[[caption-width-right:300:Back together for the first time, again.]]

->''"Oh, a mighty wind's a-blowin', it's kickin' up the sand...\\
It's blowin' out a message to every woman, child and man..."''

''A Mighty Wind'' is a 2003 {{mockumentary}} film about a reunion of FolkMusic singers, directed by Creator/ChristopherGuest. The movie's comedy is comparable to that of Guest's other films, ''[[Film/ThisIsSpinalTap This is Spın̈al Tap]]'', ''Film/BestInShow'', and ''Film/WaitingForGuffman'', as well as having mostly the same cast as those films, including Guest, Creator/EugeneLevy, Creator/CatherineOHara, Creator/MichaelMcKean, Creator/HarryShearer, Creator/JohnMichaelHiggins, Creator/JaneLynch, Creator/ParkerPosey, and Creator/FredWillard.

The plot is started by the death of Irving Steinbloom, a folk music producer, whose children plan a reunion concert with several of the bands he worked with to honor his memory. However, there are several things that make this difficult, such as the fact that once-married duo Mitch & Mickey (Levy, O'Hara) haven't spoken for decades since their messy breakup, and Mitch's resulting CreatorBreakdown. Not to mention emerging tensions between the members of The Folksmen trio (Guest, [=McKean=], Shearer), and the fact that the New Main Street Singers are an ersatz revival of the original group managed by former sitcom star Mike [=LaFontaine=] (Willard).

Presented as an AffectionateParody of TheSixties folk revival, the movie received largely positive reviews, with particular praise going towards the performances and the music within.
!!Contains examples of:

