User reviews

This was the very first film I was in as an actor. Robert Altman himself chose me as "The Carrot" after casting director Rick Sparks suggested me for the role. The total experience filming was nothing but positive. Mr. Altman was a delight to work with and watch him gleefully direct his cast of repertory actors. The film was "shelved" for a few years before it was finally released nationwide in limited release. His films are more for "groupies" who "get" his brand of humor, where today Christopher Guest's improvisational films featuring a "rep" group of actors seem to be more widely accepted and understood. Mr. Altman is a sincere passionate director and lets his ensemble of players breathe life into the improvisational scenes. Carol Burnett is a class act on and off the screen. Glenda Jackson equals her. Lauren Bacall was more aloof. James Garner would spend hours signing autographs on the beach for the gallery of fans in the hot sun following the long hours of shooting. He is the consummate pro. Many people may not "get" HEALTH, but it was way ahead of its time and today would be a hit with the world's political scene more controversial as this cast of characters is. P.S. I played "the carrot" in the opening and closing scenes! how's that for getting "roots" as an actor?

As disjointed as it is, HEALTH is still light years more clever than a lot of movies that get wide release so it's a real head scratcher why it sat on the shelf for so long...and is pretty much forgotten now. Assembling his standard large cast, director Robert Altman makes some pointed comments on the hypocrisy of many health food aficionados. Lauren Bacall and Glenda Jackson are well-used as rivals vying for president of a national health organization. Bacall is the best thing in the movie as she claims to be in her eighties --- and has a dog in his forties to boot! She's also senile and kept alive by a sex-starved nurse and a shady manager. Jackson is the clipped tongue naturalist who views herself some sort of Jesus figure for the Health conscious set. Carol Burnett is terrific as a government representative who grows more and more wary of the health movement the more she is exposed to it. Her interview scene with Dick Cavett, as himself, is priceless. James Garner plays Bacall's manager and he's appropriately caddish. Henry Gibson is a hoot as a political dirty trickster. Paul Dooley and Alfre Woodard have a few funny moments as well.

Some of the acknowledged Altman "masterpieces" seem sadder to me now. Maybe it's me. Like the last reviewer, I even like this "lesser" Altman (shown recently on FMC), although I don't think he was aiming at a wide audience. Organization politics as a "microcosm" for public campaigns. Some of this satirical "docudrama" is now dated, like Dick Cavett watching the Tonight Show, but I found much of the dialog funny and insightful (e.g. "You are for real. That means you're no threat to anyone"). The story isn't "profound," but I liked it. And the performances are funny, especially Cavett (as "himself"), Lauren Bacall as an aging conservative figurehead, Glenda Jackson (who actually became a member of Parliament) as a left wing ideologue (in the opening scene lecturing someone dressed as a carrot on the sanctity of politics), and Carol Burnett as a basket case. All in the inimitable Altman style, although maybe not quite as inimitable as usual. But pretty inimitable.

I was mesmereized by this movie when it played on 1983 summer TV, but haven't been able to see it again, even though I've been searching off and on (mostly off) for 20+ years.

Apparently, no one else in the known universe has anything good to say about HEALTH. Perhaps I won't, either, on a second watching. But on that first watching it was one of the best, funniest, quirkiest movies I'd ever seen. I've actually been recommending it to some of my friends ever since.

Contrary to what one commenter noted, I did recently see a reference to it on VHS, but I was hoping to find it on DVD. I guess a director's commentary would be too much to ask for <g>.

As an Altman fan, I'd sought out this movie for years, thinking that with such a great cast, it would have to be at least marginally brilliant.

Big mistake.

This is one of Altman's big-cast mishmashes, thrown together haphazardly and improvisationally (or so it feels) with the hope that it would all come together in the editing room. It doesn't.

As Maltin points out, this turkey is notable only for the debut performance of Alfre Woodard, who outshines the vets all around her. But other than that, avoid at all costs. (Which is pretty easy to do -- it's never been released on video -- to my knowledge -- and its cable appearances have the frequency of Halley's Comet.)

Having only seen two of his pictures previously, I've come to terms with Altman. Before, though, I always labeled his style of film-making "boring." You just have to be in the right mind to appreciate his crazy genius.

"HealtH" is fairly underrated, and very questionably out of print. In fact, I don't think it's ever even been issued to VHS. Why is that? When all of these crappy films get DVD releases daily, this one is left behind for no good reason? Honestly, I had no real problems with this film. It was, for the most part, consistently amusing and funny. Almost all of the scenes are mysteriously interesting for some reason, be it the wonderful dialogue or the subtle performances. There is real skill here.

And Paul Dooley's stint on the bottom of the pool halfway through is fascinating.

If you can, try to find a copy of this forgotten little gem. It's not perfect, but it's much better than most of the sludge out there getting DVD releases. Hell, I'd be happy with a nice VHS copy of this thing.

It's often on the Fox Movie Channel, though, so look out for it.

