A wealthy gynecologist's ideal life is thrown into turmoil when the women closest to him begin to affect his life in unexpecting ways.A wealthy gynecologist's ideal life is thrown into turmoil when the women closest to him begin to affect his life in unexpecting ways.A wealthy gynecologist's ideal life is thrown into turmoil when the women closest to him begin to affect his life in unexpecting ways.
- Awards
- 4 nominations total
Holly Pelham
- Joanne
- (as Holly Pelham-Davis)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaTo make Farrah Fawcett more comfortable for her nude scene in the fountain, director 'Robert Altman' had cleared the entire stage of people, except for himself, the director of photography, and the sound recordist. To everyone's surprise, she refused to do the scene without the crowd, stating she was not at all embarrassed by her naked body. So the extras were let in, she performed the scene completely naked, and received a standing ovation from the crowd afterwards.
- GoofsThe "newborn" baby is born circumcised.
- Quotes
Bree Davis: You see women all day, every day. How do they keep from just runnin' together?
Dr. Sullivan "Sully" Travis, "Dr. T": I think every single woman I've ever met has got somethin' special about her, somethin' that sets her apart from the rest.
Bree Davis: Well, if a gynecologist says there's no two alike, I guess there's no two alike!
- Crazy creditsIn the opening credits, actors have their names appear in a plain sans serif font while actress have their names appear in a flowing script font.
- SoundtracksYou've Been So Good Up to Now
(1992)
Composed by Lyle Lovett
Performed by Lyle Lovett
Published by Michael H. Goldsen Inc./Lyle Lovett
Courtesy of MCA Records/Curb Music Co.
Under license from Universal Music Enterprises
Featured review
Robert Altman is frustratingly inconsistent, and here is at his worst. His very personal style has three characteristics:
1. Many-threaded storylines and characters, many of which raise questions that are not answered in the play. When done well, you get the impression of moving through the world with a curious voyeurism, dipping into many lives which are intriguing enough to learn more about. Except for the youngest daughter, none of these women are worth digging more into. The misogynism could have been an advantage; here it is cheap.
2. Spontaneous acting. Altman doesn't tell his actors what to do, trusting them to bring something fresh. In the best case, the differing visions of the actors add to the manyhued effect described above. But you need powerful actors like he had in "Cookie's Fortune." These folks, some of whom are fine when given direction, simply can't synthesize.
3. Wonderful tracking shots (which move from character to character so enhance the two effects noted above). Check out the first shot in "The Player." That alone is worth the admission. Here, we have a busily choreographed shot at the beginning and a dizzy pullback at the end, but neither to any useful effect.
Avoid this film. The master was asleep.
1. Many-threaded storylines and characters, many of which raise questions that are not answered in the play. When done well, you get the impression of moving through the world with a curious voyeurism, dipping into many lives which are intriguing enough to learn more about. Except for the youngest daughter, none of these women are worth digging more into. The misogynism could have been an advantage; here it is cheap.
2. Spontaneous acting. Altman doesn't tell his actors what to do, trusting them to bring something fresh. In the best case, the differing visions of the actors add to the manyhued effect described above. But you need powerful actors like he had in "Cookie's Fortune." These folks, some of whom are fine when given direction, simply can't synthesize.
3. Wonderful tracking shots (which move from character to character so enhance the two effects noted above). Check out the first shot in "The Player." That alone is worth the admission. Here, we have a busily choreographed shot at the beginning and a dizzy pullback at the end, but neither to any useful effect.
Avoid this film. The master was asleep.
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Details
- Release date
- Countries of origin
- Languages
- Also known as
- Dr. T and the Women
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $23,000,000 (estimated)
- Gross US & Canada
- $13,113,041
- Opening weekend US & Canada
- $5,012,867
- Oct 15, 2000
- Gross worldwide
- $22,844,291
- Runtime2 hours 2 minutes
- Color
- Sound mix
- Aspect ratio
- 2.35 : 1
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