Buffalo Bill and the Indians falls on the weaker end of Robert Altman films, yet his reoccurring charm stays present throughout this satirical western. I’m not experienced with westerns, nor am I too acquainted with western American history. So to say the least, it took me the lions share to find myself fully engaged within Altman’s vision with Buffalo Bill.
There’s no question about the strongpoint of Altman’s Buffalo Bill and the Indians. I’ve become incredibly fond with the grand scale of costume, set, and prob design within his projects. All of them are unique, and likely will hold a place within my memory for time to come. Nashville is my favorite costume design in any Hollywood production, so yes, I’ve become accustom to innovative costume and set work from Altman. Which in terms of Buffalo Bill, there’s no debating that it’s some of Altman’s greatest set and costume work over the course of his extensive career.
The costume and set are extravagant and intentionally feel quite large, which after two hours it’s impossible not to feel that you’re in this circus town with them. Yet even with this low of a score, I’m unable to comfortably say the only redeeming quality is the production design. With every passing minute of thought I put toward Buffalo Bill, the more I realize how transformative some of the crucial performances are.
It was a pleasant surprise watching Harvey Keitel play a relatively prominent role so early into his career. It didn’t seem he fit the role, but Keitel’s character became much more transformative his near the end of the screenplay.
Paul Newman as Buffalo Bill Cody is the clear standouts role due to screen time, and contagious comedic timing. Having the lead in any Altman film gears actors toward greatness; which leads me to say, Newman’s character work, slightly unrecognizable cosmtume transformation, and full cast chemistry is undeniably bittersweet. All in all, Newman delivers big time for a screenplay that never really did the same for him.
The supporting cast is great, but again, this is something I’ve come to expect from Altman. He pays closer attention to his supporting roles because he feels they are essential to portraying the human condition through his oculars. Each of his side characters own each and every second they are on screen, which I’ve only ever felt with Paul Thomas Andersons work prior to now.
Buffalo Bill and the Indians Best Support Roles:
-Geraldine Chaplin as Annie Oakley
-Will Sampson as The Interpreter
-Frank Kaquitts as Sitting Bull
-Burt Lancaster as The Legend Maker
*
*Overall, Buffalo Bill and the Indians lacks a bit of substance within the story department, which left me feeling majorly underwhelmed as the credits began to role. The cinematography is otherworldly like his past films, and the further we get into his career, the clearer his defining style becomes. I’m not sure I’ll see an Altman film as “bad”. I say this because music is undeniably as important to Altman as it is to me, which paired with unique zoom lenses and unforgettable costume design, usually makes for a solid film. With Buffalo Bill and the Indians we get all of this, even with some well written satire thrown in; However, the story falls short in a way that I haven’t felt with Altman before.
67
Buffalo Bill and the Indians falls on the weaker end of Robert Altman films, yet his reoccurring charm stays present throughout this satirical western. I’m not experienced with westerns, nor am I too acquainted with western American history. So to say the least, it took me the lions share to find myself fully engaged within Altman’s vision with Buffalo Bill.
There’s no question about the strongpoint of Altman’s Buffalo Bill and the Indians. I’ve become incredibly fond with the grand scale of costume, set, and prob design within his projects. All of them are unique, and likely will hold a place within my memory for time to come. Nashville is my favorite costume design in any Hollywood production, so yes, I’ve become accustom to innovative costume and set work from Altman. Which in terms of Buffalo Bill, there’s no debating that it’s some of Altman’s greatest set and costume work over the course of his extensive career.
The costume and set are extravagant and intentionally feel quite large, which after two hours it’s impossible not to feel that you’re in this circus town with them. Yet even with this low of a score, I’m unable to comfortably say the only redeeming quality is the production design. With every passing minute of thought I put toward Buffalo Bill, the more I realize how transformative some of the crucial performances are.
It was a pleasant surprise watching Harvey Keitel play a relatively prominent role so early into his career. It didn’t seem he fit the role, but Keitel’s character became much more transformative his near the end of the screenplay.
Paul Newman as Buffalo Bill Cody is the clear standouts role due to screen time, and contagious comedic timing. Having the lead in any Altman film gears actors toward greatness; which leads me to say, Newman’s character work, slightly unrecognizable cosmtume transformation, and full cast chemistry is undeniably bittersweet. All in all, Newman delivers big time for a screenplay that never really did the same for him.
The supporting cast is great, but again, this is something I’ve come to expect from Altman. He pays closer attention to his supporting roles because he feels they are essential to portraying the human condition through his oculars. Each of his side characters own each and every second they are on screen, which I’ve only ever felt with Paul Thomas Andersons work prior to now.
Buffalo Bill and the Indians Best Support Roles:
-Geraldine Chaplin as Annie Oakley
-Will Sampson as The Interpreter
-Frank Kaquitts as Sitting Bull
-Burt Lancaster as The Legend Maker
*
*Overall, Buffalo Bill and the Indians lacks a bit of substance within the story department, which left me feeling majorly underwhelmed as the credits began to role. The cinematography is otherworldly like his past films, and the further we get into his career, the clearer his defining style becomes. I’m not sure I’ll see an Altman film as “bad”. I say this because music is undeniably as important to Altman as it is to me, which paired with unique zoom lenses and unforgettable costume design, usually makes for a solid film. With Buffalo Bill and the Indians we get all of this, even with some well written satire thrown in; However, the story falls short in a way that I haven’t felt with Altman before.
67