One of Altman's biggest flops and rarest films, I believe it was the final theatrical feature of his I'd yet to see. Well, its flop status is certainly deserved. It's easily one of his worst (I'd rate it second worst, after Beyond Therapy). It's a pretty typical Altman film, with lots of characters and overlapping dialogue. It takes place at a health convention, and it's supposed to humorously mirror American politics, but nothing gels and the humor is terribly lame. It also gathers several actors whom I don't like very much (and I'm probably going to get kicked for listing them, especially since two of them just died): Carol Burnett, Glenda Jackson, James Garner and Lauren Bacall. Even usually reliable Altman regulars Henry Gibson and Paul Dooley aren't very good. Still, I'm glad I can check this one off the list. This is on Youtube now in its entirety (who knows for how long).

"HEALTH" never comes near the brilliance of Robert Altman's earlier political satire, "Nashville"; but it has its moments. I found it interesting because of the good characterizations from all of the participants, but bringing it all together into a unifying theme seems to be absent from this Altman effort. The movie starts out promising but seems to lose steam before its hour and 45 minute running time is over. The ending disappoints because the outcome is so obvious from the first few frames. Still the viewer can have fun along the way: Lauren Bacall lifting her hand for purity and then sometimes inexplicably dropping off into oblivion; Paul Dooley lying at the bottom of the swimming pool as a campaign stunt; Dick Cavett relaxing in his hotel room watching The Tonight Show with Johnny Carson. Granted you would have to be a certain age to appreciate that last joke. Still, one wonders what was in Altman's mind in creating this film. Since it was made in 1980, I would think it would be a veiled criticism of Ronald Reagan's ascension to the presidency. But it never stretches itself far enough to really make that point. So I may be reading more into it than is intended.

HealtH by Robert Altman is probably the goofiest film made by the master of improvisation cinema. It is a satire on the many organized associations which have emerged in the modern world concerning better living. Think of the many associations which are linked to industries, such as in sports, food, and medicine. So many of these associations become political entities in and of themselves, not just influencing the politics without but also within. Altman's film pokes fun with the sharpness and sting of a fireplace poker to reveal the insanity of the politics within these associations. In this case, the organization is a fictional health-food organization in which a new president must be elected at their annual convention being held at a Florida hotel.

Three women with polarized demeanors, sensibilities and comportment are vying for the top job. And each has their own strange quirkiness. Gloria Burbank (Carol Burnett), who works as a deputy consultant for the US President, is the least confident and least vocal of the three. However, her libido becomes overly active when frightened. In an initial television interview with Dick Cavette (playing himself) along with the two others, she's terrified of the spotlight and constantly gropes Cavette. Isabella Garnell (Glenda Jackson) is the most sober of the three. She is dedicated with a sense of what "should be done" in terms of future plans, but she's not as appealing as her two rivals, barely cracking a smile. Even her female assistant regards the other rivals as "rock stars". Esther Brill (Lauren Becall) is the most flamboyant and outwardly vocal of the three. She claims not only that she's 83 years old but her dog is almost 41. (Burbank whispers to Garnell , asking how many 41 is in dog years, to which Garnell replies that the dog should be dead.) Brill's main gesture is a kind of one-arm salute which, upon occasion, causes her hand to stay in the air, and she loses consciousness.

From the start, we see the nuttiness of the whole operation. The hotel has been decorated like a quasi-Disneyland. People are dressed in costumes of plants and other food-stuffs. The audience and participants are treating the gathering like some cultural event, and yet, it's only about health food. As the film progresses, we see the inner politics, scandals, and back-biting of an organization which is supposed to be centered upon improving people's lives.

This is certainly the nuttiest film in the Altman Canon. The overlapping dialog is ever-present, and there is even overlapping gestures and behaviors. If you can understand Altman's point about health and well-being organizations being overtly political among their own people, this film is a hoot. Everything is applied with the subtlety of a sledge-hammer, but Altman has never been one to shirk from the controversial. It's a riot in a certain Altman way, but not the kind of comedy which is for all tastes.

I've wanted to see this lost Robert Altman film for years and finally found it serialized on YouTube (widescreen, even). It started off pretty well. During the setup scenes, about the first half hour, t was similar to "A Wedding," (a film which I enjoy very much). HealtH had one main location, one big event, lots of characters interacting, the naturalistic conversations, no real "plot" to speak of, etc. But about halfway through the movie just falls apart. And the funny thing is that it doesn't fall apart in the usual Altman-y way! It doesn't get shaggier and weirder as it goes along--it actually gets more linear and "normal." And Robert Altman trying to be "normal" is twice as crappy as a regular Altman failure (of which there are as many as there are successes). The dialog is forced, scenes are shot in very conventional ways, there is an uncharacteristic concentration on the supposed political "story," which is pretty stupid, but could have been funny if kept at a subtext level (like in "Nashville"). It is almost as though Altman started the film and someone else finished it. I've read that this film only had a couple of individual theatrical showings, and I know it's never been released on home video in any way. And now, after years of trying to dig it up--I know why it was buried.

