The Last Show

Before watching this movie, I had never heard of writer/performer/radio personality Garrison Keillor and the main reason I rented this was because it was Robert Altman's last film. As usual, he managed to rope in several high-profile Hollywood names into his cast - Woody Harrelson, Tommy Lee Jones, Kevin Kline, Lindsay Lohan, Virginia Madsen, John C. Reilly, Meryl Streep, Lily Tomlin - but, as Altman himself admits in the rambling but not uninteresting Audio Commentary - he is basically just giving cinematic life to Keillor's preoccupations and radio show. The latter features a few Country & Western acts performing for a live audience (which is never shown) including Harrelson and Reilly as rude, lewd singing cowboys (their "Bad Jokes" song is a delightful highlight), Streep (who is clearly having a ball), Tomlin and Lohan as a singing family and even Sam Peckinpah favorite L. Q. Jones as another singing cowboy/old-timer.

The most interesting aspects of the film are non-music related, however: it starts out in a Noir-ish style with smooth-talking detective Guy Noir (Kline) acting as narrator and observer and his clumsy attempts to stop the Axeman (Tommy Lee Jones) from foreclosing the show. Along the way, he meets and falls for a white-clad Angel of Death (Madsen) who, having expired herself in a traffic accident some years back while listening to Keillor's show, has now come to claim the lives of the two Joneses and possibly Kline himself...

While perhaps a minor film in the Altman canon, it is still a respectable and fitting swan song for him. The shadow of impending death hangs so heavily on the movie that it is indeed remarkable how entertaining it actually is; I'm sure there are some more examples of a distinguished film-maker reflecting so openly on his approaching death but the three I can think of at the moment off the top of my head are the Wim Wenders/Nicholas Ray collaboration LIGHTNING OVER WATER (NICK'S MOVIE) (1979; which I've yet to watch for myself), Bob Fosse's ALL THAT JAZZ (1979; like Altman's film, also disguised as a musical) and John Huston's appropriately-titled last film, THE DEAD (1987).

As usual Altman will divide his audience in a radical way. He, clearly, doesn't do it on purpose but it happens more often than not with the works of real artists where there is no room (or very little) for concessions. It is what it is, his vision, his whole. He mentioned that the film was about death and found that not everyone agreed not even some of his closest and more devoted collaborators. That's what he saw, that's what it is but it's bound to be contradicted by critics and audiences alike. Personally, I don't think I'll see a better film this year. The work of an idiosyncratic artist and masterful craftsman doesn't hit the main stream screens every day of the week. My only reservation is that the film is too short. I wanted to go on and on and on. To say that Meryl Streep is sublime seems kind of redundant but never mind, she is, sublime, surprising, funny, very funny, moving, very, very moving. Lily Tomlin and Meryl have the best moments in the film. They appear, look and sound as if they had been working together all their lives. Total chemistry. Lindsay Lohan is the biggest surprise. Good for her. That's the way to forge a way ahead. Work with the best. Woody Harrelson and John C Reilly are simply glorious. Kevin Kline does a Kevin Kline in the most enchanting way. It was also a delight to see Garrison Keillor himself playing himself, not just wonderfully but very convincingly as well. I recommend it with all my heart.

Robert Altman's "A Prairie Home Companion" is light, fluffy and fun, much like the radio show. As long as audiences keep this in mind, they'll be sold like Rhubarb pie and duct tape advertised during the broadcast.

The outstandingly cast ensemble and Altman's signature directing style stitch a flowing patchwork of laughs and tinges of nostalgia. Streep and Tomlin are dynamic together (and sing beautifully!), and Kline carries much of the film's comedy on his capable shoulders. The film represents a bygone era that the people of the show are still living in. Only Virginia Madsen, Lindsay Lohan and Tommy Lee Jones represent the outsiders to the otherwise coherent culture of the show, and as the film progresses, affect it and are affected by it in different ways.

I generally prefer films, however comic or fun they are, to have some deeper themes. But unlike the multi-layered theater that most of the film takes place in, there's nothing really behind the scenes here- it's art for arts sake. However, I still enjoyed the film and am actually relieved it didn't bog down in anything too serious.

Whether audiences are fans of the radio show or not, the film's worth its weight in Narco Bran Flakes.

Altman has created the anti-Hollywood, which I'm sure was not by accident. A true gem.

It's a shame that this was not a more commercially successful vehicle. The ensemble cast is superb, without exception. Garrison Keillor has a face made for radio, but I understand why he has to play himself. Nice baritone, but those are weapons-grade eyebrows.

Altman pokes fun at standard 21st century American movie fare, but mid-20th century radio gets lampooned pretty well too. The eponymous radio show, the state of Minnesota, and mindless belief all takes it in the slats. Even irony itself is not safe from Altman's watchful eye. It's deliciously subtle and, by starts, wonderfully bawdy. Paying attention pays dividends. Doing subtle right takes a lot of work.

One of the sweet surprises is that people you knew could act can also sing: Merryl Streep, Lily Tomlin, Woody Harrelson (not a typo), Lindsey Lohan, and John C. Reilly croon. Where else could they strut such stuff? Underplaying their roles, never stealing a scene, letting the well-written script be the star. Kevin Kline was never better, not even in "Wanda". Al Gore's old roommate is heartlessly evil.

I'm glad I watched it alone because I felt free to laugh out loud. That would have been out of character with the movie.

It's unlikely you would only like this movie. You'll love it or run the other way. I didn't want it to end.

Don't look for a sequel.

Who knew that Lindsay Lohan could deliver a performance of this caliber? My friends and I, all movie aficionados, were stunned by her performance, albeit a supporting role. I never EVER thought I would utter those words. As mentioned earlier, Lohan's real acting debut is here.

Still, her's is highlighted by a magnificent ensemble, particularly Tomlin and Streep, who give dazzling performances. After all these years, they've still got it- and Tomlin, an Altman favorite, is particularly up to par with the snap-and-go dialogue.

As always, his direction must be taken with a grain of salt- you either love him or hate him, but the performances are what make this film soar.

Kudos!