There is a kind
of forced timelessness about A Prairie
Home Companion, but even more so the film has an ambiguity when it comes to
time. The film begins with the sound of a radio dial being turned from station
to station, evoking a classic feeling of nostalgia until slowly more modern
sounds are blended in through certain stations, most notable being the traffic
report from a helicopter. The next image is of a diner as our narrator Guy
Noir, a private eye, is having his dinner before he goes to work as a security
guard at the radio program. As if the name and the private detective narration
isn’t enough of a hint, Altman is making reference to a certain time; a time
when people ate in streetcar diners and dark detective and film noir stories
were popular. Just as quickly we begin to see more modern elements within the
world, seeping into the radio station as they broadcast their last show.
The cast of characters traipsing on
and off stage during the final broadcast of A
Prairie Home Companion is what keeps the film moving in between the musical
numbers. We begin with Guy Noir who is played by Kevin Kline. Guy is a private
eye who is fascinated by a mysterious woman (Virginia Madsen) who comes back
stage for the last performance. Through the whole film Guy talks like he is
reading straight from a detective novel. John C Reilly and Woody Harrelson are
Lefty and Dusty, the Old Trailhands, and they always leave you wanting more.
Their interactions with each other, both in the constant bickering and
competitiveness as well as the contrast of their performing together has the
feeling of two people that have known each other for years. Reilly is
especially fabulous onstage and Harrelson has his fun when they stop singing.
There is also Meryl Streep and Lily
Tomlin as the Johnson Sisters, Yolanda and Rhonda. These two go to town with
Altman’s freeing direction style (he claims to encourage improvising so much
that he never even read the film’s script before shooting), often chatting away
with each other in such a believable and realistic way that it becomes
believable to the point of irritating. Lindsay Lohan is a stark contrast as
Yolanda’s daughter, Lola, who is more interested in writing songs about suicide
than her mother’s constant chatter. The sisters are too much too bear at times,
more annoying and frighteningly familiar than they are fun to watch.
The DVD will be especially appealing
to fans of the music in the film. There are extended musical segments as well
as the advertisements. The songs are played in their entirety and the musicians
are on display. Much of the footage just seems like director Robert Altman was
having a ball filming while the musicians showed their stuff. The amount is so
overwhelming that it is clear that they couldn’t have ever expected it all to
make it into the film. There is also a behind-the-scenes featurette and a
commentary track with Altman and Kevin Kline, and some deleted scenes.
Entertainment Value:
7/10
Quality of
Filmmaking: 7/10
Historical Significance:
9/10
Disc Features: 8/10
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