Dr. T & the Women

This is only the second time I've been irritated enough to write a review, the other was "Trixie."

First of all, I'm a fan of "The Player" and of "Short Cuts," among other Altman movies. So when I was at first annoyed and angered by the beginning of this movie, I passed it off to his soon-to-come deeper agenda, which in "Dr. T..." never arrives.

I loathe this movie. Let me count the ways:

1. (Most importantly) We are led to empathize with a man who believes he loves too much, too hard, and hence, the consequences. This, if played out, would be great, as he gets his come-uppance, realizes the self-delusion and that his life and ways with women is a lie. But that's not what happens. We are supposed to feel sorry for and sympathize with him the entire way, even as he cheats, avoids true responsibility and, despite what the ending is supposed to say, never changes. Rather than the boy-birth being a sign of evolution/change/enlightenment, it debunks all that came before, in fact saying that all these women were the problem all along. Instead of being a witty examination of flawed Dallas women, it concludes with a tacked-on non-epiphany, which by its very existence makes everything before it misogynistic, and none of the characters likeable.

2. Watch how many times Altman works in gratuitous nudity, like an 11 yr. old peeping tom. When he shows Janine Turner's derriere-crack, at the end of her scene, it's not Richard Gere following it with his eyes, it's the CAMERA, as if to say, "hey, look at this" -- like a little elbow in our sides.

3. He does the same thing often at the end of scenes, swinging the camera with a wink to pick up a sign, a heavy-handed metaphor or scene-link that is beginning film school pretentious artifice at its worst.

4. The editing and cinematography again is of the film-school variety, and at often times is like a rough cut.

5. Helen Hunt, who for years has been trying to convince us she's newly "sexy," is so self-conscious that we never can buy into any kind of character. I am sick of her flinging her hair.

6. The camera holds so long on the golf sequences, as if to say - "these actors really can play golf," which they really don't very well. But it becomes a call-attention lingering as opposed to a mere setting for dialogue.

7. The overly intrusive soundtrack by Lyle Lovett may be close to the worst in history. Not only does it blot out large sequences of dialogue, and call attention to itself mindlessly at every turn, it actually has lyrics which say exactly what's going on in the scene.

8. The writing and dialogue are extremely sophomoric; very few times do the people seem real in what they're saying, and often they resort to movie cliche-speak.

9. Gere has a few good real moments, but the direction hurts him as well.

10. Altman's trademark "everyone speaking at once," in this movie is contrived and annoying.

11. (And maybe worst of all) this movie made me replay all the movies of Altman that I really like and see that many of tendencies above that I criticize are prevalent in ALL of his movies, now tempering my enjoyment of them. I now see a old lecher with a misogynistic bent and an arrested development, calling attention to his weaknesses in a pretentious and juvenile way.

Robert Altman appreciates women. It shows in his movies; women are often the main characters, and his films offer up a variety of interesting roles for actresses. Dr. T and the Women is almost entirely about women, modern day wealthy Texas women. Richard Gere plays Dr. Sully Travis a very successful and popular Dallas gynecologist. Not only is he surrounded by women all day at work, but his family consists entirely of women. Only a couple of male buddies enter into his closed, female dominated life. And like all good Altman movies there are plenty of quirky characters and intersecting plotlines.

The problem is that the plotlines aren't that interesting or original. Dr. T's wife develops a rare mental disorder that affects only the wealthy, and must be institutionalized. The new female golf pro comes on to Dr. T, as does his nurse. His soon-to-be-married daughter is slowly realizing that she may be a lesbian. And so on.

For Altman fans, Dr. T and the Women is not a bad rental. The director has done better, but it's still Altman. Others, less interested, might want to give this a pass.

Like much of Robert Altman's work, this is a hit and miss movie, but worth seeing for some good performances, several genuinely funny scenes, and some of the master's typical ensemble sequences with all hell breaking loose while everybody talks at once! It is probably unhelpful to approach it as though it was a full-blooded satire on wealthy Texas women. For a start, the target is too easy - like the floating and walking birds Dr T and his buddies seem to think it's fair to shoot at - and in any case the focus of the film is not the Women of the title, but Dr T.

Richard Gere gives a typically charming and understated, performance as Dr T (for Travis), who is surrounded by women whom he likes and respects in private life, and cares for in his professional life as a gynecologist, but no more understands than most men. Farrah Fawcett gives a touching portrayal as his wife, who retreats into childhood to escape his smothering affection. Helen Hunt, as an independently-minded, intelligent golf pro, provides a refreshing change - both for Dr T and the audience - from the empty-headed shopaholics who people much of the movie. Laura Dern, Kate Hudson and Shelley Long sparkle as, respectively, Dr T's sister-in-law, daughter and receptionist. (As we might expect from Altman, the city of Dallas also plays a leading role; and the best casting is definitely that of Eric Ryan as the "birth baby"; Eric enters the IMDb actors data base at the tender age of zero!)

This is a long way from the vintage Altman of Mash, Nashville and The Player; but is still richer than most Hollywood fare.

I can think of few directors who have turned out so many quality films in late career as Robert Altman has. "Dr. T and the Women" is Altman's latest, and in telling the story of a popular Dallas gynecologist and the females in his life, Altman has made one of his most enjoyable films yet. Richard Gere gives what has to be his best performance to date as Dr. Sullivan "Sully" Travis. Gere does not get enough credit for being a good actor, and with this performance he shows what enormous range he has. His Dr. T is so engaging and charming, that it is easy to see why he has the following he does. Gere's performance is the centerpiece of a quirky, funny, and hugely entertaining film, one of the best of 2000.

A fine cast of actors and an interesting story does not always provide a good film. Where did it go wrong? The main characters were amply explored for a comedy; the elements were there for an intrigue sur plus; the pretty people were there for a light romance that would make the coldest heart melt; if one were murdered it could have been a real crime flick. But it just did not happen. The acting is good. The story keeps you going. It might even tear you up, if you are willing. The comedy works at several instances. The drama will question you on human relations. But in the end it comes up short on all cinematographic fields it tries to explore. Bummer! There's a good film hiding in there somewhere.