Which Guest Is Best?

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The long-awaited sequel, Spinal Tap II: The End Continues, has finally arrived after 41 years since the debut of This Is Spinal Tap. This might leave a new generation questioning who these men in wigs are and why they act so foolishly. The answer lies in the realm of Christopher Guest, or as some might put it, the Guestiverse. A movie by Christopher Guest is an unique encounter, although you may be tempted to label his work as mockumentary, he strongly objects to this. He prefers to describe his style as a faux documentary because he takes great pains to avoid mocking people, but rather to appreciate how seriously they take themselves. He explores a world that intrigues him, meticulously crafts an extensive script, and then films 80 hours of actors improvising dialogue within it. It’s quite extraordinary, yet the outcome is incredibly rewarding.

In assessing the success of Christopher Guest’s works in film, I will be focusing on how well they embody his distinctive style. Key characteristics of a Guestian production include:

1. An immersion into a specialized or obscure social milieu.
2. Employing a mock-documentary format for an authentic yet humorous feel.
3. Using improvisational dialogue to bring spontaneity and naturalness to the performances.
4. Showcasing the ability of characters to entertain, often through musical numbers or live performances.
5. Demonstrating compassion towards characters, even those who may be flawed or eccentric.
6. Featuring the comic talents of Fred Willard in prominent roles.

Here is a ranking of Guest’s characteristics, arranged from those least to most compliant with the principles of Guestness.

Or simply:

This list shows Guest’s traits, organized from the ones that deviate most from the rules of Guesthood to the ones that follow them closely.

Almost Heroes (1998)

Wrote, directed

This film, titled “Aferim!” (as you’re not informed that it’s the final role of the late Chris Farley), is generally disappointing and I wouldn’t include it in Christopher Guest’s official body of work, if I had the choice. The story revolves around two aspiring explorers, played by Farley and Matthew Perry, attempting to outdo their more renowned competitors to reach the Pacific Ocean. However, given union rules about film credits, we can confirm that Christopher Guest directed it.

While the movie does present a unique world, the American frontier might be too broad to categorize as a niche setting. Furthermore, this production lacks the improvisational elements typically associated with Guest’s work. The combination of Farley and Perry’s comedic styles is like merging chocolate with spaghetti: It can be done, but the outcome seems bizarre and detracts from both performances. Unfortunately, there is no Fred Willard in this movie, though Eugene Levy does make an appearance as a fur trapper. However, his character could potentially appear in any film set during that time period. This work lacks the charm found in Guest’s usual creations – it’s like reading an uninteresting book.

Attack of the 50 Foot Woman (1993)

TV Movie, directed

The film in question surpasses “Almost Heroes” in quality, but still doesn’t add significantly to the Guestian style. The main reason it might be included in the canon is to address concerns about the filmmaker’s portrayal of women, as “Almost Heroes” features a female character with minimal dialogue despite being a love interest. “Attack of the 50 Foot Woman,” a remake of the 1958 original, offers reassurance that Guest values women – he is married to Jamie Lee Curtis, after all – by offering an even more feminist perspective on the story as the New York Times critic put it.

National Lampoon: Lemmings (1973)

Wrote, acted in

If you’ve ever wondered what it would be like to see Saturday Night Live’s original cast perform an entire concert of comedic songs, this is just that! The concept behind the performance is that the artists are staging a parody of Woodstock where everyone is supposed to commit suicide. It’s intriguing because it gives us a glimpse into how Christopher Guest’s love for ’60s folk music and his boomer generation influenced his later work. Essentially, this is a show-within-a-show that explores people trying to fit in with a destructive system (think lemmings jumping off a cliff). In essence, this could be seen as an early example of Guest’s fascination with live shows and the peculiar behavior of people in unusual circumstances. Although there may have been some improvisation, it’s worth noting that Fred Willard is absent from this performance, making it less characteristic of a typical Christopher Guest film.

The Big Picture (1989)

Wrote, directed

This movie tells the story of a boy who loses his girlfriend due to his neglect of what truly matters in life. He eventually wins her back when he learns to prioritize correctly. As a film, it’s satisfactory. However, as an embodiment of Guest’s unique style, it’s captivating. With a closer look, one might imagine the movie this could have been hidden within the structured framework of a conventional 1980s Hollywood comedy. Some jokes that would thrive in Guest’s signature loose-documentary fashion feel forced when delivered by actors reciting their lines. Yet, it concludes on an optimistic note and offers a glimpse into the lesser-known world of Hollywood during its niche phase in 1989. Despite this, there is no room for improvisation or Fred Willard’s involvement. Michael McKean delivers a commendable performance, though.

