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Lot of 2, Eugene Levy, Fred Willard color stills A MIGHTY WIND (2003) MINT, GET

$ 3.92

Availability: 100 in stock
  • Object Type: Photograph
  • Size: 8x10
  • Refund will be given as: Money Back
  • Item must be returned within: 30 Days
  • All returns accepted: Returns Accepted
  • Restocking Fee: No
  • Industry: Movies
  • Original/Reproduction: Reproduction
  • Condition: These quality 8 by 10 inch still photographs are in MINT physical condition. The back of the still has that slick plastic feel of the newer digital print paper and have the words FUJI printed on the backside. It is probably not a vintage original from the year of the film/event but is of a later date.
  • Return shipping will be paid by: Buyer
  • Country/Region of Manufacture: United States

    Description

    (They ALL look MUCH better than these pictures above. The circle with the words, “scanned for eBay, Larry41” does not appear on the actual photograph. I just placed them on this listing to protect this high quality image from being bootlegged.)
    Lot of 2, Eugene Levy, Fred Willard color stills A MIGHTY WIND (2003) MINT, GET SIGNED – GET SIGNED!
    This lot of approximately 8” x 10” photos will sell as a group. The first picture is just one of the group, please open and look at each still in this lot to measure the high value of all of them together. The circle with the words, “scanned for eBay, Larry41” does not appear on the actual photographs. I just placed them on this listing to protect these high quality images from being bootlegged. They would look great framed on display in your home theater or to add to your portfolio or scrapbook! Some dealers by my lots to break up and sell separately at classic film conventions at much higher prices than my low minimum. A worthy investment for gift giving too!
    PLEASE BE PATIENT WHILE ALL PICTURES LOAD
    After checking out this item please look at my other unique silent motion picture memorabilia and Hollywood film collectibles! WIN MORE THAN ONE OF MY AUCTIONS AND HAVE THEM SHIPPED TOGETHER TO SAVE $
    See a gallery of pictures of my other auctions
    HERE!
    These photographs are nice copies or reproductions.
    DESCRIPTION:
    The writing and directing team who created Waiting For Guffman and Best In Show turn their satiric eye toward the world of folk music in this sly mockumentary. Irving Steinbloom was one of the great behind-the-scenes figures of the folk music boom of the late '50s and early '60s, and helped to nurture the careers of three of the best known acts of the era. The Folksmen -- Mark Shubb (Harry Shearer), Alan Barrows (Christopher Guest), and Jerry Palter (Michael McKean) -- were an earnest folk trio who sang of America's noble past and the challenges of the future; they split up in the early '70s after a failed attempt to go electric. Mitch & Mickey were a duo in both music and life, comprised of Mitch Cohen (Eugene Levy) and Mickey Devlin (Catherine O'Hara). They sang soulful songs of love until the collapse of their relationship sent Mitch into a deep and incapacitating depression. And The Main Street Singers were a nine-piece vocal group -- a "neuftet," as they prefer it -- who offered energetic good-time music, cranking out nearly 30 albums in the course of a decade; their current incarnation, The New Main Street Singers (played by Jane Lynch, Parker Posey, John Michael Higgins, David Alan Blasucci, Steve Pandis, Christopher Moynihan, Paul Dooley and Patrick Sauber) is still on the road. When it is announced that the legendary Irving Steinbloom has died (the character never appears in the film), his son Jonathan (Bob Balaban) decides that the best way to memorialize his father is through music, and with the help of Mike LaFontaine (Fred Willard) of Hi-Class Management, they set out to bring The Folksmen, Mitch & Mickey, and The New Main Street Singers back together for a special concert at New York's Town Hall. Christopher Guest, Michael McKean, and Harry Shearer -- who previously teamed up for This Is Spinal Tap -- not only perform together as The Folksmen in A Mighty Wind, but composed most of the songs performed onscreen.
    CONDITION:
    These quality 8 by 10 inch still photographs are in MINT physical condition. The back of the still has that slick plastic feel of the newer digital print paper and have the words FUJI printed on the backside. It is probably not a vintage original from the year of the film/event but is of a later date.  I have recently acquired two huge collections from life long movie buffs who collected for decades… I need to offer these choice items for sale on a first come, first service basis to the highest bidder.
