Movie Review: Prarie Home Companion

Ever hear of culture shock? I mean, really powerful stuff, the kind where you enter a strange land with even stranger people? Happened to me once, when I went away to college. It started small enough. My friend had sent me a book called, "How to talk Minnesotan." I thought it was a joke. The kinda thing you send to people to create a sense of identity over the holidays or special situations. I read it, but I didn't really understand it.

Then I arrived in Moorhead, Minneasota.

Culture shock. No one hurried. Nothing was a yes/no answer--everything was a tale. And they laughed at the weirdest things. Every Sunday, my idiot roommate, blonde as the Norweign sunset would be glued to the radio, the radio, listening to Prarie Home Companion. Since he liked it, and I hated him, I refused to like it.

Time passed, and with it came wisdom. I discovered that culture can be a very strong thing--and helps with pride. Think of a gay teen, struggling with his own identity, realizing that he is part of something larger than himself. Pride building. Think of the adopted Korean tyke, learning her countries vast history and knowing, she too, is part of a bigger whole.

Prarie Home Companion does that for many people of the upper midwest. I'm refering to the radio show. As the internet and technology separate people from their origins farther and farther is provides a refuge for a kinder place and time. Now you have to understand the presentation in Prarie Home Companion. It's format is simple humor, borderline English, born out of the complexities of life--and how humor is, literally everywhere. The best comparison I can make is a Woody Allen movie. It's humor is angst and urban and you aren't really sure if you should laugh unless you are from New York. Such is the gaffaws of Prarie Home Companion.

The show has been on for 30 years. I guess that would be the reason to turn it into a movie. They have such a successful format, I was confused as to the reason of the choice. Personally, I think it would have fit better on public television, but no matter.

The film is really only good if you know the world of PHC. Garrison Keillor's delivery is his standard, plain drawl, without emotion, full of wit. Here, a storyline is introduced, if only to give a reason for characters to interact backstage. Seems the show is being closed and this is it's last night.

That simple.

Garrison goes ahead and does his usual schtick, but adds some touches in the screenplay that are a bit odd. He has the angel of death come for a visit. The juxtaposition of her walking around and no one being bothered by this is, I guess, slightly humorous, but it adds a darkness that doesn't normally come with show.

It is a typical Robert Altman film, if you know this auteur. Frankly, this is one of his better efforts, and not nearly as long. Here, his bickering and realistic way of filming dialogue (the actors are not improving, but do speak over one another and are always on eye level, as if you were evasdropping on their conversation) fits well. The characters talk, chat,fight and then all the overlapping tones clear as they head out onstage--emphasizing the clear, crisp sound of the radio show.

The skills of the big name actors are also emphasized. Radio is difficult. Emote with only your voice. Sing. Be clear. You can tell each performers background in this regard.

I, frankly, liked the film, compared to my early college years. I've grown, as I've said and thought this to be a nice diversion. But it isn't recommendable. If you like PHC, go see it. Otherwise, unless you have a stake in it (you like Bob Altman, some of the actors or art films in general), it won't do you much.