Mascots (2016)

Wrote, directed, and acted in

In simpler terms, the Netflix production titled “Mascots” stands out among Christopher Guest’s films as the least authentic Guestian due to its highly scripted feel. Despite the impressive improvisation skills displayed by actors like Parker Posey and Zach Woods, the polished nature of the film seems inconsistent with those ranked higher. A typical feature of Guest movies is a sympathetic portrayal of characters, but in this film, the toxic marriage between Wood’s character and his wife (played by Sarah Baker) contradicts this norm. The film does delve into the unique world of mascots and features a brief role for Fred Willard, as well as Guest reprising his famous Corky St. Clair role. However, much like a mascot costume, this movie appears to be a Guest film on the outside, but upon closer inspection, it’s not quite what it seems.

For Your Consideration (2006)

Wrote, directed, and acted in

In simpler terms, “For Your Consideration” stands out as the least conventional among the Guest films, and while it surpasses “The Big Picture” in nearly every aspect, it’s evident the director harbors strong emotions towards Hollywood’s inner workings. The narrative unfolds within the peculiar realm of an unintended awards campaign surrounding a minor film titled “Home for Purim.” Set in the unique landscape of Hollywood award campaigns, this movie-within-a-movie is loose and eccentric, boasting Fred Willard sporting a mohawk. However, unlike its other characters, the film appears to hold no affection for its protagonists. Catherine O’Hara portrays Marilyn Hack, one of the saddest characters in the Guest universe. Devoid of an Oscar nomination, she whimpers and begs her television for a different outcome. The movie concludes with a shot of her disfigured face as she assertively tells her acting class that she’s content in her skin, revealing a profoundly dark tone.

A Mighty Wind (2003)

Co-wrote, directed, co-wrote music

In “A Mighty Wind,” we journey towards the preparations for a concert organized by Jonathan Steinbloom, a character portrayed by Bob Balaban, in tribute to his deceased father, Irving, a prominent figure in folk music production. If you’re watching a Christopher Guest film and see Bob Balaban playing someone in charge, you’re definitely on the right track. The movie’s plot is appropriately flexible, allowing for instances like one scene abruptly ending due to an impromptu argument escalating between Michael Hitchcock and Balaban, resulting in Hitchcock striking Balaban on the head. The film also delves into the 1960s folk music scene, a subject that Guest is particularly interested in. This aspect could be both an advantage and a disadvantage according to my assessment – while it’s technically specific, Guest was already familiar with this world, which can be seen as somewhat unfair.

This Is Spinal Tap (1984)

Wrote, acted in

This film is entertaining, yet it holds significant value within the Guest collection due to being his initial venture into a style that would define him for years. Despite being directed by Rob Reiner, it’s this groundbreaking work that stands out. It’s a comedic documentary portraying a band’s tour across America as their fanbase shrinks, drawing heavily from the 1970 film Gimme Shelter for inspiration in its exploration of rock ‘n’ roll. Live performances are abundant, dialogue is mostly improvised, characters are relatable, and they regain their fame in Japan by the end. However, Fred Willard does not make an appearance at all.

Waiting for Guffman (1996)

Wrote, directed, and acted in

In “Guffman,” audiences were introduced for the first time to a genuine, unaltered Christopher Guest film. He plays Corky St. Clair, an actor who decides to escape the harsh reality of struggling in New York City and settle in the tranquil town of Blaine, Missouri. St. Clair is tasked with creating a musical about the town’s founding to celebrate its 150th anniversary, but things escalate when a producer (the character named Guffman) claims he’ll visit Blaine to watch the performance. The cast, many of whom would become recurring collaborators for Guest, includes Eugene Levy, Catherine O’Hara, Parker Posey, Bob Balaban (responsible for the show’s music), and notably, Fred Willard. Apart from his role in this movie, Willard and O’Hara portray a married couple who are travel agents but have never left Blaine and frequently star in St. Clair’s local productions. It is quintessentially Guest.

Best in Show (2000)

Wrote, directed, and acted in

If you enjoy creating films that portray individuals deeply engrossed in activities deemed peculiar by others, the show business sector provides a convenient and familiar setting for such stories, given its abundance of characters living in their own illusions. This is particularly true for the movie, music, and theater industries, all of which Guest was already well-acquainted with. Notably, Best in Show stands out as his most notable work.

Inspired by a pretentious encounter with his rescue dog at a dog park, Guest immerses himself fully into an unfamiliar world, meticulously recreating it with the help of his entire cast. The ensemble is well-represented and playing to their strengths: Bob Balaban serves as the event organizer, Eugene Levy (who co-wrote the film with Guest) displays his clumsy side, Catherine O’Hara plays a bubbly character with a past, Jennifer Coolidge portrays a trophy wife concealing a secret, Parker Posey brings a neurotic yuppie with braces to life, and I could continue.

As an added bonus, Guest himself takes on the role of a southern man named Harlan who shares his real-life interest in fly-fishing. The movie is light-hearted and amusing, focusing on the biggest dog show imaginable, and Fred Willard plays a pivotal role throughout, even serving as the third act of the film. This is truly the Christopher Guest experience – authentic, well-rounded, and a genuine masterpiece.

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2025-09-12 22:57