Wherever I lay my hat

Robert Altman spent three decades after his first hit film, the 1970 war satire “M*A*S*H”, telling the US what was wrong with it. Whether it was the unlikely mixture of country music and politics in “Nashville”, the scathing view of Hollywood in “The Player” or the suburban epic “Short Cuts”, American audiences reluctantly recognised the merits of Altman’s films but rarely gave him wholehearted approval at the box office.

Europeans loved the maverick director’s take on just about all things American, partly because his shrewd observations reflected their own perceptions of the superpower’s arrogance and greed. In fact, Altman’s name today stands next to Bergman’s, Fellini’s and Truffaut’s much more naturally than beside Coppola’s, Scorsese’s or Spielberg’s…