A Mighty Wind

Rating:
Summary: Story ok, Music great
Review: I missed "A Mighty Wind" in the theater so I purchased the DVD. Am I glad I did! The story was ok, but I really enjoyed the music. I find myself watching the PBN concert feature often because of the music. The New Main Street Singers remind me so much of the Serendipity Singers from the Folk music era. Both groups featured an ensemble of 7 men and 2 ladies. Diane and Lynne always wore matching outfits as Jane Lynch and Parker Posey did in the movie. The Serendipity Singers were known for novelty tunes like "Don't Let The Rain Come Down" and "Beans In My Ears". "Potato's In The Paddywagon" reminds me of those songs. The Folksmen successfully combined elements of the Kingston Trio and the Limelighters. Christopher Guest did a good imitation of Glenn Yarbrough. Eugene Levy and Catherine O'Hara captured the Ian and Sylvia sound.

I always enjoy movies where the actors perform their own music. The actors in "A Mighty Wind" did it well!

Rating:
Summary: "A Mighty Wind" Not "Best in Show"
Review: Christopher Guest and Eugene Levy are the two main creative forces behind the "mockumentary" sub-genre, and nobody does it as well as these two and their talented cast of collaborators.

"A Mighty Wind" continues the comic team's exploration and satire of middle America's passions. From community theater ("Waiting for Guffman") to dog shows ("Best in Show"), Guest and Levy and cast now turn to folk music. "A Mighty Wind" revolves around the attempt by the children of a deceased, slightly-famous folk music promoter to stage a reunion concert for his most acclaimed acts. Through a series of staged interviews and filmed "real world" interaction of these somewhat talented, incredibly sincere, and often befuddled performers, "Wind" satirizes everythnig from folk music to public television to soulless PR reps to model train enthusiasts.

There are three acts that will "reunite" for the concert, including the (New) Main Street Singers, who aren't the same performers that the deceased promoter used to promote and are led by the immortal Mr. and Mrs. Bohner (yes, pronounce that for comic effect). Also coming together are The Folksmen (a clear send-up of the Kingston Trio) and Mitch and Mickey, fomerly America's favorite folk-singing lovers.

The plot allows for all the usual hilarity one expects from Guest, Levy, and cast. You can't help but laugh at the Bohner couple, who worship colors despite the fact that their religion exists only in the mind of Mrs. Bohner. And the Folksmen's tales of their first record label -- which didn't put a hole in the middle of the record, but otherwise did high-quality work -- is pure gold. And you'll cringe with horror and delight as the theater manager attempts to demonstrate for the camera the theater's amazing acoustics, with the voice he's perfected singing at juvenile halls.

While "Wind" does not rise to the comic heights of "Best in Show" (which is no criticism, since "Show" is one of the most hilarious movies ever), "Wind" does have some touching moments. Even though, unlike "Show," the characters aren't directly competing with each other (indeed, one wishes that we would see more interaction between the bands), "Wind" creates some dramatic tension by asking whether Mitch and Mickey will kiss at the end of their song, "A Kiss at the End of the Rainbow." (Which is actually one heck of a good, sentimental song.)

The music is fantastic, although not as humorous as the music Guest and his comrades put together for the definitive mockumentary, Rob Reiner's "This is Spinal Tap." But, if you don't bust a gut laughing at the final line of the title song, you've really got to get your sense of humor checked by a specialist.

Rating:
Summary: Another hit mockumentary
Review: Yet one more great film in the Christopher Guest line of mockumentaries. This particular film focuses on the folk music scene of the 60's, and a reunion show of three fictionals folk "greats." As with his other films, he and Eugene Levy did not write a script, they only created the background and history of the main characters. The brilliance of these films lies with the actors who improvise each scene and each line of dialogue. Every scene seems to have at least one line that can be repeated over and over and still be just as funny as the first time.
What really blew me away about A Mighty Wind was when I found out that the actors actually played all the instruments and did all the singing. The music is fantastic and very well done. The performances are very polished and tight, the harmonies beautifully written and executed. Because of the combination of the style and musical abilities of those involved, I feel this is Guest's and Levy's best work to date. I can not wait to see the next one.

Rating:
Summary: The perfect kiss
Review: In many ways this is a fair sequel to the peerless This Is Spinal Tap. It's certainly a much more understated effort in all respects, but there's no mistaking the humour: one can imagine few bands other than Spinal Tap being signed to a record company so cheap it didn't punch holes in the vinyl!

Michael McKean and Christopher Guest play it pretty straight, so many of the choicest lines comes from the bit parts, and while it's not in the same league as 'Tap, there are some genuine gut-busters in there (one that particularly stuck for me was the pros and cons of playing in a garage band in Stockholm).

I'm a little surprised that some have found the plot lacking: There was a clear dramatic climax - "the kiss" - which was set up very early in the piece, and to my mind was handled very deftly indeed.

Definitely worth a night in.

Olly Buxton

Rating:
Summary: Better than "Nashville"
Review: Brilliantly written and performed, with the kind of affection for the characters being skewered only the best parody achieves. This is "Spinal Tap"'s equal, and in fact superior to Robert Altman's "Nashville" in achieving a portrait of a country and the US music business with a lighter touch, but no less insight. Hilarious to boot. More Jennifer Coolidge would be nice, but someone should just put a camera on her for two hours anyway. Musically it's sound, capturing both the solid quality and the slight absurdity of folk music. Of course, where's Dylan? But such a character would have wrecked everything else in the film; and his absense demonstrates how business neuters art (folk music really took off as anti-war protest). Dog shows and community theaters were easy targets, but "Mighty Wind" gets at more than maybe was intended. If you aren't familiar with the folk scene, you'll be surprised how involved you get; if you were, you'll hold your breath for the kiss. Eugene Levy is transcendent, man. Far out.