wilsonld-1 I saw this movie some years ago and never forgot it. I really like the way the characters are developed. They are quirky and flawed, but understandably human. It has an excellent sound track also which I found hauntingly flowed throughout the move and added to the story line. I recently saw another movie by Robert Altman called "Nashville" which again reminded me of "Welcome to LA". It has many of the same actors and the same piano player, Richard Baskin. Again I find the characters very interesting with interwoven plots as part of the story line. Just like real life we see the good and bad in people. I also enjoy the parady of typical character types. It is obvious but in my opinion, not overdone.

roadmovie69 I saw this movie late at night. I was sitting in front of the TV with headphones on because my girlfriend was already sleeping. Although I had to sit in a rather uncomfortable position in front of the TV and it was already 2.00 in the morning I was fascinated from the beginning and completely forgot about being tired and just wanted to enjoy the atmosphere of the film.I loved this movie, maybe because I have a fascination for California and LA myself. I don't have much else to say which hasn't been posted in the other comments but the I never have read so different opinions on any movie. There seem to be a great amount of people who love it (like me) and some who think its the worst film of all time. It reminds me of the way people talk about LA itself. They way this film polarizes makes it an outstanding piece of art, definitely worth seeing - like the city itself.As I said - one of my favourites - cant wait to see it again on TV.

starfrog It seemed a bit dark in '77, but today it may even cheer you up! It takes at least a half-hour to understand what's going on in this movie so here's a head start:The guy with the hat and goatee (Carroll) is a song-writer/playboy and son of a millionaire. Watch him because he wants to sleep with most of the women in the movie. The crazy woman in the taxi is married to... is that really Harvey Keitel? Yes. You'll never believe it! He is the employee of the millionaire who is, incidentally, Uncle Jessie from the Dukes of Hazard.If I were Carroll I would have gone for Sissy Spacek, who likes to clean house topless throughout the movie. But he still makes enough tracks to be considered a hero of the sexual revolution.The music throughout the movie sounds a little like Dan Hill, but it gets you in a good 70's mood so that you can enjoy the atmosphere this movie creates. Look for Sissy Spacek's pants that match the wallpaper and definitely check out Harvey Keitel's pipe!

nunculus You can't help but compare it to the other big L.A. Statement Movies--Altman's SHORT CUTS, and P.T. Anderson's MAGNOLIA. I like Rudolph's way better than either of those: it's gentler, humbler, more observant, truer. Limiting himself to a dozen or so L.A. habitues, Rudolph starts with one funny, correct move: no movie people. The dances of disconnection, attempted connection, failed connection, and--stunning!--connection accomplished are as tender and as finely, thinly observed as Rudolph has ever pulled off. So many beautiful moments here: the best comes when Keith Carradine, as a dupe of his sleepy-stud character from NASHVILLE, breaks up a romance to go on a healing mission with a half-crazy housewife (Geraldine Chaplin). When his philandering with her rescues her marriage during a tense phone call in his apartment, Carradine's face spreads with gladness and relief. The rightness and the unexpectedness of the moment is fantastic. Even more than the goofy, enjoyably romantic CHOOSE ME, this is the one where Rudolph got it all right. And no other movie captures L.A.'s peculiar loneliness like this one: he doesn't hype anything or play to the tourist mentality--something that could not always be said for his mentor, and the movie's producer, Robert Altman.