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If
Robert Altman ever decided to do his own film
version of "Noises Off," it might be something
quite similar to "A Prairie Home Companion."
But Altman is, of course, Altman, and his film
version of the long running radio show by Garrison
Keillor is nothing short of the filmmaker's
usual cinematic panache.
I've never heard the radio show "A Prairie Home
Companion," so I don't know exactly how much
of what it actually is is used in this film
version. Set at the fictional closing night
of the program, the film is a performance of
a radio show coupled wit h a lot of backstage
action and an opening and closing moments at
a diner that bookend the film. If the radio
show is mainly a mix of songs and commercial
parodies, then this may very well be a good
representation of it. If there is more to it,
then that is not seen here.
Several A-list performers play Keillor's sidekicks
in the film. Lilly Tomlin and Meryl Streep play
"The Johnson Sisters," two ageing single women
who sing old time gospel songs. Streep has a
young teen daughter played by Lindsay Lohan.
Woody Harrelson and John C. Reilly play cowboys
who sing and tell jokes, "SNL's" Maya Rudolph
plays a stage hand, Kevin Kline is a security
guard named Guy Noir who is much like a 50's
film noir detective, Virginia Madsen plays an
angel and Tommy Lee Jones plays a hard nosed
businessman who has bought the theater the radio
play is performed in each week, thus ending
its run.
Of these, Tomlin seems to be the most worthy
of praise here. She really pulls off a beautiful
character. She works with Streep to create an
amazing secondary story about pain and loneliness
that is quite touching. She and Streep also
sing quite beautifully together. Regardless
many will think Reilly and Harrelson steal the
show with an over-the-top comedy routine that
is just a tick vulgar yet quite amusing.
Altman, working with DP Edward Lachman, provides
a beautiful visual setting for his character
driven film. There are simply stunning shots
in the opening of the film when Streep and Tomlin
are backstage where mirrors of all types are
on their dressing room table providing a cinematic
collage so stunning it might take several viewings
just to take it all in. The camera moves so
fluidly and gracefully throughout the proceedings
that were nearly feel like the angel Madsen
represents gliding through the setting.
There is also Altman's trademark soundscapes
where voices overlap and different sound plays
an integral part in the action. Altman not only
has Streep and Tomlin do this with their dialogue,
but also uses a human sound effects machine
to add humor an d complexity to the film. (Albeit,
not very successfully). It is when Altman trues
humor that the film ultimately fails. The sound
effects are used in an on stage argument that
is just ridiculous. But the real comedic problem
with the film is Kline's slapstick physical
action which finds him playing a bumbling detective
seemingly left over from his work on "The Pink
Panther" (did he want the Steve Martin role?)
and "A Fish Called Wanda." It doesn't work and
it isn't funny.
Real fans of Garrison Keillor and "A Prairie
Home Companion" may very well get pissed off
watching this film as it seems that every time
the host and creator of the radio show is singing
or telling a story, the action moves backstage
away from him. I don't think he sings a completely
uninterrupted song in the film. Fans of Altman,
however, will get just what they are hankering
for.
Notes
Lohan sings a version of "Frankie and Johnny"
towards the end of the film. Other musicians
who are presumably members of the cast of the
radio show also perform on screen.
Viewed in Austin at the Paramount theater in
March of 2006 as a part of SXSW. This was the
North American premier of the film and actor
John C. Reilly, a producer and a rep from the
distributor Picturehouse was in attendance.
Report
Card
Script:
B-
Acting:
A-
Cinematography\Lighting:
A+
Special
Effects\Make Up: A+
Music:
C+
Final
Grade: B-
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