Streamers

I agree with some other reviewers that the huge flaw in this movie is the script. Maybe in live theatre this dialog is compelling, but on screen it is just bombastic. The highly formal and eloquent prose is beautiful writing, but it keeps the characters from coming alive. Nobody anywhere talks like these characters.

This could have been a powerful movie about important issues that I happen to care about a lot; it comes across instead as an acting exercise, in which very talented actors carefully read expertly crafted lines. The direction is great, as it is in every Altman movie, but I wish he had not stayed so close to the play. He usually trusted his actors more than the scripts, and not doing so in this movie was a mistake.

the honesty is the basic virtue of a film who is a precise image about army, homophobia and war. a form of manifesto. but more subtle and unmerciful and giving the no doubt message in the right terms. a film about masks and vulnerability. about prejudices and about silent. in fact, a film about freedom. simple, direct and out of excuses. and this did it special. because it propose a uncompromising view about a situation who is far to be a secret. because it did not verdicts. only a coherent picture of an institution, about fears of few young men and the dialogue who becomes a large corridor. and the acting is real inspired.

As has been already said in so many words, this movie is a bit "stagey," with Altman sticking so close to the play instead of taking advantage of the movie aspect. Perhaps as a result, this might have been great to watch on stage, but it took forever to watch on TV. And it is very dated, with lots of racial and sexual orientation slurs. The acting was very good but again hampered by strictly following a script for a play. The setting in the barracks becomes tedious before the halfway mark, and the relatively few actors or especially extras in the background make it look too minimal. Historically, this is probably worth watching, but it is a bit tough to get through.

Four young soldiers waiting to be shipped to Viet Nam deal with racial tension and their own intolerance when one soldier (Mitchell Lichtenstein) reveals he is gay.

The film debut of David Alan Grier, who has become a bit of a comedy mainstay. Robert Altman, how do you find and cast such talented young actors?

Vincent Canby wrote that the film "goes partway toward realizing the full effect of a stage play as a film, then botches the job by the overabundant use of film techniques, which dismember what should be an ensemble performance." Canby's issue is that the use of close-ups take away the feeling of watching the full performance, where even the non-speaking actors are in view of the audience.

While Canby may be coming down a bit harsh (do movie viewers want the theater experience?), it is worth noting that Altman followed up this film with "Secret Honor", which very much focuses on the actor. In fact, there is not much else to focus on, making it one of the most sparse films ever made.

I was excited to see that this film was released on DVD, only to be disappointed when I discovered that it's not available anywhere in the U.S.

My comment on "Streamers" will have to be based on one viewing a few years ago as part of a Robert Altman seminar I took in college. It's a screen adaptation of a David Rabe play, and I look at it as a male counterpart to his virtually all-female stage to screen film from the year before, "Come Back to the 5 and Dime, Jimmy Dean, Jimmy Dean."

In "Streamers," a group of Army recruits sit out a long dark weekend in their barracks, awaiting orders to ship off to Vietnam. It's dark, morbid and tense and covers such hot-button issues as racism and homophobia. I recall it all being a bit heavy-handed and one-note; I was mostly exhausted after it was over, and didn't think it was as skillfully directed as "Come Back to the 5 and Dime," which also suffered from hyperbolic material but which Altman worked wonders with.

"Streamers" does boast some pretty solid performances from a young Matthew Modine (who Altman would use again in "Short Cuts") and David Allan Grier, a far cry from the comic work he would do years later in shows like "In Living Color." If I ever have a chance to see it again, I might revise my opinion. But for now,

Grade: B-