By Elaine Liner
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
In their place, left to right, are Jerry Palter, Alan Barrows and Mark Shubb--the Folksmen, as they've been collectively known since 1961, when Barrows and Shubb, then known as the Twobadors, left Vermont for Greenwich Village and met Palter at a club called The Folk Place. Throughout the 1960s, they would release on the Folktown label albums such as Singin', Pickin' and Hitchin' and garner a single Top 70 hit, "Eat at Joe's." The Folksmen came of age alongside such acts as the New Main Street Singers, the neuftet that recorded 30 albums in the 1960s, chief among them Songs of Good Cheer; and Mitch and Mickey, a lovesick duo who pined away for each other on albums like If This Rose Could Talk and Songs from a Love Nest till their tragic breakup sent Mitch Cohen into a downward spiral of depression and madness that culminated with his albums Songs from a Dark Place and Cry for Help. Not long ago, all three acts reunited in Manhattan for a concert paying homage to Irving Steinbloom, the promoter who made stars of them during the folk-music heyday, which is captured in the just-released film A Mighty Wind.
Of course, there is no Spinal Tap, no Folksmen, only Michael McKean (St. Hubbins, now Palter) and Christopher Guest (Tufnel, now Barrows) and Harry Shearer (Smalls, now Shubb), three men who find little funny about making comedy or music. (They penned most of the music in A Mighty Wind, as they'd done for 1984's This is Spinal Tap.) There are no Mitch and Mickey, only Eugene Levy and Catherine O'Hara, who have known each other three decades, long before they were on SCTV. There are no New Main Street Singers, only Parker Posey and John Michael Higgins and Jane Lynch and other veterans of two films Guest has made as director, Waiting for Guffman and Best in Show.
Like its predecessors, A Mighty Wind is an entirely improvised "documentary" gently mocking those who take themselves too seriously, who need the mighty wind knocked out of them--in this case, folk musicians who protest nothing, who sing songs about never wanderin' anywhere, who perform historical ballads about people and places that never quite existed.
The Folksmen perform songs about train accidents in coal mines, about diners with bad signs, about lispy field workers haunted by "the silver tentacles of the moon's rays." The New Main Street Singers, wielding more guitars than a Fender outlet store, come on like street-corner cultists; their chirpy "The Good Book Song" insists if David didn't smite Goliath, "our bosses would all be 30 feet tall...and we'd sleep in the cracks between their toes." As for Mitch and Mickey, it all comes down to one pivotal moment: It is said their kiss on live TV, during their performance of "A Kiss at the End of the Rainbow," was "the most momentous event in humankind." For them, all that remains to be seen is if, when reunited, they will smooch again and whether decades of madness and sadness will vanish.
"There is obviously a string that connects all of these movies, in terms of the earnestness of the characters," says Guest, who co-wrote the outline of A Mighty Wind with Levy. "That's a good word for folk musicians, that they're earnest about their work and they take that seriously, and that's true for these guys [in A Mighty Wind]. It's kind of fun finding different versions of that. The New Main Street Singers take themselves really seriously: They work their asses off to rehearse, their harmonies are perfect, they work on their appearance. To us, the Folksmen, that would be insane, but, of course, it goes both ways. The Folksmen look down on them as commercializing folk music. And then there's Mitch and Mickey, who are immersed in this more romantic version of writing songs."
"Moviemakers always draw their humor from stupid people, kooky people," says Shearer, who sports in the film a frightening neck beard. "I think that happens a lot. You have a much broader range when you say, 'Well, the canvas is people who take themselves too seriously.' They can be smart, they can be less smart, they can be all kinds of folks, but when they have this in common, you have a much wider range to choose from as an actor."
"Farces are always about very serious things," says McKean. "They're always about getting caught cheating on your wife or whatever. To the character, if it's not serious, it's not funny."