Robert Altman's jazz-scored film explores themes of love, crime, race, and politics in 1930s Kansas City. When Blondie O'Hara's husband, a petty thief, is captured by Seldom Seen and held ... See full summary »
Jennifer Jason Leigh,
Dr. Sullivan Travis "Dr. T." is a wealthy Dallas gynecologist for some of the wealthiest women in Texas who finds his idealist life beginning to fall apart starting when his wife, Kate, ... See full summary »
Rachel comes to stay with her Grandmother Georgia for the summer leaving some obvious problems behind at home. Her alcoholic mother doesn't even stay the night before rushing back out to ... See full summary »
A down on his luck gambler links up with free spirit Elliot Gould at first to have some fun on, but then gets into debt when Gould takes an unscheduled trip to Tijuana. As a final act of ... See full summary »
This is an insane and fast-paced romantic comedy about a bizarre dinner date among Bruce (Goldblum) and Prudence (Hagerty), and their lunatic therapists, and Bruce's jealous, gun-wielding ... See full summary »
"A Prairie Home Companion", hosted by humorist Garrison Keillor, is a down home radio variety show recorded and performed live in front of an audience in a theater in St. Paul, Minnesota. A show from another era, "A Prairie Home Companion" has been canceled. The regulars are performing on the last show, including Dusty & Lefty, singing/guitar playing cowboys with a risqué sense of humor, and the Johnson Girls, a sister singing duo of Rhonda and Yolanda who have a penchant for talking over each other. As the show goes on, the regulars, backstage, talk about their lives in relation to the show. Other goings-on include Yolanda and others trying to convince her shy somber daughter, Lola, to sing on this last show. As all this goes on, a mysterious woman in a white trench coat who is on a mission wanders around the theater, while the show's dim security guard, Guy Noir, who usually has nothing to do security-wise, follows. Written by
To broaden the film's appeal, Garrison Keillor considered retitling the film "Savage Love". Bob Berney, President of Picturehouse, was adamant that the film should retain its original title of "A Prairie Home Companion". See more »
The second time the chessboard is seen, Black's bishop takes White's rook in the near corner. The third time the chessboard is seen, the rook is back on the board. See more »
Market reports today, barrows and gilts uh two hundred twenty to two hundred sixty pounds, they're lower at forty dollars uh sows are steady three hundred five hundred pounds thirty four to thirty seven dollars going over to feeder cattle, beef steers - one hundred twenty to one hundred fifty dollars and two hundred to three hundred
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There is a credit for Sign Painter in the film, although it does not appear on the official site. See more »
"It's not true that I had nothing on. I had the radio on." Marilyn Monroe about posing nude on her famous calendar.
If there is anyone more laid back or brighter than Garrison Keillor in show business, let me know, because Robert Altman's A Prairie Home Companion, based on Keillor's long-running Minnesota Public Radio saga, shows Keillor as an audience sees him each weeklike a god gently guiding an eccentric ensemble through excellent performances made to look as easy as his demeanor. This film stands near Altman's Nashville as a testimony to the director's gift for sustaining strong characters in layers of dialogue approximating overlapping conversations at an interesting party.
Meryl Streep and Lily Tomlin as the singing country Johnson sisters bring back memories of Reese Witherspoon's amazing turn as June Carter and Streep's own previous country singer in Postcards. Ditto Woody Harrelson and John C. Reilly as the singing and joking Dusty and Lefty. But best of all is Kevin Kline as Keillor's real radio creation, Guy Noir, the '40's dapper, inquisitive, naughty narrator and security head for the production. Klein embodies the melancholic mood always at least hidden underneath any show's last show, despite Keillor's nonchalant assertion that every show is your "last show." Around this realistic, charming premise of talented performers at their last performance, writer Keillor interjects a ghostly beauty in a white leather trench coat, Virginia Madsen playing Dangerous Woman, the spirit of death, gently accompanying those about to die and the moribund show itself. The character is a lyrical embodiment of the theme that nothing lasts but the love shared in any experience. Keillor remains in character after someone dies by stating he doesn't "do eulogies." Nor does he do one for the show, which in real life still lasts in St. Paul from 1974.
So enjoyable are Altman, his ubiquitous HD camera, and his busy dialogue that you feel a part of the proceedings, catching the sweet smell of success for everyone attached to this thoroughly realized song of love to theater, music, and creativity.
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