    SHIPPING:
    Domestic shipping would be FIRST CLASS and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. International shipping depends on the location, and the package would weigh close to a half a pound with even more extra ridge packing.
    PAYMENTS:
    Please pay PayPal! All of my items are unconditionally guaranteed. E-mail me with any questions you may have. This is Larry41, wishing you great movie memories and good luck…
    BACKGROUND:
    “Christopher Guest's movies, like his performances, are generally subtle and always low-key. They are not for people who need laugh tracks to follow the humor and most of his work is so contextually-based that some knowledge of the subject he's dissecting is a definite asset. Guest, who was a performer in the very early SATURDAY NIGHT LIVE, is, in many respects, the Anti-Belushi of modern American comedy.   Nevertheless, he shares with Belushi - and many of their contemporaries, who came from one or another branch of the Second City organization - a certain fondness for off-the-wall elements in his work; Guest's tend to be slipped in, quietly, while Belushi's popped out of exploding cakes.   A MIGHTY WIND is a spot-on satire of the American Folk Music movement of the early and mid-1960s. The narrative conceit is a memorial concert for a recently deceased impressario, organized by his son, which reunites three folk groups from the 60s.   The real elements of the film are the send-ups of a variety of tropes of the era, musical styles, personalities, and quite an array of music-business cliches. Remarkably, however, the songs are genuinely entertaining in themselves; both the writing and the performances. They're satirical, but so subtlely performed that it's easy to loose the thread of the lyrics and wind up mindlessly nodding heads and grooving along, which pretty neatly captures the popular music experience for the last several generations. Satire within satire.   The musical performances are excellent, recreating, almost frighteningly, the taste and texture of folk music of the era. And, bringing several real 60s folk acts to mind.   The acting is typical of Guest movies, such as SPINAL TAP and BEST IN SHOW; very quiet, restrained, low-key, with, apparently, a lot of dialogue improvised. The performers are mostly drawn from the same group Guest has used in the past: Eugene Levy (who co-wrote the script with Guest) and Catherine O'Hara, Harry Shearer, Michael McKean, Ed Begley, Jr., and Guest, himself.   Comparisons with Guest's most popular picture, THIS IS SPINAL TAP are both interesting and tricky. Interesting because both movies were written and directed by the same man, and shared most of the same casts. Tricky, because while some seem to compare AMW unfavorably with TIST, a looking at these films, together, they have a lot in common. So much so, in fact, that it's reasonable to consider them a pair; very similar takes on two, distinct musical genres of a similar era. The writing, acting, tone, pacing of these two movies is very similar. The jokes are similar. The points of view are similar. The focus on both performers, and the behind-the-scenes people is similar. The real difference is the music.   This, in turn, tends to suggest that those who react very differently to these two films may be reacting more to the music, directly, and to the ambiance of the world around the particular musical genre more than anything else.   Guest's movies don't have many laugh-out-loud moments. Most of the humor is more the "big-smile", sometimes, the chuckle, kind. But, Ed Begley, Jr. has perhaps his best comic scene, ever, when he does a take as a Swedish-American public television producer dropping Yiddish into his conversation; one word per sentence. It's a totally dead-pan and very quiet performance which, like so much of Christopher Guest's humor, you will either get or not get. If you do, you may fall off your chair.   Eugene Levy, who co-wrote the script, with Guest, is also very good, having finally invented a second character after having spent something more than 30 years (since his Second City TV days) doing variations of one.   Who might enjoy A MIGHTY WIND? Anyone who remembers the era and the music, and anyone who enjoys show business insider takes. It's a more difficult call for those born later. And, if you have trouble keeping Janis Joplin and Joanie Mitchell distinct in your mind, you probably won't follow most of what's going on.”