* AbusiveParents: Terry Bohner was subjected to a strange sort of abuse by his father--being locked in a room, made to listen to a single record on repeat, and then sent to bed with nothing but dessert.
* AffectionateParody: Of the folk music revival of TheSixties and its personalities.
* AmbiguousDisorder: Mitch is an odd fellow. Whether he's a little ditzy, just quirky, suffering the aftereffects of the trauma of his and Mickey's breakup (see also CreatorBreakdown), or somehow disordered is left pretty ambiguous, though his social difficulties, general incomprehension of the world around him, awkward speech patterns, tendency to wander away from people, and hyper-fixation on people and things point to some kind of disorder. This is lampshaded when the head of the institution he was checked into regrets that he left before they could really figure out what was wrong with him.
* AuthorAppeal: Christopher Guest and company love folk music. Some have noted that that's the reason it's not as incisive or satirical as ''[[Film/ThisIsSpinalTap This is Spın̈al Tap]]''.
* BeardOfSorrow: Mitch sported one on the cover of his solo album ''Calling It Quits''.
* BlandNameProduct: The Public Broadcasting Network ([=PBN=]) is a stand-in for the [[Creator/{{PBS}} Public Broadcasting Service]].
* CreatorBreakdown: In-Universe, Mitch's solo albums (one of which provides the image source). The names and themes get progressively more depressive.
* CrossdressingVoices: Christopher Guest does the voices of ''both'' the man and woman who are making love in the hotel room next to Mitch.
* {{Cult}}: The WINC (Witches in Nature's Colors) a coven that worships the power of color founded by Terry and Laurie.
* TheDitz: Amber Cole.
-->"Thank God for model trains, you know? If they didn't have the model train they wouldn't have gotten the idea for the big trains."
* DopeSlap: Jonathan Steinbloom is on the receiving end of one of these after the stage manager gets increasingly irritated with his inane questions. [[ThrowItIn The slap was entirely unscripted]], and it broke up the entire crew. This is why the shot cuts away so quickly afterward, due to cast laughter on the soundtrack.
* FakeBand: Several of them, in fact, but the performances are real. Much of the music was arranged by John Michael Higgins, who played Terry Bohner; and several cast members spent months learning to play their instruments, having never studied music before signing on for the movie. And, in something of a {{Defictionalization}}, most of the cast performed in character for a brief concert tour after the film's release. Eugene Levy and Catherine O'Hara also sang the movie's Oscar-nominated song ''in character'' as Mitch & Mickey [[http://www.youtube.com/watch?v=FNbvsh1S9DA at the 76th Annual Academy Awards]]. The Folksmen actually predate the movie, and have opened for [[Film/ThisIsSpinalTap Spın̈al Tap]] from time to time. Some Spın̈al Tap fans didn't even realize that they were the same people.
* GenderBender: [[spoiler:The epilogue reveals that Mark Shubb is now living and performing as a woman, though still singing with her deep bass voice.]]
* GeniusDitz: Mitch may be a bit empty-headed, but ''damn'', [[CrowningMusicOfAwesome the man can play]].
* GettingCrapPastTheRadar: The title is basically a euphemism for flatulence.
-->''"It's blowin' peace and freedom / It's blowin' you and me!"''
* IdiosyncraticEpisodeNaming: The Folksmen use a one-word title for their first five abums, with a missing final "g", eg. ''Pickin'''. Their 6th album is titled ''Saying Something''. They attribute the subsequent loss of their fanbase to that change in a scene cut from the theatrical release, but available in the DVD extras. That album was also the first where they used electric instruments, instead of strictly acoustic; parodying the fan and critic controversy over Bob Dylan's move to electric instruments on 1965's ''Bringing It All Back Home'' and the 1966 world tour.
* {{Improv}}: As with Guest, [=McKean=], and Shearer's other mockumentaries, the movie is composed of unscripted performances by actors who have gotten in-character.
* InsaneTrollLogic: Terry's rationalization of his and Laurie's cult religion.
--> "This is not an occult science. This is not one of those crazy systems of divination and astrology. That stuff's hooey, and you've got to have a screw loose to go in for that sort of thing. Our beliefs are fairly commonplace and simple to understand. Humankind is simply materialized color operating on the 49th vibration. You would make that conclusion walking down the street or going to the store."
* MasterOfTheMixedMessage: Mitch. While in the hospital after being beaten severely while defending Mickey (whom he didn't know at the time), he wrote for her a romantic poem that she saved for decades, and read at the reunion concert. After she finishes reading, Mitch states, "I only wanted a drink of water." The song for which they were famous ("A Kiss At The End of the Rainbow") ended with a kiss, that was described by one critic as "the most important kiss in history." During the show, they do perform the kiss, and the entire cast of other musicians have come to the wings to see if they were going to do it. However, after the show, Mitch worries that Mickey might have been "caught up in the theatrics of the moment." Their album covers portrayed them as being in love, and the wonderful song "When I'm Next To You." (which didn't make the cut, but was played during the credits) described how the singer felt standing, holding hands with, kissing, and "lying with" his lover.
* {{Mockumentary}}
* MoodWhiplash: Hearty, wholesome Laurie's account of her earlier life has a WaitWhat moment fairly early on.
-->'''Laurie''': I was brought up in a very small town, south of the Chicago city limits. Just far enough away to have been peopled with pure, unadulterated white trash. And because I was one of so many children, I don't believe that anyone noticed when I blew town at 15 and ended up in San Francisco, California. [''smiles''] And it's at this point in my story that the dark clouds part, because I met a certain Mr. Wiseman, who gave me a job in his shop. And before long, he tapped me to do some small roles in some of his short films for more mature audiences. [''cheeky wink''] And before long, I had landed, if you will, some leads...and then I started to do some, uh, cameos. [''Terry looks deeply uncomfortable''] Well, I was known for doing a [[NoodleIncident certain thing]], that many of the other girls wouldn't do.
* MusicalisInterruptus: 'The Skeletons of Quinto'. After a 20 minute (off-screen) introduction explaining the song, the Folksman are rushed off-stage before they can sing it by the arrival of Mitch and Mickey.
* NoCelebritiesWereHarmed: All the fictional acts are [[AffectionateParody Affectionate Parodies]] of real ones:
** Mitch and Mickey - Ian and Sylvia, and to a lesser extent Bob Dylan and Joan Baez.
** The Folksmen - The Kingston Trio and Chad Mitchell Trio. (And possibly Peter Paul and Mary, per the closing gag!)
** The New Main Street Singers - The New Christy Minstrels, Serendipity Singers, and Rooftop Singers.
** Irving Steinbloom is based on real-life folk impresarios Harold Leventhal and Albert Grossman.
** Ramblin' Jack Elliott is briefly represented with a character called Ramblin' Sandy Pitnik (mocking the fact that despite his cowboy person, Elliott was a middle class Jew).
* RailEnthusiast: Mickey's husband, Leonard.
* RightThroughTheWall: Happens to Mitch. Over and over again.
* RunawayTrain: "Blood on the Coal" by The Folksmen is a song about a runaway train ''in'' a coal mine. (The song actually predates the movie, and the joke is that all folk bands had a song about either a mine disaster or a train wreck, so The Folksmen had decided to combine the two by having a song about a train wreck ''inside'' a coal mine.)
* RunningGag: Mike [=LaFontaine=] had once starred on a television sitcom called ''Wha' Happened?'', in which he tried to make "Wha' happened?" a CatchPhrase that would sweep the nation (the show was cancelled due to "complete lack of interest"). He continues to use the phrase throughout the movie.
* TheStoner: Mitch comes off as either this or a suffer of a decades-long HeroicBSOD.
* TakeThat:
-->"They're PBN viewers. I don't think they have remotes."
* VocalDissonance: Mark at the end of the film has gone through gender reassignment surgery - but her voice is still as baritone bass as it was when she was still Harry.
* WanderlustSong: "Never Did No Wanderin'" - parodied in that, as the title suggests, it's about all the traveling the narrator ''hasn't'' gotten to do.
* WhatTheHellIsThatAccent: Amber Cole's bizarre dialect, which sounds slightly like a cross between a Spanish and German accent. Lampshaded by Christopher Guest in the commentary: "You can narrow [her accent] down to a continent..."
* WhereAreTheyNowEpilogue: As is customary with Christopher Guest movies. (Real documentaries almost always have them.)
* YiddishAsASecondLanguage: Lars Olfen is the ''king'' of this trope, despite being so incredibly Swedish it hurts.
--> "The naches that I'm feeling right now... 'cause your dad was like mishpoche to me. When I heard I got these ticket to the Folksmen, I let out a geshreeyeh, and I'm running with my friend... running around like a vilde chaye, right into the theater, in the front row! So we've got the schpilkes, 'cause we're sittin' right there... and it's a mitzvah, what your dad did, and I want to try to give that back to you. Okeinhoreh, I say, and God bless him!"