source: California Split

California Split

I was fortunate enough to see California Split this past weekend on the big screen. The American Film Institute (AFI) Theater in the Kennedy Center is currently (February '02) having a retrospective of Altman's 70s films, and, while I had never heard of the film, I was mysteriously drawn to it. I'm glad I went. The chemistry between Gould and Segal is amazing. It's is if they've been friends their whole lives. They seemed very relaxed and care-free. The story is sad yet exciting, the dialog witty and almost innocent, and the direction is, of course, great. Plus, there is a brief scene with a very young Jeff Goldblum, who plays Segal's boss. If you happen upon this film on TV one late night, or it's shown in a theater near you for some reason, please see it. It's a lost treasure.

I was also lucky enough to see this one on the big screen a couple weeks ago. When I first saw Elliot Gould in The Long Goodbye I thought "This guy can't seriously be considered a great actor." However, after seeing him in M*A*SH, California Split, and again in The Long Goodbye, I realized that the lazy, slob-like attitude is what makes him such a great actor...he is a reflection of US. We are not watching some typical Hollywood actor pretending to be something he is not. Gould's acting is as real and pure as acting can be. We are watching ourselves on screen when we watch Gould. That being said, Gould is magnificent in California Split as a sleazy gambling addict. I agree with a previous poster that the Altman/Gould combo is stellar! Go see this one if you get the chance!!

"California Split" is Robert Altman's most loose-limbed movie. It's a virtually plotless look at at a couple of gambling buddies, (Elliot Gould and George Segal, both superb), coasting from day to day, losing as much as they win, filmed with so much over-lapping dialogue that conversations seem to disappear into the ether. It's also one of the great movies to explore friendships between men with one foot in the mainstream and the other in the experimental. Consequently, it wasn't really a success, either critically or commercially. Despite the drawing power of its leads people just didn't seem to know what to make of it. It's certainly a brilliant piece of film-making and its lack of structure makes it one of the most 'Altmanesque' of Altman films. It may not be in the very first tier but it still knocks spots of the best of almost anyone else.

"California Split" always hits the spot. I have to admit that the first time I watched it I had a little trouble understanding all of the dialogue. It's not a problem for me any more. Elliot Gould and George Segal both give great performances. The rest of the cast is also very strong. I do, however, have a problem with one scene. That scene is the Bert Remsen scene. It's not the fault of the always steady Remsen. It's with the tone of the scene. It's supposed to be funny but it's not. It's mean. It's uncomfortable to watch. If Robert Altman had cut that scene out "California Split", it would be my favorite gambler movie. As for now, 1989's "Let It Ride' holds that title.

Of all Robert Altman's films, this one is the best, in my mind. Meaning it stood out the most for me and it still feels so fresh after all this time, like most of Altman's films anyway. Even if you don't care for this director's films, watch it just for the marvelous chemistry between George Segal and Elliott Gould, two outstanding actors, and for those who want to see how real improvisation is done, watch closely how Elliott Gould does it in this movie, I guarantee you've never seen anything like it before or since. I was shaking my head in amazement at such talent, wow! An enjoyable film, funny as hell, but pitiful, too.

Now I really thinks that this is an amazing good movie. Amazing both for the story and for the actors: they produce a common effort in saying some real true things about gambling. Great directing, too, and great places to shoot the story (how clever to choose the depressing Reno instead of Las Vegas! Atlantic City would have been a good choice, too). Gambling is what people do when they have anything else left to do. Gambling is all about losing, feeling sad, and loneliness. And it's the same if you win or if you lose, no difference. Other films usually show winners, when they solves their common life problems through gambling, or losers, when they ruin their own common life trough gambling. What is shown by California Split is that, if you are a gambler, then there's no space for anything else, say life, love, or hope. And that's both for winners and for losers.

Altman at the absolute top of his form--which is to say among the freest, loosest and sensorily densest great movies ever made in America. Visually and sonically thick as a brick, it also represents some of the highest-flying improvisatory acting you've ever seen. Put the Godard of the early sixties in a polyester shirt, lay him down among the rummies and compulsive cases of the American gambling subculture, and fill him with equal parts beer and caffeine, and you have some idea of this thoroughly amazing, free-and-easy comedy, which has a scary undertow: the scene where George Segal tries to persuade co-addict Elliott Gould of the hollowness of the big win might be the most scarily desolate in any Altman picture.

I worked on the set of this one and it was a wonderful experience. This gambling tale is light and sad with ensemble acting all around. George Segal (always good) and Elliott Gould (sometimes good) make a great team of "losers" who just can't resist their addiction. Bert Remsen has a great supporting role, along with Ann Prentiss and Gwen Welles - ditzy hookers. An 8 out of 10. Best performance = Mr. Segal. I don't think this made a dime unfortunately. A must for all Robert Altman fans. I'm sure this is available now on DVD, so seek it out for an American tale that never quite spins out of control. You won't regret it.