The movie, redolent of death, is a sort of wake, but a funny-sad one, teeming with music, corny jokes, and an ensemble of gifted performers who appear to be having an obscene amount of fun in one another’s company.
A Prairie Home Companion (2006)
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Reviews Counted:38
Fresh:27
Rotten:11
Average Rating:6.7/10
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:Jun 9, 2006 Wide
Box Office: $20,172,050
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
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Reviews for A Prairie Home Companion
It sparkles with a magic all its own as an engagingly performed piece of Midwestern whimsy and stoicism. Mr. Altman’s flair for ensemble spectacle and seamless improvisation in the midst of utter chaos is as apparent as ever.
What a lovely film this is, so gentle and whimsical, so simple and profound.
Either you like that brand of music and humor or you don’t. I am not a huge fan.
This is not one of the good Altmans. This isn't even one of the mediocre Altmans. No, the cinema's girl with the curl is back, and this time he's very, very bad.
A Prairie Home Companion is about small-beer showbiz professionals who face extinction with a smile on their face, a song in their heart, and a biscuit in their belly.
For the rest of us, this is a woebegone world we not only don't know but don't particularly want to visit.
This is a lovely marriage of two of America's wisest cultural observers, native Midwesterners and modern Mark Twains, who value their heritage while occasionally poking it with a stick.
Nondevotees also should find a home in this agreeable, accessible Companion.
A Prairie Home Companion is a meditation on death that has you humming to the melody and laughing at the joke -- it's an elegiac picture that refuses to eulogize.
Streep's work aside, you can pretty much get all that's worth having out of the film by skipping it entirely and buying the soundtrack album.
Those who have the sense to seek out this film will find themselves delightfully transported as Altman and screenwriter-star Garrison Keillor tackle issues of time, mortality and family while offering up great dollops of homespun entertainment.
The movie is not just enormously entertaining, it is deeply moving, both in the way it celebrates storytelling and storytellers -- and in the unembarrassed way its creators and performers remind us how much we need them.
If A Prairie Home Companion is director Robert Altman's swan song, it's a tune with plenty of sweet, rootsy grace notes.
It's a suitable companion piece to past Altman forays into the arts such as Nashville and The Player, though lightweight by comparison.
Even with its feisty, anti-corporate sympathies, this movie adaptation of Garrison Keillor's beloved Midwestern radio drollery is a breezy affair.
Good-humored and enormously entertaining but also sentimental and a little dishonest.
Altman and Garrison Keillor have turned Keillor's beloved radio show into the sort of backstage entertainment allegory that brings out the best in the director.
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