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News of Catherine O’Hara’s passing on 31 January has elicited an outpouring of love and warm reminiscences about the incomparable Canadian comic. Known for her maternal - and less so - performances in both the Home Alone and Beetlejuice franchises, O’Hara could steal a scene without trying, whether in Scorsese’s After Hours, or as part of the ensemble in Christopher Guest films such as A Mighty Wind and Best in Show.Of course, it was her acerbic, Norma Desmond-style faded (soap) star Moira Rose in Schitt’s Creek that won her a multitude of TV awards, lifting audience spirits throughout the pandemic time and time again, and recently followed by her turn as Seth Rogen’s formidable mentor in The Studio. So, on 1 March our Remembrance Sunday celluloid commemoration just had to celebrate Catherine O’Hara.
Best in Show's documentary film crew captures the excitement and tension displayed by the eccentric participants in this outrageously hilarious satire, reuniting Christopher Guest's perfect ensemble cast. This biting send-up exposes the wondrously diverse dog owners who travel from all over America to showcase their four-legged contenders.
Mild-mannered salesman Gerry Fleck (Eugene Levy) and his vivacious wife, Cookie (Catherine O'Hara), happily prepare their Norwich Terrier, while shop owner Harlan Pepper (Christopher Guest) hopes his Bloodhound wins top prize.
As two upwardly mobile attorneys (Parker Posey and Michael Hitchcock) anxiously ready their neurotic Weimaraner and an ecstatically happy gay couple (Michael McKean and John Michael Higgins) dote on their tiny Shih Tzu, inept commentator Buck Laughlin (Fred Willard) vainly attempts to provide colourful titbits about each breed.
"Just plain funny and sometimes ascends to a kind of crazed genius", Roger Ebert
Remembrance Sunday celebrates the life and craft of a recently passed cinematic luminary. On the first Sunday of each month, we pay tribute to those who have made an impact in front of or behind the camera, and whose work has inspired audiences and helped to shape modern cinema.
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