RRP: £15.99
Our Price: £5.89 (subject to change)
Editorial
Amazon.co.uk Review
Robert Altman and Garrison Keillor combine reality and fantasy in this smooth, ebullient take on the long-running Prairie Home Companion radio show. Set during the show's fictitious last broadcast--the host station has been bought--the film has plenty of elements from the real PHC radiocasts, including a live audience and the sensational Shoe band. The onstage program is mostly music numbers, a beguiling mix of standards and old-style country. However, the show's usual comedy sketches are never presented, save for the commercial parodies--this may be a PHC show, but Lake Wobegone is never mentioned. Instead, the sketches are played out as backstage banter that feautres the Johnson Sisters (Meryl Streep and Lily Tomlin), a harried stage hand (Maya Rudolph), a former listener turned angel (Virginia Madsen), and Keillor himself (a crusty alter-ego named simply G.K.). A few characters from the real PHC are given life: the singing cowboys Dusty and Lefty and gumshoe Guy Noir are embodied by Woody Harrelson, John C. Reilly, and Kevin Kline, respectively. Old flames are fanned, stories are spun, new talents are found (Lindsay Lohan has a chance to shine as Streep's daughter) and everyone wonders if G.K. will do something to ebb the tide of cancellation (personified by Tommy Lee Jones as the corporate Axeman). All of the actors do right as singers, and seem to be having the time of their life. Keillor's screenplay is perfect fodder for Altman's usual brand of storytelling, as characters babble on with the camera picking them up often in mid-thought. The film appeared a few months after Altman received an honorary Oscar, and the director is still at the top of his game, creating this smile-inducing, song-filled time, ending with an ethereal last musical number. --Doug Thomas
Altman and Keillor Partnership works well
Review date: 2008-09-05 Rating: 8 out of 10
The hallmarks of Robert Altman's style are here, including a fantastic ensemble cast, overlapping dialogue, a camera that wanders around the action (though that is the wrong word: this film contains virtually no action in the conventional sense of the word) and actors.
But this is a far gentler, nostalgic, elegaic film than, say, MASH, Nashville, Short Cuts or, for that matter, any of his other films. Maybe this is because Altman had "mellowed" by the time he made what was to be his last film, but given the rest of his career this seems unlikely. A more likely influence is the bone dry wit of his main collaborator Garrison keillor, upon whose writings and radio broadcasts the film his based. I would never have thought of them as natural collaborators, but it works perfectly well. Like the works of both men, you need to pay close attention, especially to the dialogue, to catch the subtelties and humour but its worth it. Just don't expect anything but a wafer thin "storyline" ,