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==Release== ===Box office=== The film was a box-office success, with theatrical rentals of $6.8 million in North America by 1976.<ref>"All-time Film Rental Champs", ''Variety'', 7 January 1976 p. 44</ref> According to a piece in ''[[Film Comment]],'' "it is still amazing to me that the impression was so prevalent in the cultural reaches of Manhattan that ''Nashville'' was one of the year's commercial blockbusters rather than, as it was, the twenty-seventh highest-grossing film of the year."<ref name="film">{{cite news|title=First annual 'grosses gloss'|last=Byron|first=Stuart|work=Film Comment|volume=12|issue=2 |date=March 1976|pages=30–31}}</ref> The film grossed approximately $10 million in the United States.<ref name=bom/> ===Critical response=== ''Nashville'' received significant attention from critics, with Patrick McGilligan of ''[[The Boston Globe]]'' writing that it was "perhaps the most talked about American movie since [[Orson Welles]]' ''[[Citizen Kane]]''.<ref name="bg">{{cite news|url=https://www.newspapers.com/clip/34918206/the_boston_globe/|work=[[The Boston Globe]]|location=Boston, Massachusetts|page=A9|title=Altman, 'Nashville', and beyond|date=June 29, 1975|via=Newspapers.com|last=McGilligan|first=Patrick}}</ref> [[Pauline Kael]], film critic for [[The New Yorker]], described it as "the funniest epic vision of America ever to reach the screen".<ref>{{cite book |last1=Kael |first1=Pauline |editor1-last=Schwartz |editor1-first=Sanford |title=The Age of Movies: Selected Writings of Pauline Kael |chapter=Coming: Nashville |publisher=Library of America |year=2011 |isbn=9781598531718 |chapter-url=https://books.google.com/books?id=tkShTL84MrcC&pg=PT829}} Reprinting of Kael's review that originally appeared as {{cite magazine |title=Coming: Nashville |magazine=The New Yorker |date=March 3, 1975 |page=79}}</ref> Gene Siskel, Roger Ebert, and Leonard Maltin gave the film four-star reviews and called it the best film of 1975. In his original review, Ebert wrote "after I saw it I felt more alive, I felt I understood more about people, I felt somehow wiser. It's that good a movie."<ref>{{cite news|url= https://www.rogerebert.com/reviews/nashville-1975 |title=Ebert's 1975 review |work=[[Chicago Sun-Times]] |date= January 1, 1975|access-date=August 15, 2019}}</ref> On August 6, 2000, Ebert included it in his [[The Great Movies]] compilation.<ref>{{cite web |last=Ebert |first=Roger |url=https://www.rogerebert.com/reviews/great-movie-nashville-1975 |title=Nashville - Great Movies |work=[[Chicago Sun-Times]] |date=August 6, 2000 |access-date=August 15, 2019}}</ref> [[Vincent Canby]] of ''[[The New York Times]]'' praised the film's music as "funny, moving and almost nonstop" as well as its "well‐defined structure, [in which] individual sequences often burst with the kind of life that seems impossible to plan."<ref>{{cite news|url=https://www.nytimes.com/1975/06/12/archives/nashville-lively-film-of-many-parts.html|work=[[The New York Times]]|title='Nashville,' Lively Film of Many Parts|last=Canby|first=Vincent|author-link=Vincent Canby|date=June 12, 1975|page=32|archive-url=https://archive.today/20190815053303/https://www.nytimes.com/1975/06/12/archives/nashville-lively-film-of-many-parts.html|archive-date=August 15, 2019|access-date=August 15, 2019|url-status=live}}</ref> Writing for the ''[[New York Daily News]]'', Harry Haun praised the film's attention to detail and characterization, noting: "I have seen ''Nashville'' 4½ times, and I'm still discovering dimensions that had eluded me."<ref>{{cite news|work=[[New York Daily News]]|location=New York City|url=https://www.newspapers.com/clip/34918377/daily_news/|title=In 'Nashville,' elbows count|date=July 18, 1975|page=68|via=Newspapers.com|last=Haun|first=Harry}}</ref> Charles Champlin of the ''[[Los Angeles Times]]'' praised the humor, which he noted as ranging "from [[slapstick film|slapstick]] to satire", and commended the film as "the most original and provocative American movie in a very long time."