Brewster McCloud 1970 ENG SUB ENG, SPA 1080p BluRay x264 [TorrentX]

Year: 1970 Country: United States Director: Robert Altman Cast: Bud Cort, Shelley Duvall, Sally Kellerman, Michael Murphy IMDB: Link Language : English Subtitles : English, Spanish Brewster McCloud, can be interpreted as a deeper probing of themes treated by M*A*S*H. On the surface the two movies have little in common; one is a comedy about army doctors in Korea, the other is a fantasy film about a strange young man obsessed with self-powered human flight. Yet both films address the central counterculture preoccupation of their day: how to achieve personal liberation from the prevailing social order, which is judged as corrupt and repressive. At the same time, Altman is equally unsparing in his depiction of mainstream American society as degraded Gesellschaft populated by arrogant dowagers, greedy capitalists, sleazy politicians, craven flunkies, crooked and/or dumb cops, dimwitted opportunists and violent rednecks. The screenplay was set in New York City but, at the suggestion of MGM vice president Herb Solon, Altman relocated the setting to Houston so that he could utilise the Houston Astrodome: a gigantic domed stadium completed in 1965 and billed as the ‘eighth wonder of the world’, enclosing the world’s largest indoor space, and equipped with the ‘Astrolite’, an immense, four-story electronic scoreboard, the world’s first animated one. An imposing venue for sports contests, concerts, political rallies and other orchestrated spectacles of nationalistic self-congratulation and amusement, the stadium is Altman’s perfect metaphor for America’s all-encompassing politico-cultural reality. Spectacle is the key term here. As Guy Debord argues, ‘The spectacle manifests itself as an enormous positivity, out of reach and beyond dispute. All it says is “Everything that appears is good; whatever is good will appear.” The attitude that it demands in principle is the same passive acceptance that it has already secured by means of its seeming incontrovertibility and indeed by its monopolization of the realm of appearances’. As aspiring counterculture rebel, Brewster McCloud covertly occupies a fallout shelter in the bowels of the Astrodome (i.e. society) like Ralph Ellison’s Invisible Man, while he fashions his wings of transcendence. Brewster hopes to depart from the ‘passive acceptance’ of his fellow citizens but Altman’s setting suggests from the outset that Brewster’s quest is doomed; ‘fantasy’ in the worse sense of the term. When he tries to fly away from it all, he will fly in an enormous room that afford no exit to the open skies and real freedom. While it takes potshots at jingoism, greed and other societal foibles, Brewster McCloud basically reduces to an intriguing blend of two anti-genre films: anti-fantasy and anti-cop movie. Altman utilises Cannon’s murder subplot to spoof the police procedural-thriller genre, specifically Peter Yates’ popular Bullitt (1968), starring Steve McQueen as the title characte