The Adventures of Baron Munchausen

Year:  1988

Director:  Terry Gilliam

Screenplay:  Terry Gilliam and Charles McKeown

Starring:  John Neville, Eric Idle, Sarah Polley, Oliver Reed, Uma Thurman, Jonathan Pryce, Robin Williams, Valentina Cortese

Running Time:  126 minutes

Genre:  Fantasy, adventure, comedy

 

The 18th Century, "The Age of Reason":  A European city is under siege.  As battle rages, the flamboyant, eccentric Baron Munchausen (Neville) offers to rescue the city, but first has to reunite his disparate group of superpowered assistants.  The Baron sets off, along with young stowaway Sally (Polley), on a surreal adventure.

Inspired by a real-life figure from the 18th century, who became something of a celebrity for spinning outlandish tall tales about his various exploits, Baron Munchausen has appeared in books, plays, radio and television shows as well as several other films.  It's easy to imagine that director Terry Gilliam probably saw more than a little of himself in the figure of the outlandish Baron, who refuses to accept reality for what it is.  Best known for his part of the Monty Python comedy troupe, Gilliam had already made a name for himself with bizarre, outlandish fantasy films, and for his refusal to compromise his vision.  Gilliam's epic struggle with Universal over the final cut of Brazil (1985) had already become the stuff of Hollywood legend.  With it's intricate puzzle box structure, tales within tales within tales, and audacious visuals and freewheeling plot, as well as the constant feeling of barely suppressed anarchy, this is a kind of Hollywood filmmaking that we are unlikely to see again, a big budget epic in service to one person's vision and imagination.  Terry Gilliam was a director who really put everything at the service of his film, regardless of the cost and it is unlikely that in modern Hollywood he would be given this much freedom again.  This may not entirely be a bad thing.  Sarah Polley, who was nine years old at the time of filming, has written that she was terrified and exhausted the whole time she worked on the film.  Although she did give her blessing for people to still watch and enjoy the film, and commented that it was still "a great film".  Even Gilliam's fellow Python Eric Idle commented that, in regard to Terry Gilliam films, "you don't want to be in them".  The film itself is a fantastic epic.  It doesn't always work, there are slow passages, and it doesn't always hang together, but there are also indelible images and delightfully bizarre moments, as well as plenty of offbeat cameos, including Robin Williams as the King of the Moon, with a detachable flying head; Oliver Reed at his most satanic as the Roman god Vulcan, depicted here as an arms manufacturer dwelling in a volcano and building a prototype of nuclear bomb; and Uma Thurman making her film debut as Venus. Right from the start where the Baron bursts in upon a theatrical depiction of his story where the cardboard sets become a lavish Sultan's palace, the film is unexpected, and sometimes disturbingly eccentric.   Gilliam saw the film as the third part of a loose "Trilogy of Imagination" beginning with Time Bandits (1981) and continuing with Brazil (1985).  

John Neville and Sarah Polley in The Adventures of Baron Munchausen

      

Time Bandits

 Year of Release:  1981

Director:  Terry Gilliam

Screenplay:  Terry Gilliam and Michael Palin

Starring:  John Cleese, Sean Connery, Shelley Duvall, Katherine Helmond, Ian Holm, Michael Palin, Ralph Richardson, Peter Vaughan, David Warner, Craig Warnock, David Rappaport, Kenny Baker, Jack Purvis, Mike Edmonds, Tiny Ross 

Running Time:  113 minutes

Genre:  Fantasy, comedy

Young Kevin (Warnock) lives in an average house in middle-class suburban England, with his normal parents.  One night Kevin is woken up by a knight in full armour on horseback bursting out of his wardrobe and running through his bedroom wall.  This heralds the start of a bizarre adventure when he encounters a gang of quarrelling dwarves who have stolen a map revealing the locations of holes in space and time, which they plan to use to commit a series of robberies throughout history.  They encounter Napoleon (Holm) who is obsessed with his own height, a frightfully posh Robin Hood (Cleese), the Ancient Greek warrior Agamemnon (Connery), take a trip aboard the RMS Titanic, and become unwittingly embroiled in the age-old battle between Good (Richardson) and Evil (Warner).

