Later in the evening on September 4th, if you’re looking for films that will guarantee rip-roaring laughter, join TCM for a trio of movies showcasing the Best of Guest. Christopher Guest, that is.
Known for his quick-witted mockumentary films built on a solid foundation of improvisational acting and well-supported by original music and lyrics, the films of Christopher Guest have been embraced by filmgoers over the last 38 years. As an actor, screenwriter, director and musician, Guest is certainly multifaceted and has built up a most remarkable resume.
Directed by Rob Reiner (who co-stars as Marty DiBergi), This Is Spinal Tap (1984) follows aging British hard rock band Spinal Tap as they embark on a tour of North America. David St. Hubbins (Michael McKean), Nigel Tufnel (Guest) and Derek Smalls (Harry Shearer) wanted to show this side of the pond how they could truly rock, however this motley crew had mishap after hilarious mishap during their American sojourn.
Parodying a plethora of rock and roll tropes, from the rotating roster of supporting bandmates (each having succumbed to truly unbelievable accidents), getting lost on the way to the stage or staring in shock at a drastically disproportionate model of a monolith for a number centered around Stonehenge, the quotes and gags from this film would become part of our pop culture vernacular permanently. Demonstrating the natural musical abilities of all three leads, the tongue-in-cheek lyrics of Spinal Tap’s songs definitely embody the spirit of the hedonistic rocker lifestyle (case in point, “Tonight I’m Gonna Rock You Tonight,” “Gimme Some Money,” “Heavy Duty” and “Big Bottom”).
To prove just how much This is Spinal Tap has earned its rightful place as one of the most beloved cinematic comedies of all time, one memorable scene which revealed the stark repackaged cover of their then-latest album “Smell the Glove” (after protestations over the original’s sexist imagery) seems to have directly inspired the name of New Jersey-based punk rock band None More Black, according to sources. While it is not a direct homage, who wouldn’t think of this scene when taking a peek at the dark, minimalist jacket of heavy metal band Metallica’s self-titled 1991 album? Taking a page from another sequence where Nigel and Marty examine the former’s extensive guitar collection and an amplifier that goes one above the maximum level, Nigel Tufnel Day is often celebrated on November 11th.
Focusing on a different type of stage show, Waiting for Guffman (1996) depicts residents in the small community of Blaine, Missouri as they prepare a musical to celebrate the town’s 150th birthday. Founded on the lack of geographical knowledge of one Blaine Fabin, the town’s claim to fame includes the manufacturing of footstools and the first landing of an extraterrestrial aircraft.
Determination is a central theme in this film, as each of the protagonists are trying their hardest to better their humdrum lives and enter the glitzy world of show business. Director Corky St. Clair (Guest) not only wants to bring culture to Blaine, but still clings to his dream of an eventual return to his beloved New York. In this desire, he extends an invitation to a producer on Broadway (the aforementioned Mort Guffman) in the hopes that it will impress the man enough for his company to bankroll the production.
The cast of “Red, White, and Blaine” is just as resolute to improve their respective qualities of life, including travel agents and frequent community theatre players Sheila and Ron Albertson (Catherine O’Hara, Fred Willard), dentist Allan Pearl (Eugene Levy), Dairy Queen employee Libby Mae Brown (Parker Posey) and former taxidermist Clifford Wooley (Lewis Arquette).
For theatre lovers familiar with Samuel Beckett’s 1952 play “Waiting For Godot,” the film’s title and underlying motivation is not lost on them. It’s that anticipation of Guffman’s assessment and what his possible glowing recommendation could mean that propels every one of them to give the performance of a lifetime.
In Best in Show (2000), competition is key, with dog owners and handlers heading to Philadelphia to participate in the Mayflower Kennel Club Dog Show. If one has ever watched a dog show on television, one knows that there is a majesty and prestige to these types of events. In this film, as one would expect, there’s a bit of chaos behind the scenes.
While dreams of their pooches taking the top prize dance in each of their minds, as always, the characters have quirks that crack us up. Hamilton (Michael Hitchcock) and Meg Swan (Posey) are a neurotic yuppie couple whose constant bickering and overbearing nature over their Weimaraner is giving her both depression and a complex. Floridians Gerry and Cookie Fleck (Levy, O’Hara) come face to face with men from her very colorful past in their travels. Fishing supply shop owner Harlan Pepper (Guest) is from a family of hound dog owners and at one time he could name practically every nut in existence. Jennifer Coolidge and Jane Lynch join the ensemble cast as Sherri Ann Cabot, a wealthy, somewhat ditzy woman married to a much older man, and Christy Cummings, her dog’s very competitive handler. In between quips about their lifestyle and potshots aimed at Christy’s rather aggressive nature, the love between Scott Donlan (John Michael Higgins) and Stefan Vanderhoof (McKean) overflows, just like their suitcases. Willard also returns as one of the Mayflower Dog Show’s commentators, regaling his co-host and the audience with bizarre, off-color tales.
O’Hara and Levy’s strong chemistry is incontestable throughout Best in Show. That connection would be in the spotlight once again over 15 years later in their roles as Moira and Johnny Rose in the Canadian sitcom Schitt’s Creek, which would earn both of them Primetime Emmy Awards, as well as a Golden Globe and Screen Actors Guild Award for O’Hara.
While Reiner has often been credited for coining the term mockumentary (a portmanteau of mock and documentary), Guest’s influence over each of these movies helped create that trademark style of filmmaking. By embracing the nuances of improvisational comedy in the script and performances, not only does the action and dialogue in each of these films flow naturally, but each scene transitions seamlessly. Guest’s other films include 2003’s A Mighty Wind (which would earn Guest, Levy and McKean a Grammy Award for Best Song Written for Visual Media, as well as an Academy Award nomination for McKean and Annette O’Toole for Best Original Song), 2006’s For Your Consideration, and most recently, 2016’s Mascots, where Guest reprises the role of Corky St. Clair.
Get ready to turn up your volume to eleven and prepare to be entertained by the Best of Guest.
