IMDb RATING
6.3/10
5.6K
YOUR RATING
A pair of kidnappings expose the complex power dynamics within the corrupt and unpredictable workings of 1930s Kansas City.A pair of kidnappings expose the complex power dynamics within the corrupt and unpredictable workings of 1930s Kansas City.A pair of kidnappings expose the complex power dynamics within the corrupt and unpredictable workings of 1930s Kansas City.
- Awards
- 3 wins & 1 nomination
A.C. Tony Smith
- Sheepshan Red
- (as A.C. Smith)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaRobert Altman gathered together some of the greatest living jazz musicians, put them on a set representing the Hey Hey Club and asked them to play period material in the style of the Kansas City jazz giants like Count Basie, Coleman Hawkins and Lester Young. He filmed this separately after he had done the fictional plotline, and then intercut it with the narrative.
- GoofsWhile the music sessions were not strictly done as period pieces, the inclusion of the Gibson electric guitar jumped the gun by a few years. The ES-150 didn't go into production until 1936 and had a blade type pickup.
- Quotes
Blondie O'Hara: Can I have my husband back now?
Seldom Seen: How do you want him, in a box or a sack?
- ConnectionsFeatured in Robert Altman: Giggle and Give In (1996)
- SoundtracksHosts of Freedom
Written by Karl King (as Karl L. King)
Published by C.L. Barnhouse (SESAC)
Performed by The Lincoln College Preparatory College Band
Featured review
A kidnapping and a robbery move the plot forward in a film that's less about plot than about cultural ambiance. "Kansas City" is mostly a cinematic expression of place and time. It's 1934, when gangsters and jazz ruled and Blacks and Whites went their separate ways.
Visuals are very dark. And though the film is in color, tints are muted, which conveys a nostalgic, sentimental mood. The thin plot takes place largely at night. And the plot alternates with dark interior scenes at the Hey Hey Club, a risqué, all-Black speakeasy where an all-Black band jives free-form jazz, and where illegal gambling fills the back rooms.
None of the characters are sympathetic. But I don't think they're supposed to be. They're archetypes, models of desperate people in desperate times. A gun-wielding gangster's girl named Blondie (Jennifer Jason Leigh) wants to be like Jean Harlow. Mrs. Stilton (Miranda Richardson) is a wealthy, spaced-out politician's wife. Seldom Seen (based on a real-life person and played by Harry Belafonte) is the cigar smoking godfather who rules the dark, smoky Hey Hey Club with an iron fist and who likes to stand around giving lectures to people.
The script's dialogue is mostly subtext, with message directed less at other characters than at viewers. And, as in other Altman films, then-current politics dance around the edges of the seedy story. The overall tone mixes depression with desperation.
For me this is an easy film to judge. The characters and plot I cared for not at all. Jennifer Jason Leigh was painful to watch. And though the jazz is performed with great competence, its free-form, improvisational style is too contemporary to reflect the 1930s. On the other hand, Miranda Richardson gives a fine performance. Attention to detail in costumes, sets, props, and storefront exteriors make the film come alive with era realism. And lighting is absolutely terrific.
If you go into this movie expecting a deep story and well-constructed plot, you'll be disappointed. Absorb the overall texture of the film's visuals. "Kansas City" is a terrific visual portrait of a specific place at a specific time.
Visuals are very dark. And though the film is in color, tints are muted, which conveys a nostalgic, sentimental mood. The thin plot takes place largely at night. And the plot alternates with dark interior scenes at the Hey Hey Club, a risqué, all-Black speakeasy where an all-Black band jives free-form jazz, and where illegal gambling fills the back rooms.
None of the characters are sympathetic. But I don't think they're supposed to be. They're archetypes, models of desperate people in desperate times. A gun-wielding gangster's girl named Blondie (Jennifer Jason Leigh) wants to be like Jean Harlow. Mrs. Stilton (Miranda Richardson) is a wealthy, spaced-out politician's wife. Seldom Seen (based on a real-life person and played by Harry Belafonte) is the cigar smoking godfather who rules the dark, smoky Hey Hey Club with an iron fist and who likes to stand around giving lectures to people.
The script's dialogue is mostly subtext, with message directed less at other characters than at viewers. And, as in other Altman films, then-current politics dance around the edges of the seedy story. The overall tone mixes depression with desperation.
For me this is an easy film to judge. The characters and plot I cared for not at all. Jennifer Jason Leigh was painful to watch. And though the jazz is performed with great competence, its free-form, improvisational style is too contemporary to reflect the 1930s. On the other hand, Miranda Richardson gives a fine performance. Attention to detail in costumes, sets, props, and storefront exteriors make the film come alive with era realism. And lighting is absolutely terrific.
If you go into this movie expecting a deep story and well-constructed plot, you'll be disappointed. Absorb the overall texture of the film's visuals. "Kansas City" is a terrific visual portrait of a specific place at a specific time.
- Lechuguilla
- Feb 11, 2012
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Details
Box office
- Budget
- $19,000,000 (estimated)
- Gross US & Canada
- $1,356,329
- Gross worldwide
- $1,356,828
- Runtime1 hour 56 minutes
- Color
- Sound mix
- Aspect ratio
- 1.85 : 1
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