by Mike Orren

No surprises here for fans of Altman or Keillor -- but a solid, genuine and uplifting meditation on mortality. Also, be sure to check out another view on this film by Alex Bentley.

If you're just casually reading this review, let me save you some time: If you are a fan of Robert Altman, this one's a layup -- You'll love it. If you're not, don't expect a narrative break from form that will help you suddenly "get" the larger body of work. And if you're a fan of Garrison Keillor's long-running radio show, you'll be cool too, so long as you're not expecting to see much from the show's regular players or insistant on uninterrupted concert-style performances.

I, for one, am a huge Altman fan -- I even love his widely-panned adaptation of Popeye. And this may be the most Altman-esque Altman of all. The backstage/onstage setting of the doomed radio show is perfect for his trademark overlapping dialogue style, with a flurry of conversations bumping up against each other as the cast deals with the demise of the show, a death, an impending birth, a mysterious visitor and the general chaos of putting on a live variety show.

Like much of Altman's work, this Keillor-penned screenplay attaches intermingled character studies (relationship studies?) on a loose narrative backbone. And the overarching theme -- mortality and the intrasience of all people and things -- drips from every word, glance and song.

The film is a stacatto mix of stage performance and backstage banter, taking place almost entirely within the F. Scott Fitzgrald theater on the night that a Texas radio conglomerate (let's just call it Clear Channel, eh?) who has taken over the radio station that is home to the Companion, plans to shut it all down.

The ensemble cast is characteristically strong, with Keillor playing himself and a few of the real-life show's regulars playing bit parts. Only Lindsay Lohan, as the youngest of a musical family is weak, never blending in with the rest of the cast, who seem oblivious to the fact that it is no longer 1954. Perhaps that's the point-- but I found myself distracted every time she spoke. And the other non-anachronistic character, SNL alum Maya Rudolf's stage manager, comes off far better.

Virginia Madsen stands out as the mysterious visitor who convincingly claims to be an angel who died in a car wreck while listening to the show, laughing at an unfunny joke. She pulls off the traditional Lyle Lovett part but with far more grace. Meryl Streep, whom I traditionally haven't liked, is excellent as Lohan's weepy old-time singing mother (and sister to musical partner Lily Tomlin AND old flame to Keillor). She's the emotional anchor of the film, wearing everything on her sleeve, without being over the top.

And while they don't leave much of an impression for the rest of the film, singing cowboys Woody Harrelson and John C. Reilly deliver the most enjoyable scene with a nose-thumbing performance of a number on off-color bad jokes (think Cowboy vaudville) late in the picture.

Individual characters aren't as well developed as in many of Altman's films, but that's because he focuses on the relationships here, and particularly how characters deal with endings outside their control -- deaths of loved ones, loss of the show, loss of a job, endings of relationships. Disappointingly, we learn less about Keillor than virtually any other character, despite the fact that he dumps more backstory than anyone. But again, I suspect that is intentional.

The on-stage pieces are performed and sung by the cast, meaning that you don't exactly get the experience of the actual show. All are servicable, and backed by the excellent PHC house band, with an able assist from Robin and Linda Williams. The music is solid, but ceratinly won't spur an "O Brother Where Art Thou" flood of soundtrack sales.

That said, I might have been warmer to the stage performances if there had been fewer cuts to interrupt and distract. But then, it wouldn't be Altman.

In the end, the mix of music and comedy bring a light and uplifting edge to a look at the most somber of topics. It's the kind of atmospheric film that can envelop you and leave you walking out of the theater mulling death with a wry grin on your face.

Also check out Alex Bentley's take on this film.

What do you think?