In the classic sense of the four humors (which are not specific to the concept of funny or even entertainment), Altman's "H.E.A.L.T.H." treats all of the humors, and actually in very funny, entertaining ways. There's the Phlegm, as personified by Lauren Bacall's very slow, guarded, and protective character Esther Brill, who's mission in life appears to be all about appearance, protecting the secrets of her age and beauty more than her well-being. There's Paul Dooley's Choleric Dr. Gil Gainey, who like a fish out of water (perhaps more like a seal) flops around frenetically, barking and exhorting the crowds to subscribe to his aquatic madness. The Melancholy of Glenda Jackson's Isabella Garnell smacks of Shakespeare's troubled and self-righteous Hamlet -- even proffering a soliloquy or two. And let's not forget Henry Gibson's Bile character, Bobby Hammer ("The breast that feeds the baby rules the world"). Then there's the characters Harry Wolff and Gloria Burbank (James Garner and Carol Burnett, respectively), relatively sane characters striving to find some kind of balance amongst all the companion and extreme humors who have convened for H.E.A.L.T.H. -- a kind of world trade organization specializing in H.E.A.L.T.H., which is to say anything but health. This is Altman at his classic best.

Nearly plot-less political satire is presented in Altman's typical style of the time: a large star cast at a large event is observed with all its interactions and on multiple levels, all expertly done, but this time around hopelessly unfunny.

RIP Glenda Jackson, first of all. Secondly, when the yellow-overall HealtH singers say "Welcome to HealtH" it sounds like "Hell." So it goes. Third, I'd like that Monte Cristo, thanks.

A decidedly minor work in a run Altman had in the 1970s (into 1980) that stands alone in all of American Cinema for comedic and dramatic chutzpah and innovation in holding no quarter for stylistic convention or even typical taste; it just doesn't add up to a whole lot, mostly as you dont care much about what the Garner and Burnett characters had together, and while I would never use the "this was a Dress Rehearsal for that" with Altman because he just didn't work that way he would have sharper knives out (and more empathy) with a similar ruthless political satire later in the 1980s with Tanner 88 - there's even an "Exercise Your Right to Vote" bit - albeit Lauren Bacall and her knowing-ballyhoo book-to-product line was amusing in its cynical snark.

But within enough individual scenes, and for as thin as their characters are Burnett and Garner bring a lot and my goodness Jackson (the latter's dialog 90% taken from Adlai Stevenson speeches), I found myself laughing a lot, consistently, simply because I knew the actors knew what they were saying in the moment, absurdity and Carlin-esque understanding of "its all BS, folks, and it's bad for ya" in toyal. It's a true Oddity in American motion pictures, so weird that I imagine the studio decided not to release it long before in the runtime that Henry Gibson showed up in drag (how did he not wind up on the Golden Girls?).

And, yeah, Alfred Woodard, disarmingly hilarious because shes so straightfoward with Dick Cavett talking to her, has the right attitude, which is her politely saying: you white mothers are crazy.

This is all to say, what I would've given to share a bong with Bob.

If you are a fan of Altman's large ensemble casts, as evidenced in major films like M.A.S.H., Nashville, Gosford Park, and lesser seen films like A Wedding, then you will no doubt be entertained by HealtH. Centered around a Health Convention where two women are running for President, HealtH contains many of Altman's latter 70s regulars like Paul Dooley (who helped write the film), Carol Burnett, and Henry Gibson, while also including top star Altman newcomers like Lauren Bacall, James Garner, and Glenda Jackson. Like a lot of Altman ensemble films there are numerous subplots in this film, but it is not nearly as overwhelming as films like Nashville or A Wedding, rather it has a more centered feel, perhaps like M.A.S.H. or Gosford Park. The whole thing is an obvious satire on the Health movement, filled with over-top, outlandish, contradictive characters, with guest stars like Dick Cavett providing a wry commentary on the whole thing. Underlining the whole election process is Altman's characteristic pessimism about politics and public appeal but what is most appealing about this film is the sheer fun most people seem to be having. This would be one of Altman's last films like this for a while!

When Altman made "Health" his career was sinking fast. Hollywood had discovered the summer special effects blockbuster and had no further need of 70's temperamental, erratic, auteurs like Altman or Bogdanovich or Cimino or Coppola. And considering that they were producing stuff like "One From the Heart", "Heaven's Gate", "Quintet", and "At Long Last Love" who can blame them.

The New York Times reviewer, maybe it was Judith Crist, was trying real, real hard to like this movie. She honestly acknowledged that she did not want Altman to go the way of Orson Welles or Erich von Stroheim and knew that his career could not survive more flops. Altman had made one flop after another since "Nashville" (then again his critically praised overlapping dialogue technique confused and alienated audiences so he had never been much of a moneymaker, just a critical darling. Now the critics were abandoning him.). The reviewer desperately wanted this film to be good enough to save Altman's career.

It wasn't anywhere close.