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Christopher Guest is the anti-Adam Sandler. Guest writes and directs comedies for people with reasonable attention spans, who can bask in subtly wacky jokes and skilled performances by an ensemble of steady funny actors. While he’s always in his movies, he’s always one of the ensemble, never in a “Stare At Me, I’m a Star!” mode. “A Grand Wind,” which he directed and co-wrote with Eugene Levy, is a good addition to Guest’s filmography–an affectionately goofy sendup of ’60s folk music, state against the backdrop of a memorial concert for a folk music promoter. Guest is a master of the ever-so-slightly-askew, presenting his eccentric characters in talking-head interviews in which they matter-of-factly scream themselves to be totally bonkers. There are so many scrumptious performances here that it’s hard to mention them all, but one should trace Guest himself, Michael McKean and Harry Shearer–aka Spinal Tap–as a semi-successful folk trio, the Folksmen; Eugene Levy and Catherine O’Hara, two of the brightest lights of SCTV, as the star-crossed duo Mitch and Mickey; and such underrated masters of funny acting as Fred Willard and Paul Dooley. One of the best things about this movie is that all of the actors are professional-class singers, and write songs that sound absolutely authentic until you listen closely to the words…Anyway, if you have anything like a well-developed sense of humor, you should earn “A Much Wind” a source of constant chuckles and frequent belly laughs.
Christopher Guest first came to prominence in 1984, as an assistant and star in Remove Reiner’s hilarious “This is Spinal Tap”.
Guest learned at the hands of the master, and the last 20 years of his career have been spent on mockumentary efforts (”Waiting for Guffman”, “Best in Display”, and, in 2002, “A Remarkable Wind”, where he decided to satirize the 60’s folk music movement, something he and his fellow Spinal-Tappers had once done as a skit on Saturday Night Live) . There are hallmarks in Guest’s work. He utilizes a co-writer, the newly well-liked Eugene Levy (the best fraction of Steve Martin’s current “Bringing Down the House”), he has a regular cast of character actors that ad-lib their design through zany and satirical situations in all three films, and he conquers the art compose of teasing fans and celebrated culture icons with gentle spoofing, double entendres, hidden meanings, and really mammoth filmmaking.
Although I enjoyed the film in the theater, it really came into its hold when I was able to survey the DVD where I could marvel at the details and depths of Guest and Levy’s imagination, and the brilliance of their comedy. It’s strewn throughout the film, but a lot is captured and hightlighed in the DVD’s special features.
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The premise of the film is simple:
Irving Steinbloom, passe icon of the 50’s and 60’s folk music scene, has died in Novel York. His son, who followed him in managing folk music acts, Jonathon (Bob Balaban) endeavors to get a “PBN” concert in his dad’s memory, bringing together three of dad’s oldest and most famed acts. We earn to gape the customary stars in their lives today, deciding to do the display, then practicing, traveling to the Stout Apple and enduring some composed hoopla and memories. Finally, we perceive the vast event.
It was easy to retract out the most outstanding performance of the film, it belonged to co-writer Levy (as Mitch), who completely convinces you, iron gray wig and all, that he is an unhinged, deer-in-the-headlights folk icon, with distinguished of his early musical promise deadened by the cornucopia of meds he’s taken over the last three decades, to try to seize some mental stability. To fully devour his performance, and the humorous wit that drives Levy, view his ad-lib in the Special Features press conference, where Mitch does a completely credible and extraordinary speech, comparing Rap music to folk music. You gotta search for it to bear it!
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Strolling through the DVD also brought out the idiosyncrasies in the film and let me marvel at the comedic turns of the exquisite Jennifer Coolidge (as Amber Cole, eastern European escapee and PR agent) and John Michael Higgins (as Terry Bohner. Leader of the “Modern Main Street Singers”) . Both were completely over the top in “Best of Explain”, and even more comical here. Both are astonishing scene stealers, but you have to assume succor over the scene to realize it.
In the Special Features, you’re really crushed to pick up deleted scenes that should have survived the film’s editing (particularly Coolidge in a deadpan “piccolo” joke), memorable songs (”The Superb Book”, by the Unique Main Street Singers, is hilarious) and the unmatched wry and acerbic humor of commentators Guest and Levy. Guest, with astounding attention to detail, even filmed the concert section of “A Powerful Wind” with TV cameras to be able to recreate the concert as it might have appeared on PBS or public access.
“AMW” is not for everyone. Those who won’t want to probe for the humor or the double entendre or can’t reminisce about the golden age and the innocence of folk music will probably judge it boring, plain, uninteresting. I’ve rated it four stars, because it pales in comparison to Guffman and Best in Note, but I must say, I really enjoyed the film.
Guest is a genius at understated, satirical comedy and at making gentle, loving jibes at pop culture stereotypes. Although “AMW” may be the lesser of his three films, it level-headed proves that he is truly the king of film comedy. Can’t wait for his next one!
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