Robert Altman directs this comedy about the last night of a long-running country and western radio programme and the characters who have kept it going over the years. Security man Guy Noir (Kevin Kline) is in reflective mood and his voice provides the narrative for the film. The station's owners have decided to axe the show and have sent in Axeman (Tommy Lee Jones) to put the nails in the coffin. While the production is in progress, under the dulcet tones of MC Garrison Keillor (who wrote the original radio show on which the film is based), an angel (Virginia Madsen), who has come for one of the cast, stalks the studio. Noir kind of takes a shine to her. The cast of country stars, and their reveries about the show's past, start to come out as the night goes on; among them singing cowboys Dusty and Lefty (Woody Harrelson and John C. Reilly), sisters Yolanda and Rhonda Johnson (Lily Tomlin and Meryl Streep), and Yolanda's maudlin, suicide-fixated daughter Lola (Lindsay Lohan).
Robert Altman and Garrison Keillor combine reality and fantasy in this smooth, ebullient take on the long-running Prairie Home Companion radio show. Set during the show's fictitious last broadcast--the host station has been bought--the film has plenty of elements from the real PHC radiocasts, including a live audience and the sensational Shoe band. The onstage program is mostly music numbers, a beguiling mix of standards and old-style country. However, the show's usual comedy sketches are never presented, save for the commercial parodies--this may be a PHC show, but Lake Wobegone is never mentioned. Instead, the sketches are played out as backstage banter that feautres the Johnson Sisters (Meryl Streep and Lily Tomlin), a harried stage hand (Maya Rudolph), a former listener turned angel (Virginia Madsen), and Keillor himself (a crusty alter-ego named simply G.K.). A few characters from the real PHC are given life: the singing cowboys Dusty and Lefty and gumshoe Guy Noir are embodied by Woody Harrelson, John C. Reilly, and Kevin Kline, respectively. Old flames are fanned, stories are spun, new talents are found (Lindsay Lohan has a chance to shine as Streep's daughter) and everyone wonders if G.K. will do something to ebb the tide of cancellation (personified by Tommy Lee Jones as the corporate Axeman). All of the actors do right as singers, and seem to be having the time of their life. Keillor's screenplay is perfect fodder for Altman's usual brand of storytelling, as characters babble on with the camera picking them up often in mid-thought. The film appeared a few months after Altman received an honorary Oscar, and the director is still at the top of his game, creating this smile-inducing, song-filled time, ending with an ethereal last musical number. --Doug Thomas