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A Prairie Home Companion 2006
Description: A look at what goes on backstage during the last broadcast of America's most celebrated radio show, where singing cowboys Dusty and Lefty, a country melody siren, and a host of others keep court
Released: 09 Jun 2006 Director: Robert Altman Writers: Garrison Keillor (screenplay), Garrison Keillor (story), Ken LaZebnik (story) Actors: Marylouise Burke, Woody Harrelson, L.Q. Jones, Tommy Lee Jones Genres: Comedy, Drama, Music, Musical
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A Prairie Home Companion Reviews:

As usual Altman will divide his audience in a radical way. He, clearly, doesn't do it on purpose but it happens more often than not with the works of true artists where there is no room (or very little) for concessions. It is what it is, his vision, his whole. He mentioned that the movie was about death and found that not everyone accepted not even some of his closest and more devoted collaborators. That's what he saw, that's what it is but it's bound to be contradicted by critics and audiences alike. Personally, I don't think I'll see a better movie this year. The work of an idiosyncratic artist and masterful craftsman doesn't hit the main stream screens each day of the week. My only reservation is that the movie is too short. I wanted to go on and on and on. To tell that Meryl Streep is sublime seems type of redundant but never mind, she is, sublime, surprising, funny, very funny, moving, very, very moving. Lily Tomlin and Meryl have the greatest moments in the film. They appear, look and sound as if they had been working together all their lives. Total chemistry. Lindsay Lohan is the largest surprise. Nice for her. That's the method to forge a method ahead. Work with the best. Woody Harrelson and John C Reilly are simply glorious. Kevin Kline does a Kevin Kline in the most enchanting way. It was also a delight to see Garrison Keillor himself testing himself, not just wonderfully but very convincingly as well. I suggest it with all my heart.


Altman has created the anti-Hollywood, which I'm sure was not by accident. A real gem.It's a shame that this was not a more commercially successful vehicle. The ensemble cast is superb, without exception. Garrison Keillor has a face made for radio, but I understand why he has to enjoy himself. Great baritone, but those are weapons-grade eyebrows.Altman pokes fun at standard 21st century American film fare, but mid-20th century radio gets lampooned cute well too. The eponymous radio show, the state of Minnesota, and mindless belief all takes it in the slats. Even irony itself is not secure from Altman's watchful eye. It's deliciously subtle and, by starts, wonderfully bawdy. Paying attention pays dividends. Doing subtle right takes a lot of work.One of the sweet surprises is that folks you knew should act can also sing: Merryl Streep, Lily Tomlin, Woody Harrelson (not a typo), Lindsey Lohan, and John C. Reilly croon. Where else should they strut such stuff? Underplaying their roles, never stealing a scene, letting the well-written script be the star. Kevin Kline was never better, not even in "Wanda". Al Gore's old roommate is heartlessly evil.I'm glad I watched it alone because I felt gratis to laugh out loud. That would have been out of hero with the movie.It's unlikely you would only like this movie. You'll love it or run the another way. I didn't wish it to end.Don't look for a sequel.


"It's not real that I had nothing on. I had the radio on." Marilyn Monroe about posing nude on her popular calendar.If there is anyone more laid back or brighter than Garrison Keillor in present business, allow me know, because Robert Altman's A Prairie Home Companion, based on Keillor's long-running Minnesota Public Radio saga, shows Keillor as an audience sees him every week—like a god gently guiding an eccentric ensemble through perfect performances made to look as simple as his demeanor. This movie stands near Altman's Nashville as a testimony to the director's gift for sustaining powerful characters in layers of dialogue approximating overlapping conversations at an interesting party.Meryl Streep and Lily Tomlin as the singing country Johnson sisters bring back memories of Reese Witherspoon's nice turn as June Carter and Streep's own previous country singer in Postcards. Ditto Woody Harrelson and John C. Reilly as the singing and joking Dusty and Lefty. But greatest of all is Kevin Kline as Keillor's true radio creation, Guy Noir, the '40's dapper, inquisitive, naughty narrator and safety head for the production. Klein embodies the melancholic mood everytime at least hidden underneath any show's last show, despite Keillor's nonchalant assertion that each present is your "last show." Around this realistic, charming premise of talented performers at their last performance, writer Keillor interjects a ghostly beauty in a white leather trench coat, Virginia Madsen testing Risky Woman, the spirit of death, gently accompanying those about to die and the moribund present itself. The hero is a lyrical embodiment of the theme that nothing lasts but the love shared in any experience. Keillor remains in hero after someone dies by stating he doesn't "do eulogies." Nor does he do one for the show, which in true life still lasts in St. Paul from 1974.So enjoyable are Altman, his ubiquitous HD camera, and his busy dialogue that you feel a part of the proceedings, catching the sweet smell of success for everyone attached to this thoroughly realized song of love to theater, music, and creativity.



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