<ref>{{cite news|work=[[Los Angeles Times]]|location=Los Angeles, California|url=https://www.newspapers.com/clip/34918427/the_los_angeles_times/|title=Altman's Mural of Country and Western Music|via=Newspapers.com|date=June 29, 1975|page=1|last=Champlin|first=Charlie}}</ref> According to film critic Ruth McCormick, however, after an initial wave of praise, a critical backlash ensued. "Robert Mazzocco in ''The New York Review of Books'', Greil Marcus in ''The Village Voice'' and John Malone in ''The New York Times'' wrote articles that ranged from debunking the hype and calling ''Nashville'' superficial and overrated, to absolutely hating the film for its aesthetic shortcomings or its purported pessimism, cynicism and sexism."<ref>{{cite journal |last=McCormick |first=Ruth |title=In Defense of Nashville |journal=Cinéaste |volume=7 |year=1975 |issue=1 |pages=22–25, 51}}</ref> {{Rotten Tomatoes prose|89|8.80|130|Robert Altman captures the bravado and cynicism of the American dream in ''Nashville'', a sprawling epic bursting with vivid performances and an unforgettable soundtrack.|ref=yes}} {{Metacritic film prose|1=96|2=24|ref=yes}} ===Controversy=== The film was widely despised by the mainstream country-music community at the time of its release; many artists believed it ridiculed their talent and sincerity.{{sfn|Stuart|2003|p=292}} Altman felt they were mad because he chose not to use their music in favor of letting the actors compose their own material. However, he stated the movie has since become popular in the city among more recent generations.<ref name="Nashville Commentary by Robert Alt">{{cite video | people = Robert Altman | title = Nashville "Commentary by Robert Altman" | medium = Motion Picture/DVD | publisher = Paramount Pictures 2000 / American Broadcasting Companies 1975 | location = Hollywood, California | date = 2000 }}</ref> The film garnered further attention in 1980 due to its climactic shooting scene of Barbara Jean, as it predated, but eerily mirrored, what would be the [[Murder of John Lennon|murder of]] [[John Lennon]]. In an interview on 2000 DVD release, Altman remarks that after Lennon's death, reporters questioned the director about ''Nashville'' and its harbinger of the assassination of a music star. :Robert Altman: "When John Lennon was assassinated, I got a call immediately from the ''Washington Post'' and they said, 'Do you feel responsible for this?' and I said 'What do you mean, responsible?' 'Well, I mean you're the one that predicted there would be a political assassination of a star.' And I said 'Well, I don't feel responsible,' but I said, 'but don't you feel responsible for not heeding my warning?' The statement here is, these people are not assassinated because of their ideas or what they do. They're assassinated to draw attention to the assassin. And in political assassinations, in their sort of warped minds, they know that they are going to have a certain amount of people who said 'that son of a bitch [the politician] should have been shot,' because there's such heat about it. But actually what they are doing is killing somebody who's in the public eye and is some sort of an icon. Because this feeling that by doing that, committing that assassination they draw the attention to themselves, and they make themselves consequently important. Ah, and it's no surprise to me, the Lennon assassination, because this is what all that is, and I don't think we have seen the end of it either."<ref name="Nashville Commentary by Robert Alt"/> ===Home media=== [[Paramount Home Media Distribution|Paramount Home Video]] released ''Nashville'' on VHS and [[DVD]] in 2000.<ref name=dvdtalk>{{cite web|url=https://www.dvdtalk.com/reviews/62270/nashville-blu-ray-dvd-dual-format-edition/|work=[[DVD Talk]]|title=Nashville (Criterion Collection)|author=Galbraith, Stuart IV|archive-date=August 13, 2019|archive-url=https://archive.today/20190813235112/https://www.dvdtalk.com/reviews/62270/nashville-blu-ray-dvd-dual-format-edition/|access-date=August 14, 2019|url-status=live}}</ref> In 2016, [[The Criterion Collection]] released a [[Blu-ray]] edition of the film featuring a new scan and supplemental features, including an archival commentary with Altman as well as archival interviews, and a new documentary piece.<ref name=dvdtalk/>
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