This is a delightfully dark comic fantasy which shows director Terry Gilliam at his very best.  Co-written with fellow Monty Python alumni Michael Palin, who also appears along with fellow Python John Cleese, this has a real Pythonesque feel to it, and feels like a low-budget British take on the American blockbuster.  There is a distinctly British feel to the film, despite Terry Gilliam being American, with the minutiae of everyday mundanity existing cheek-by-jowl with fantastic wonders, and characters being adrift in a chaotic and hostile universe.  Working on a limited budget the filmmakers work wonders with some impressive special effects and memorable images (for example a large old sailing ship turns out to be a giant's hat).  Almost every frame is packed with detail, and there is a real chaotic feel to the film and you do feel like anything could happen.  As Kevin, the film's anchor role, young Craig Warnock doesn't really have much to do except look wide-eyed, but the dwarves have well-defined personalities and their constant bickering with each other is very funny ("I can't stand people who are right!"  "That must be how you get on with yourself so well").  Otherwise you have famous faces appearing in small funny roles, with the late, great Sean Connery giving real gravitas to the part of Agamemnon, even if his Scottish accent doesn't sound quite right for an Ancient Greek hero, and Ian Holm as the mercurial Napoleon, give to drunken rants about the heights of famous historical people.  David Warner relishing every second as Evil, and Ralph Richardson as a querulous Supreme Being ("Dead, eh?  That's no excuse for slacking off work").  There is also a very early appearance by Jim Broadbent as a game show host.  The film has some still quite pointed satire, and a surprisingly bleak conclusion.  It was co-produced by former Beatle George Harrison who provides the closing theme song "Dream Away", some of the lyrics of which were apparently inspired by his notes to Gilliam during the film's production.  

David Rappaport, Kenny Baker, Malcolm Dixon, Jack Purvis, Mike Edmonds and Tiny Ross are Time Bandits 

The Man Who Killed Don Quixote

 Year of Release:  2018

Director:  Terry Gilliam

Screenplay:  Terry Gilliam and Tony Girsoni, based on the novel Don Quixote by Miguel de Cervantes

Starring:  Adam Driver, Jonathan Pryce, Stellan Skarsgård, Olga Kurylenko

Running Time:  132 minutes

Genre:  Action-adventure, comedy

Toby (Driver) is a disillusioned director who is in Spain shooting a commercial based on the story of Don Quixote, he also happens to be near the location of his student film, The Man Who Killed Don Quixote, which he made with non-professional actors ten years previously.  Toby runs into his star, a cobbler, Javier (Pryce), who now believes that he really is Don Quixote, and that Toby is his loyal squire, Sancho Panza.  Javier drags Toby off in search of adventure.

This film has become almost notorious, due to how long it has been in the works.  Gilliam had been attempting to make a film based on Miguel de Cervantes' 17th century novel Don Quixote, since about 1990, and there have been several aborted attempts to film The Man Who Killed Don Quixote, one of which has been immortalised in the 2002 documentary film Lost in La Mancha, so Gilliam deserves some credit just for getting the thing made.  Is the finished film worth waiting nearly 30 years for?  No.  Is it a good film and worth seeing?  Yes.  This features both the good and the bad of Terry Gilliam's work.  It is sprawling, overlong, uneven and indulgent.  It is also ambitious and imaginative.  When it is good, and it is good very often, then it is truly wonderful.  At it's worse, it's just a mess but, despite it's generous running time, it's never dull.  It's also surprisingly dark.  Adam Driver is good as a pretty unlikeable character, and Jonathan Pryce is great as the frail but noble Don Quixote who becomes almost admirable in his romantic delusion.  Stellan Skarsgård is good as ever as Toby's formidable Boss, and Olga Kurylenko is very good, if underused, as the Boss' seductive wife, Jacqui.  The film covers some very familiar Gilliam territory:  The individual versus society, dreams versus reality, and the nature of sanity or insanity.  The film looks fantastic throughout with some striking locations and set pieces.  When looking at Terry Gilliam's career, it is easy to see why Quixote holds such an attraction for him, and he is to be admired for succeeding in his quest to get this film made.

It is not a perfect film, and it may not be the masterpiece that Gilliam fans may have hoped for, but it is a flawed, enjoyable, eccentric work touched by moments of genius, and I will take that over the bland, committee led franchise fare that seems to make up a lot of modern movies any day of the week.  

