Review of A Prairie Home Companion (2006) by Daniel K — 12 May 2008

I suspect I may grow to enjoy this film more and more over the years. It certainly has extra significance for me (apart from being concerned with a show that grew out of my hometown and was listened to on many a weekend in my parents house) as it is Robert Altman's final film.

He is one of the greatest American directors to have begun work in the latter half of the century. This is a fitting final film. The opening is essentially perfect. The ending is reasonably brilliant, although it lacks the kick of a masterpiece.

Everything in between is stellar as well. I love his gently floating camera and some of the scenes and numbers were excellent (the bad joke song, some of Guy Noirs sections, the deadpan penguin joke, etc).

I would argue that he jumped around a bit too much from scene to scene and his majestical weaving and intertwining of scenes, characters, and stories didn't achieve the same brilliance he reached in works like Nashville, Short Cuts, or Gosford Park.

It didn't carry the narrative weight and significance or innovative quality of Long Goodbye, McCabe, or 3 Women either. Despite it's shortcoming, it was extremely enjoyable. It seems like the kind of film that will wear well over time and one could come to feel very comfortable with.

All the the scenes don't seem terribly natural, but one can't expect miracles from every minute of Altman's work. The performances are excellent. Kline is great, although his performance highlights for me the difference between a great actor (Kline) and a goddess (Streep).

I could see many of Kline's other characters in his portrayal (as I do with almost any actor), but Streep's performances routinely seem to stand by themselves. I rarely, if ever, think of any of her other characters when I see her on the screen because she is just that good.

Altman and Keillor have created a moving and entertaining tribute to a truly unique (at least in modern days) show. It's always fun to see places you know well on film, and even better if you grew up there.

Altman chose a touching and memorable way to end his career behind the camera as the angel (of death) approaches the camera and he cuts away to a crane shot of Mickey's Diner. Most directors do not make their exit from the stage so gracefully or effortlessly.

Bravo.