Although contemporary, the film has the deliberately antique flavor of old-time radio -- the world that existed before television.
A Prairie Home Companion (2006)
Tomatometer
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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
By the movie's own reckoning, it's a success: a dented, mysterious item that you would find buried in a secondhand store -- a relic of the old, weird America that Keillor so loves.
A Prairie Home Companion tries to embrace the spirit of that longtime radio series but suffocates the very qualities that make the original show so special in the first place.
If one were to bring the sprawling program, which practically formulates nostalgia as a tangible commodity, to a movie screen, one couldn't hope for a better director than Robert Altman.
Although the film's tone, like the radio show, is droll and spry, Altman turns it into a thinly veiled meditation on death.
This is the Altman of Nashville, back to inhabiting the performer’s world with thoroughness and infectious affection.
The shaggy Prairie Home has first-class distractions in the fine singing of its large cast and in the wryly amusing script by Garrison Keillor.
The match between writer/star Garrison Keillor and director Robert Altman is a remarkably fine fit, and the film has a sweet 'September Song' poignancy.
Altman fans should be right at home in this down home tribute to Keillor's long-running radio show.
For a film about death and endings, A Prairie Home Companion is a cracking good time -- a warm, golden bauble within which to shelter, like the radio show that inspired it, from the misery and ennui that engulf us in and out of the multiplex.
Robert Altman adapts the radio to the screen, or the screen to the radio, in this affectionate, mortality-fixated salute to old-timey music, values and the timeless allure of Powdermilk biscuits.
It's been a very long time since any Robert Altman film has been as enjoyable as A Prairie Home Companion.
Altman's sidewinding tribute to a surprisingly hardy 32-year-old public radio phenomenon is like a 105-minute putter in the garden, with a few songs and some jokes. It's nice.
...charming, enjoyable, and less complex than the director's best: it's Altman Lite, which is a fine thing to be.
A Prairie Home Companion is really about all those good things that must eventually come to an end: love, life, a good song -- and a grand movie such as this.
If ever there were a venue in this region in dire need of Prince dropping by, this is it. These Twin Cities folks desperately need to swap NPR for the NPG.
A meandering, breezy yarn, Robert Altman's unabashedly cornball adaptation accomplished something that few films have been able to pull off: it actually made me homesick.
Don't expect the biting satire of "Nashville," though. This movie is pretty much an inside job.
That Altman, Keillor, and the cast make that imagined time and place so congenial, and so easy for those who aren’t familiar with the radio show to enter, is a compelling testimonial to the continuing artistic vitality of its two main creators.
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