Robert Altman, a director known for his ensemble casts and insightful explorations of human nature, might never have admitted it, but his film Dr. T and the Women feels deeply personal. In this 2000 comedy-drama, Richard Gere embodies Dr. T, a Dallas gynecologist, with a blend of charm, gentle bewilderment, and genuine care as he navigates the complexities of the women in his life. Much like his character, Altman himself demonstrated a profound fascination with women throughout his career, arguably more so than any other major director, with the possible exception of Ingmar Bergman.
Altman’s filmography stands out, particularly in an industry often dominated by male-centric narratives. He consistently placed women at the forefront, building entire movies around compelling female characters. Consider Shelley Duvall in Brewster McCloud and Three Women, actresses whose unique presence and faces captivated Altman. Many of his most acclaimed works, including Nashville, Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, and Cookie’s Fortune, are undeniably driven by their female ensembles. In Dr. T and the Women, Altman crafts a vibrant tapestry of Dallas women – ranging from youthful to mature, delightful to difficult, smitten to self-reliant – all orbiting around the central figure of Dr. T.
The initial premise of Dr. T and the Women might conjure stereotypical images: Richard Gere as a gynecologist, instantly suggesting a womanizing doctor. However, Altman subverts this expectation entirely. Dr. T is far from a predatory figure. Instead, the character shares more in common with Warren Beatty’s portrayal of McCabe in McCabe & Mrs. Miller. Both McCabe and Dr. T, played by Hollywood heartthrobs, are men striving to do right, unsure of the path, and often perplexed by the independent women around them. They are rare examples of male protagonists who don’t embody a director’s desire for dominance. Altman’s own life mirrors this; he was known for his close relationship with his wife, Katherine, and frequently collaborated with women as writers, producers, and colleagues. In a film industry often lacking substantial roles for women, Altman’s sets were a haven for actresses seeking meaningful work.
Despite Altman’s evident appreciation for women, Dr. T and the Women faced accusations of misogyny. This criticism arose from the film’s satirical portrayal of wealthy Dallas women. Altman depicts these women, living in a city devoid of natural landscapes, finding solace in upscale shopping malls. They are impeccably dressed, meticulously groomed, and drive luxury vehicles, their lives revolving around consumerism. “Work,” for them, often translates to cosmetic surgery, not traditional labor. However, Altman’s intention isn’t hateful, but rather documentary. He observes and portrays a segment of society that genuinely exists. In fact, Altman seems to hold a degree of affection for some of these characters, a sentiment echoed by Dr. T himself.
Richard Gere delivers a remarkably gentle and nuanced performance in Dr. T and the Women. He portrays the gynecologist as a dedicated and compassionate professional. We see him patiently counseling a patient concerned about menopause and allowing another to smoke during an examination, understanding her need for comfort. Dr. T trusts his capable nursing staff, a crucial support system amidst the constant stream of women in his practice. He is devoted to his wife, Kate (Farrah Fawcett), and deeply cares for his daughters. Dee Dee (Kate Hudson), a spirited Dallas Cowgirl, is engaged to be married, while Connie (Tara Reid) works at the Conspiracy Museum, highlighting the infamous “X” on the road where President Kennedy was assassinated.
The narrative takes a turn when Kate, during a shopping trip with her friends, experiences a breakdown. She wanders through a mall, shedding her clothes, eventually ending up naked in a fountain. She is then hospitalized and diagnosed with the “Hestia complex,” a fictional syndrome affecting affluent women who seemingly have everything. The psychiatrist suggests she is overwhelmed by her own good fortune, unable to reconcile her deservingness of such happiness.
This diagnosis particularly angered some feminist critics, who interpreted it as a misogynistic viewpoint. They argued that depicting women as suffering from “too much love” is inherently hostile. However, this interpretation overlooks the film’s satirical nature. While cinema is replete with examples of men abusing women, Dr. T and the Women presents a different scenario: women grappling with the anxieties of affluence and a perceived lack of purpose. Altman’s film seems more ironic and satirical than hateful. Dr. T’s continued love and concern for Kate are evident, even though his visits seem to exacerbate her condition.
As Kate’s institutionalization becomes likely, Dr. T hesitantly begins a relationship with Bree (Helen Hunt), the new golf pro at his country club. Bree is direct and assertive, taking the initiative in their interactions. She invites him for dinner, creating a role reversal where Dr. T becomes the “date,” politely waiting as Bree confidently grills steaks.
True to Altman’s style, Dr. T and the Women is rich with supporting characters and interwoven storylines. He and writer Anne Rapp create a multi-layered narrative, where background characters often have their own subplots. One such character is Carolyn (Shelley Long), Dr. T’s nurse, who harbors romantic fantasies about her boss. The film also delves into the contrasting lives of Dr. T’s daughters, highlighting how their materialistic upbringing influences their choices, particularly Dee Dee’s pragmatic approach to marriage.
The unifying element in this ensemble film is Dr. T’s inherent decency. Gere embodies this quality perfectly, portraying a good-natured man, dedicated to his profession and burdened by the age-old question, “What do women want?” In Altman’s comedic and insightful world, Dr. T, in his own way, manages to find a semblance of an answer. Dr. T and the Women is not just a movie about a gynecologist; it is a Robert Altman’s signature exploration of societal dynamics, human relationships, and the often-unspoken complexities of life, viewed through a distinctly Altman lens, with a gentle and humorous heart.
