Cinema’s greatest terrible band get a final bow that’s self-indulgent but undeniably fun.
Spinal Tap II: The End Continues smartly quickly dispenses with its initial plot contrivances in order to get down to the business of the day: delivering a rockin’ good time. Having not spoken for some 15 years, singer David St. Hubbins (Michael McKean), guitarist Nigel Tufnel (Christopher Guest), and bass player Derek Smalls (Harry Shearer) are roped back together for a contractually obligated final tour. The reason? a clip of Garth Brooks and Trisha Yearwood singing “Big Bottom” went viral. The real reason? Letting McKean, Guest, and Shearer do their thing.
Director Rob Reiner, who also reprises his role as in-universe filmmaker Marti DiBergi, smartly gets Spinal Tap II out of its own way, letting the improv legends carry the film. There’s a rough plot of sorts – St. Hubbins and Tufnel are on the outs over a perceived infidelity, the universe continues to heap indignities upon the clueless musos and, of course, a new drummer must be found – but the joy is in seeing these actors inhabit these characters again.
And what an absolute joy it is. It’s now accepted lore that the original This Is Spinal Tap was frequently mistaken for a real documentary, most often by the very rock dogs it lampooned. Tap as a concept is such a part of the cultural firmament now that the trick can’t be repeated, but the sequel commits to the bit and, much as in the original, even the most outlandish gags are delivered with hilarious sincerity. Of course Tufnel winds up running a cheese and guitar emporium, mostly dealing in barter. It makes perfect sense in the world of the film, just as it makes perfect sense that St Hubbins would bring pomp and grandiosity to the world of call centre on hold music (“That won a Holdie,” he says proudly).
That cultural prominence also means that established stars will now show up to tap into Tap, including Paul McCartney, Elton John, Lars Ulrich, Questlove, and Chad Smith. Incredibly, this string of cameos works – everyone’s in on the joke and winningly willing to match the comedic rhythms. Plus, you get the simple joy of seeing Macca sing “Cups and Cakes” – Spinal Tap’s secret sauce has always been that the songs, though daft, are actually good.
But all that would be for nothing if it wasn’t funny and, man, I laughed like a drain. Analysing comedy is always a bit fraught because, at the end of the day, you either laugh or you don’t, and I damn near died. I’m an easy mark, though. These guys don’t actually have to do anything to get at least a chuckle out of me – simply existing as these characters is enough.
There’s nothing essential about Spinal Tap II – it doesn’t rewrite the rulebook or recontextualise its storied forebear or anything like that. It’s a modest, deft little film, much like the first. It’s fun and funny and stupid and affectionate, and that’s enough.
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