A Mighty Wind

We have a duo, a trio, and a group of 9. These three fictitious 'folk' groups from the 60s reunite for a concert in this mockumentary. What makes it so interesting is (1) I was a young adult in the 60s and vividly remember the folk group wave and (2) Guest, Levy and the others do their own singing and playing of songs they wrote for the movie. I think its IMDb ratings which cluster around 7 and 8 are about right. Not everyone will like 'A Mighty Wind' (song from final concert), it has improvised humor and many of the same actors from 'Best in Show'. But for fans of the humor of Guest and Levy it is a very nice little movie. The DVD has interesting extras, and the commentary track by Guest and Levy discuss how, for example, Levy had to take lessons to get is guitar skills back, and how O'Hara learned to play the autoharp for this role.

The movie is 92 minutes long, which includes the 7 minutes of end credits. Of the 85 minutes of actual movie, the first 60 sets up the characters and groups, shows them in rehearsals, covers several back stories, then the final 25 minutes are the concert itself, actually performed before a live audience. There were a few truly outstanding folk groups in the 1960s, but there also were a whole bunch of mediocre ones. The three groups featured in this movie are as good as many of the 1960s groups that actually made a living entertaining. And, as at least one critic said, that's part of the problem with 'A Mighty Wind' - the groups are good enough, and the final concert is real enough, that much of the impact of the humor went away during the last act. The lampooning was gone, replaced by a legitimate set of performances.

Still, I found it thoroughly enjoyable, and my favorite of the 'Guest/Levy' movies.

The third and last installment of Christopher Guest's "mockumentaries," this one centers around three folk-singing groups from the 1960s re-uniting for a concert many years later.

As someone who well remembers most of the folk singers from the '50s and '60s, and was familiar with Guest's other movies, I was anxious to see this. It was okay, but to be honest, I expected more, at least more laughs and a little better pacing. This was just a bit too slow and not as funny as his other films, especially "Best In Show."

There is some great music in here, to be sure, and not lip-synced, either, but most of that isn't heard until the last 30 minutes. Most of the same actors are in this film as in the previous two "mockumentaries," and I always appreciate the comedic talents of Catherine O'Hara and the rest of the crew.

The humor is unique, dry....very dry, and I appreciated it a bit more on the second viewing. The only annoying person, to me, was Eugene Levy's character "Mickey," a spaced-out loser whose act wears thin the more you see of him.

It's not a bad film; just not up to Guest's '"Best Of Show."

Christopher Guest's movies, like his performances, are generally subtle and always low-key. They are not for people who need laugh tracks to follow the humor and most of his work is so contextually-based that some knowledge of the subject he's dissecting is a definite asset. Guest, who was a performer in the very early SATURDAY NIGHT LIVE, is, in many respects, the Anti-Belushi of modern American comedy.

Nevertheless, he shares with Belushi - and many of their contemporaries, who came from one or another branch of the Second City organization - a certain fondness for off-the-wall elements in his work; Guest's tend to be slipped in, quietly, while Belushi's popped out of exploding cakes.

A MIGHTY WIND is a spot-on satire of the American Folk Music movement of the early and mid-1960s. The narrative conceit is a memorial concert for a recently deceased impressario, organized by his son, which reunites three folk groups from the 60s.

The real elements of the film are the send-ups of a variety of tropes of the era, musical styles, personalities, and quite an array of music-business cliches. Remarkably, however, the songs are genuinely entertaining in themselves; both the writing and the performances. They're satirical, but so subtlely performed that it's easy to loose the thread of the lyrics and wind up mindlessly nodding heads and grooving along, which pretty neatly captures the popular music experience for the last several generations. Satire within satire.

The musical performances are excellent, recreating, almost frighteningly, the taste and texture of folk music of the era. And, bringing several real 60s folk acts to mind.

The acting is typical of Guest movies, such as SPINAL TAP and BEST IN SHOW; very quiet, restrained, low-key, with, apparently, a lot of dialogue improvised. The performers are mostly drawn from the same group Guest has used in the past: Eugene Levy (who co-wrote the script with Guest) and Catherine O'Hara, Harry Shearer, Michael McKean, Ed Begley, Jr., and Guest, himself.

Comparisons with Guest's most popular picture, THIS IS SPINAL TAP are both interesting and tricky. Interesting because both movies were written and directed by the same man, and shared most of the same casts. Tricky, because while some seem to compare AMW unfavorably with TIST, a looking at these films, together, they have a lot in common. So much so, in fact, that it's reasonable to consider them a pair; very similar takes on two, distinct musical genres of a similar era. The writing, acting, tone, pacing of these two movies is very similar. The jokes are similar. The points of view are similar. The focus on both performers, and the behind-the-scenes people is similar. The real difference is the music.

This, in turn, tends to suggest that those who react very differently to these two films may be reacting more to the music, directly, and to the ambiance of the world around the particular musical genre more than anything else.

Guest's movies don't have many laugh-out-loud moments. Most of the humor is more the "big-smile", sometimes, the chuckle, kind. But, Ed Begley, Jr. has perhaps his best comic scene, ever, when he does a take as a Swedish-American public television producer dropping Yiddish into his conversation; one word per sentence. It's a totally dead-pan and very quiet performance which, like so much of Christopher Guest's humor, you will either get or not get. If you do, you may fall off your chair.

Eugene Levy, who co-wrote the script, with Guest, is also very good, having finally invented a second character after having spent something more than 30 years (since his Second City TV days) doing variations of one.

Who might enjoy A MIGHTY WIND? Anyone who remembers the era and the music, and anyone who enjoys show business insider takes. It's a more difficult call for those born later. And, if you have trouble keeping Janis Joplin and Joanie Mitchell distinct in your mind, you probably won't follow most of what's going on.

Some felt that this was too close to reality to be considered a parody, but I thought it was beautifully done - made fun of the cloying smugness of some "folkies", but mixed it with genuine pathos. I have a feeling Eugene Levy may have lost a couple of friends to bad acid trips - his portrayal was hilarious, but not cruel. Christopher Guest continues to amaze me with his light touch; most comedies put people in bad situations and make them squirm their way through; instead Guest takes apparently mediocre characters and puts them in situations that stretch their personalities.

Contains the single funniest comment I've ever heard about model trains.

Suggested double feature: This is Spinal Tap, Waiting for Guffman, or Bob Roberts

It's amazing how well executed this movie is. It seems realisic and yet so..."movie!" Christopher Guest (who did a fine "guest" on Saturday Night Live in a game show skit..."Chocolate Babies?") did some great work on this and all of the characters are classic. Eugene Levy may be the best in this. His performance of Mitch, or rather the shell of what Mitch once was is hilarious. The best scene is, in my opinion, the scene in which Mickey's wife shows Mitch his model trains and model town. Levy's comments about seeing the town in the autumn ("I would have made tiny leaves...") are the funniest lines in the film. The Folksmen show off funny interaction scenes (yep, those are the guys from Spinal Tap) and The New Mainstreet Singers are definitely the commercial b*st*rds of this film. W.I.N.C.-a religion based on color. That's classic. I would recommend getting the DVD for the great deleted scenes, including a press conference in which Mitch talks about Canadian hip-hop, where kids rap about cleanliness.

I love this film. Despite it's rating, a great family movie. The sexual references are minor. There's just two scenes. One: A brief talk about a sex emporium and Two: References to starring in dirty movies. Get past these and mom, dad and the kids can have a good time. Just punch a hole in the record first.