Movie Review: A PRAIRIE HOME COMPANION Author: Gregg Bray Monday, July 17, 2005 U.S. Release Date: June 9, 2006 Distributor: Picturehouse Director: Robert Altman Writing Credits: Garrison Keillor Cast: Woody Harrelson, Tommy Lee Jones, Garrison Keillor, Kevin Kline, Lindsay Lohan, Virginia Madsen, Meryl Streep, Lily Tomlin Genre: Comedy/Drama MPAA Rating: PG-13 OFFICIAL WEBSITE: www.aprairiehomecompanionmovie.com TRAILERS: www.apple.com./trailers “The Prairie Home Companion” is America’s favorite nationally broadcast program, with more than 70 percent of the nation tuning in each week to their local NPR affiliate. The previous sentence is not true. But I wish it were. Hosted by Garrison Keilor, this 37-year running program features a variety of old-timey music, commercials, and the kind of gentle northern mid-west sophistication that is at once deeply sincere, while having the kind of self effective charm reminiscent of Mark Twain. St. Paul, Minnesota is the traditional capital of the program, although it has traveled quite a bit over the years. There are many staples to the program—powder milk biscuits, Lake Woebegone and reoccurring characters such as Guy Noir. The film supposes the audience has a certain familiarity with the broadcast material, although I don’t feel it’s entirely necessary for one to know every rhubarb pie filled moment to appreciate the film. Robert Altman has crafted a true swan song of a film. A gentle elegy that is both a mirror for the eventual close of Altman’s career (which are known for their long-takes, over-lapping dialogue, and unique stylistic decisions), and for the end of the radio program itself. In his career, Altman has experienced cinematic highs, M.A.S.H., Nashville, The Player, Short Cuts, Cookie’s Fortune, Gosford Park, and…well, the list goes on. He’s preeminent in the who’s who of late 20th century cinema, and one can walk into nearly any of this films and find reason to applaud (except, perhaps, for Popeye -- which is one of those movies I loved as a kid, and am afraid to revisit at this point in life). Just this year, Altman received a lifetime achievement award at the Academy Awards. For some receiving the award, they nervously accept their trophy, with a disclaimer—that their lifetime achievements have not all passed. Altman’s speech was a bit different. He had a heart transplant a few years back, and is on a plethora of medications to keep it beating without the body rejecting it. Filmmaker Paul Thomas Anderson (Magnolia) was on the set of APHC to finish the film in the event of Altman’s death (this was Altman’s decision, not the studio’s). This film also serves as a swan song for Garrison Keilor, as well. Keilor suffered heart problems a few years back, and although has no immediate plans to retire his radio program, he understand that 40 years have nearly passed since the show began. This film, in an odd fashion, is a gentle remembrance for them both, without having any kind of self-congratulatory arrogance or flare about it (this isn’t All That Jazz). Written by Keilor, the film is about “APHC” coming to an end, as the theater that housed the program for nearly 40 decades is about to be turned into a parking lot. Some of the old favorites return, including Yolanda and Rhonda Johnson (played by Meryl Streep and the incredible Lilly Tomlin) accompanied by Lola Johnson, played by Lohan. Lola is a young girl who writes poetry exclusively about suicide while not necessarily comprehending or even accepting the old-timey world she’s seated in. That her character may have a catharsis at some point is a given, but it’s handled in a gentle manner without seeming forced. A number of young people, posting on various forums, have objected to Lindsey Lohan’s presence in the film. Luckily, I’m removed enough from the teenage scene to understand where exactly she fits into the pop-social strata, so I was able to watch her performance without distraction—which was just wonderful. Also on hand is Chuck Akers (a reference to a reoccurring character on the radio program), as well as Dusty and Lefty (played by Woody Harrelson and John C. Reily). I have never been a fan of Woody’s work, outside of his character on Cheers. This is the first time I not only appreciated, but also applauded his character. He and Reily have natural chemistry which just resonates through their silly material (their characters nearly give the stage manager a heart attack—when asked to tone down the indecent nature of their act, they end their portion of the program with the hilariously dirty ‘Bad Jokes’). We meet the backstage crew, including Maya Rudolph, playing a very pregnant stage manager, Molly. We also meet the backstage former hotel detective, Guy Noir. That Guy Noir is actualized in a “real world” setting is a treat for fans of the radio program -- that Kevin Kline gives such an excellent performance, with indelible comedic timing is something I think most audiences will enjoy. Kline is so solid; it becomes even more evident of the woeful miscasting of Steve Martin in the recent Pink Panther. He has the kind of fun semi-blindness of a Sellers character, while never overselling Noir’s bumbling. Another character who haunts backstage is a beautiful woman played by Virginia Madsen. The less said about her character in this review, the better, as her mission feels to be a bit of a metaphor for the entire set up of the film itself. As mentioned, this film is about the last broadcast, and yet GK, played by Keilor himself, does not want to let the audience (at home or in the theater) in on this. He’s not interested in a moment of silence for the passing of a performer (‘How exactly would THAT work in radio?’) or in telling a tearful audience to remember the program. In his mind, every show is the last show, and operating from that sentiment we can see how Keilor and Altman must have come together on this project. The plot involves the weaving of the characters together, each one with excellent on-stage moments, and is genuinely funny. I’ve attempted, over the last few days, to write a summary of the story, and it’s a bit daunting—not because it’s complicated, but complex—it’s an ensemble piece of rich characters moving in and out of each other’s lives for a very brief moment in time. It’s about knowing an end is coming, but not saying goodbye. That it skips melodrama altogether is a further testament to Altman’s abilities as a director, and Keilor’s abilities as a writer and performer. It’s summer in the US, which means now is the time for the large budget, special effect escapist bonanza. Which, is not a bad thing—but those who are looking for a break from the assault of the senses, you’ll find a genuinely warm, delightful, entertaining film in A Prairie Home Companion. It is one of the best films this year. On a final note—there has been some talk on the internet about this film having some form of political slant. Garrison Keilor is a Democrat; he’s made no bones about it, however his political leanings do not influence the material at all. If he has made an occasional crack about the administration on the program, he gave the same service to Clinton, Bush I, Reagan, Carter, Ford, and Nixon. It is the prerogative of some entertainers to gently, and without venom, poke a little fun of the people in charge (it worked for Letterman, it worked for Mark Twain, so why not Keilor?). There is absolutely political agenda in the film, although there may be a more personal one—after all, if we’re not told to remember someone, doesn’t that make them unforgettable? GREGG’S GRADE: A+ Gregg Bray is an occasional writer and reviewer for ON-FILM.NET and BATMAN ON FILM. Send feedback to greggbray@yahoo.com.