Garrison Keillor is an acquired taste. The whole movie is like his penguin joke, 'it's not that funny'... but you laugh anyway.
A Prairie Home Companion (2006)
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Reviews Counted:186
Fresh:151
Rotten:35
Average Rating:7.1/10
Consensus: The final film by the great Robert Altman, A Prairie Home Companion, the big screen adaptation of Garrison Keillor's radio broadcast, showcases plenty of the director's strengths: it's got a gigantic cast and plenty of quirky acting and dialogue. Much like the radio show, Companion features clever jokes, rousing tunes, and endearing characters. With strong work from Lindsay Lohan, Meryl Streep, Kevin Kline, and Tommy Lee Jones, it's a worthy swan song from one of the cinema's best.
Theatrical Release:05-01-2007
Synopsis: Director Robert Altman and writer Garrison Keillor join forces with an all-star cast to create a comic backstage fable, A PRAIRIE HOME COMPANION, about a fictitious radio variety show that has... Director Robert Altman and writer Garrison Keillor join forces with an all-star cast to create a comic backstage fable, A PRAIRIE HOME COMPANION, about a fictitious radio variety show that has managed to survive in the age of television. Meryl Streep and Lily Tomlin star as the Johnson Sisters, Yolanda and Rhonda, a country duet act that has survived the county-fair circuit, and Lindsey Lohan plays Meryl's daughter, Lola, who gets her big chance to sing on the show and then forgets the words. Kevin Kline is Guy Noir, a private eye down on his luck who works as a backstage doorkeeper, and Woody Harrelson and John C. Reilly are Dusty and Lefty, the Old Trailhands, a singing cowboy act. Add Virginia Madsen as an angel and Tommy Lee Jones as the Axeman and Maya Rudolph as a pregnant stagehand and Keillor in the role of a hangdog emcee, and you have a playful story set on a rainy Saturday night in St. Paul, Minnesota, where fans file into the Fitzgerald Theater to see "A Prairie Home Companion," a staple of radio station WLT, not knowing that WLT has been sold to a Texas conglomerate and that tonight's show will be the last. Shot entirely in the Fitzgerald, except for the opening and closing scenes which take place in a nearby diner, the picture combines Altman's cinematic style and intelligence and love of improvisation and Keillor's songs and storytelling to create a fictional counterpart to the "A Prairie Home Companion" radio show. The film uses the musicians and crew and stage setting of the actual radio show, heard on public radio stations coast to coast for the past quarter-century (and which, in real life, continues to broadcast). The result is a compact tale with a series of extraordinary acting turns, especially Kevin Kline's elegant Keaton-esque detective and Lily Tomlin and Meryl Streep's singing ("Goodbye to My Mama") and their beautiful portrayal of two sisters who talk simultaneously. And Virginia Madsen's serene angel. And Lindsay Lohan's version of "Frankie and Johnny". --© Picturehouse [More]
Starring: Woody Harrelson, John C. Reilly, Tommy Lee Jones, Garrison Keillor
Starring: Woody Harrelson, John C. Reilly, Tommy Lee Jones, Garrison Keillor, Kevin Kline, Virginia Madsen, Maya Rudolph, Meryl Streep, Robin Williams, Lily Tomlin, Lindsay Lohan
Director: Robert Altman
Director: Robert Altman
Screenwriter: Garrison Keillor
Producer: Wren Arthur, Robert Altman, George Sheanshang, Tony Judge, Joshua Astrachan, William Pohlad, John Penotti, Fisher Stevens
Composer: Richard Dworsky
Studio: Picturehouse
Reviews for A Prairie Home Companion
The movie is as enjoyable as the broadcast, and it's cheaper than going to a live show
With APHC, quite possibly the iconoclastic filmmaker's final work, Altman becomes reflective, melancholy and, most surprising of all, sentimental.
Like most Altman movies, A Prairie Home Companion is intelligent and indulgent, an experiment conducted by an ensemble.
The problem is that we're never given any reason to care one way or the other about the fate of the show or its performers.
It's Lindsay Lohan who appears relaxed rather than desperate to be funny.
A Prairie Home Companion is a sort of The Last Waltz meets Christopher Guest-ish, Robert Altman-steered mockmentary hootenanny!
The director's dreamy pacing perfectly captures the radio show's comforting, Sunday afternoon nostalgia.
Keillor has managed to tamper with his homegrown formula in ways that will put the casual viewer to sleep and perhaps confuse his fervent fanbase to a point of complete disinterest.
you don't have to be a regular listener to enjoy the film. It's great enough on its own, minus that part where Lindsay Lohan sings and gives caterwauling a bad name.
the entire film is an inside joke: someone can explain it to you, but it will never be as fun as if you just... got it.
This reminder to love life as if 'every show is the last show' sparkles like its opening night sky.
Worth a look, especially for the sheer enjoyment of watching Streep and Tomlin do their schtick, but the film is, at best, Altman lite.
Whatever A Prairie Home Companion has to say about aging, about death, about the mutability of art, is never stated outright: And yet it's all there in the picture's rambunctious collage of moods.
In the end, the movie's wistful, warm-hearted ways win its audience over to the light side, just like Keillor wants it.
At its best, it's a gentle meditation on mortality. But at weaker moments it feels meandering and strangely empty.
Without Keillor's monologue and the show's collective inclusion on the joke, the movie falls into a strange nostalgia for something that hardly anyone remembers, if it ever really existed at all.
A few homilies about death aside, the film has nothing more on its mind than telling some jokes and singing some songs.
A Prairie Home Companion is as heartwarming as a plate of Powdermilk Biscuits, as unexpected as a slice of rhubarb pie and as wistful as a chorus of Red River Valley.
A late, minor addition to the Robert Altman collection but a treasure all the same A Prairie Home Companion is more likely to inspire fondness than awe.
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