No matter the style, if a film has a story arc told well, it will have an Enneagram. Christopher Guest, writer, director and actor in mockumentaries (including the granddaddy movie of the genre, This Is Spinal Tap) assembles the most talented improvisers, gives them a script outline and starts filming. A Mighty Wind is one of my favorite of Guest’s films because I’m old enough to remember some of the folk singing acts he chooses to mock.

1

The premise, established briefly here in the one, is that a famous man has died and all the old folk acts he promoted should give a reunion concert. We’re then introduced to the three folk groups that we’ll follow throughout the movie. Here’s where the in-jokes begin. I don’t think you have to recognize the real life acts being mocked, but it helps.

Our main group, which includes Guest acting as musician Alan, is The Folksmen.

Compare their “travelling” album to this one from Peter, Paul and Mary:

 

The real joke comes when you compare the Peter, Paul and Mary Reunion album with the “modern day” Folksmen.

Guest has given Alan the same bald-with-side-tuft hairdo as Peter. Or is it Paul? The musical styles of these trios are very similar. Guest, who is too talented for his own good, adds another twist by imitating Glenn Yarbrough‘s singing voice. I’m sure you remember Yarbrough from his post-folk days:

 

Like I said, if you can recognize the connections, the 1 of this film is a blast. Here’s more . . .

The New Christy Minstrels are best known for their Christmas albums, one of which looks like this:

 

And now see The New Main Street Singers.

 

 

The comparison of wholesome goodness is played up more in the movie poster.

Finally, we have the soul (and Enneagram pattern, as we’ll see) of Mitch and Mickey.

They are an obvious reference to Canadian folk duo Ian and Sylvia.

 

For anyone in the know, the Mitch and Mickey album covers will trigger anticipation. Ian and Sylvia had a tempestuous relationship. Also, we have the powerhouse (and immensely talented) actors Guest loves to cast, Catherine O’Hara and Eugene Levy playing the duo. This is going to be good.

2

The trouble, inserted very subtly into the flow of this folk-group introduction, is Mitch. You don’t even see him. He’s at the other end of a telephone conversation. However, he is the only artist not coming to the reunion.

3

When, in the next scene, we get Mickey’s introduction we see why Mitch is trouble. These two had a popular song, “Kiss at the End of the Rainbow,” that culminated one night in an actual kiss between them onstage. Flashback footage of the young Mitch and Mickey shows the tender moment. This is our three. Although all of the groups have interesting stories, these two will drive the movie.

4

Each group gets together and begins rehearsal for the big show. Some of the actors get to chew up the scenery. (Jane Lynch, I’m looking at you.) Mitch comes to Mickey’s house.

Here’s a small complaint: What are Mitch’s feelings towards Mickey? As the core of the Enneagram, the romance arc should be clear to us and it’s not. Mickey is married. Mitch is a man who used too many drugs. At least, I think that’s what Levy is playing. Otherwise, Mitch is a fruit. I don’t have to understand everything about him, but I do need to know if he loved Mickey then, loves her now and regrets any actions he took. The hints Guest lets out are too ambiguous.

In the final scene of the 4 Mitch and Mickey rehearse the “kiss” song in her living room. At the point where the song expects them to kiss, they look awkwardly at each other and shy away from the moment.

SWITCH

Immediately after we are in New York at the concert hall with a scene introducing the venue.

5

And now everyone’s in New York. Preparations are quickly made and it’s concert night, a live performance on public broadcasting. The groups, previously spread across the country, are now in one location. That’s as close to working together, a typical 5 trait, as we’re going to get.

The New Main Street Singers go on first and steal The Folksmen’s opening song, causing them to panic in the dressing room. As The Folksmen take their turn onstage (singing crowd-participation numbers a la The Limeliters) Mitch disappears from his dressing room. Mickey says something like, “Now I remember why I stopped working with him.” The Folksmen must stretch their time while people look for Mitch.

It turns out Mitch just wanted a red rose to give to Mickey. Or maybe the rose is a stage prop, reminiscent of the old days. I am unclear on this and again I am frustrated.

Mickey and Mitch rush onstage for their number and the “kiss” song begins.

6

As far as I can tell, the 6, which mirrors the “kiss” moment in the 3, is carried by the other singing acts. They all hear the song over the dressing room speaker system, perk up, and dash up to the wings to see if Mickey and Mitch will kiss. I would have preferred if the anticipation of this moment generated from the duo, but this is what we get.

7

Onstage, the moment arrives. The duo pauses and looks at each other. Mitch leans in, cups Mickey’s cheek and gives her a big one.

8

And the kiss itself becomes part of the climax of the movie. Singers in the wings tear up and sigh. The song is over and everyone piles onstage for the finale song: “A Mighty Wind” (which is a truly inspired parody song). The concert is a triumph.

9

Literally, the cue card says “six months later”, or some such. Mickey and Mitch have separate interviews in which each worries that the other misunderstood the kiss to mean more than it did. When Mitch speaks I can’t tell if he refers to the concert kiss or the kiss from decades ago, all the way back at our 3.

Again, I will stress that if Levy and Guest had pinned down Mitch’s arc this ambiguity (and the watered-down 6-7-8) would have been cured. The kisses at the 3 and 6/8 bracket the movie. The kiss should have stayed in the 6 where it belonged, leading to a personal decision at the 7 about Mitch’s feelings. The concert finale 8 would have included a resolution about the Mitch and Mickey relationship. I’m not looking for a garment-rending scene here, just a committed directorial choice. This is too much emotional sludge to wade through.

However, I still like this movie. The wrap up on the character’s lives include some great jokes. The third Folksmen who decides to dress as a woman wearing a blonde pageboy wig, looking exactly like the Mary that their Peter and Paul were missing, is very funny. I especially like that a film that was probably shot mostly off the cuff should edit together in an almost-there Enneagram. The mockumentary style may not be for everyone but if you like this stuff, A Mighty Wind is one of the best.