police action," as well as older folks who had lived through earlier conflicts. Along with "Catch-22" (the book more so than the film) and "Johnny Got His Gun," "M*A*S*H" is one of the finest film examples of the absurdity of war. I'm not trying to beat any particular political drum here, but even some famous military leader pointed out, "War is hell."

With his latest work, "Gosford Park," Altman hits another high water mark. It's a complex, intricately crafted story with so many characters coming, going and interacting that viewers are likely to miss the entire Agatha Christie-styled murder mystery aspect of the film on first viewing.

Nearly every piece I've read concerning "Gosford Park" recommends seeing it a second time, and they all mean that in the most respectful way. The characters and dialogue are so rich that it's easy to get caught up in one fine moment only to let the next one slip past.

As much as the plot uses the style of Ms. Christie, there's also a good dose of films like "The Remains of the Day," and the BBC series "Upstairs, Downstairs" at play here, as well. The estate at Gosford Park is presented in two distinctly different perspectives: that of the upper-crust guests and that of the servants.

The piece is set in 1932, which marked the beginning of the end of the classic English estate class, when men still had valets, ladies had their personal maids and houses like Gosford Park were staffed by a myriad of cooks, housekeepers, grooms, gardeners, manservants, ser-vers and footmen.

The whole lot of them, as well as a fine assortment of lords and ladies, are present in "Gosford Park" and the cast is a stunning who's who of English (and a few American) actors and actresses.

Sir William and Lady Sylvia McCor-dle have invited their guests for a weekend of shooting quail at their estate. Of course all of the invited have their various servants, so it's a full house.

Besides the usual aristocracy, also on the guest list are film star Ivor Novello and his pal from Hollywood, producer Morris Weismann. Weismann's "valet" has a none-too-convincing Scottish ac-cent and, like everyone else in the film, lots of secrets to hide and stories to tell.

The lords and ladies have their own particular pecking order. Novello is looked down upon by some in the crowd for being associated with what's considered the "vulgar" entertainment industry. Or really, even having to work for a living.

Downstairs, the servants, too, have a caste system. The visiting valets and maids are referred to by their employers' names, and seating at the table is a complicated, rigorously observed ritual.

The first hour or so of the film is spent introducing the various characters and where exactly they fit onto the ladder of the hierarchy. It's an engrossing ride with a lot of multiple camera shots, overlapping dialog and wonderful production design (by Altman's son Steven.)

Later in the film the murder mystery sets in. We already know Sir William is a self-made millionaire who married into the blue-blood society, and he has quite a few sexual indiscretions in his past. No one is surprised, or seems to care very much, when milord turns up dead.

The curious thing that comes to light is the fact that Sir William was actually murdered twice on the same evening.

These circumstances bring Inspector Thompson and Constable Dexter on the scene to find out who, and how many, murdered the late lord. Lots of people have motives.

Thompson and Dexter's relationship boils down the entire English caste system, played out in the rest of "Gosford Park," into a pretty funny, insightful pair of characters.

The performances here are incredible it always shows when actors are happy to be working with what they know is a brilliant script. The cast is just too long to mention, and each one is as good as the next.

The screenplay was written by Julian Fellowes and is credited as being "based on an idea" by Altman and actor/producer Bob Balaban (who stars as Morris Weismann). One can only imagine how they came up with the idea, but Altman and his superb cast make it all come together flawlessly. See it on the big screen. See it again. Then wait for the day it's released on DVD.

(Jim Wunderle works at Associated Video Producers and is a Springfield free-lance writer and musician.)