Adam Driver and Jonathan Pryce ride out in The Man Who Killed Don Quixote

        

Monty Python and the Holy Grail

Year of Release:  1975
Directors:  Terry Gilliam and Terry Jones
Screenplay:  Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
Starring:  Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
Running Time:  92 minutes
Genre:  Comedy

England, 963 AD:  King Arthur (Chapman) searches for the bravest and most noble knights to join him at his court at Camelot.  After eventually deciding not to go to Camelot after all because "it is a silly place", Arthur and his knights are visited by God who gives them the quest to find the Holy Grail.  On their way they will face rude French soldiers, the Knights who say "Ni", the almost certain temptations of Castle Anthrax and the world's most lethal fluffy bunny rabbit, to say nothing of the deadly Beast of Aaaargh!

This was the second film from British comedy troupe Monty Python, who rose to fame with the television series Monty Python's Flying Circus (1969-1974).  Their first film, And Now for Something Completely Different (1971), was really a compendium of sketches from the TV series that were reshot on a slightly higher budget.  Holy Grail departs form the sketch format of the TV series by having an actual plot, albeit a very loose one.  The episodic nature of a quest narrative makes it perfect for a string of loosely connected sketches, it gives the Python team an opportunity to riff on and play around with anything they like as long as it is vaguely connected to the Middle-Ages.  This is a film where the gags start right at the opening credits, and keep coming thick and fast throughout.  Full of endlessly quotable lines that have kept schoolkids and office bores going for over forty years, this is one of the best comedies ever made.  It does have slow patches, and some jokes work better than others, but mostly it's an absolute treat.  The film is also visually strong, despite a minuscule budget, with an appropriately filthy Medieval look, and some impressive fight scenes, as well as terry Gilliam's distinctive surreal animations.

Eric Idle, Terry Jones, Graham Chapman, John Cleese and Michael Palin in Monty Python and the Holy Grail

Monty Python's Life of Brian

Year of Release:  1979
Director:  Terry Jones
Screenplay:  Graham Chapman, John Cleese, Michael Palin, Terry Jones, Eric Idle, Terry Gilliam
Starring:  Graham Chapman, John Cleese, Micheal Palin, Terry Jones, Eric Idle, Terry Gilliam
Running Time:  94 minutes
Genre:  Comedy

Led by a star, Three Wise Men come to praise a child born in a stable.  However, they quickly realise they want to praise the baby born in the stable next door.  The first baby, Brian Cohen (Chapman), grows to manhood in Roman occupied Judea.  Fiercely resenting the Romans, Brian joins the hopelessly over-organized People's Front of Judea, who spend more time bickering amongst themselves and squabbling with rival revolutionary factions than fighting the Romans.
Meanwhile a series of accidents lead to Brian being proclaimed as a Messiah, much to his distress.

This was hugely controversial in it's day, and still is in some places, with the film being accused of blasphemy, although while the film does poke fun at organised religion, as well as political groups, it actually treats Biblical figures fairly respectfully.  The Pythons themselves have frequently said that the film is not blasphemous nor was it ever intended to be.
What it is, is very funny.  It's often regarded today as one of the best comedies ever made.  As is frequently the case with Monty Python the humour ranges from juvenile, schoolyard humour (a character called Biggus Dickus) to the quite sophisticated (the Romans criticising Brian's Latin grammar when he graffiti tags a building), and some classic lines that have become popular among comedy nerds all over the world (Brian's mother (played by Terry Jones) angrily yelling to his followers:  "He's not the Messiah!  He's a very naughty boy!").  There is also a bizarre sequence where, escaping from the Romans, Brian falls off an unfinished tower straight into a passing spaceship where two, one-eyed aliens take him for a ride, get involved in a brief outer-space battle, before crashing at the base of the tower.  The film also contains the song "Always Look on the Bright Side of Life", which has become quite a hit in it's own right.
The film, shot in Tunisia on a very low budget, mostly put up by ex-Beatle and Monty Python fan George Harrison, is well made.  It has a stronger plot than other Python films, feeling less like a bunch of sketches strung together, and for the first time has some genuine emotion rather than non-stop gags.  Graham Chapman has most of the straight acting to do as the lead, with most of the other characters being played by the Python's in multiple roles, including several of the female parts (most notably Terry Jones as Brian's angry mother).  Sue Jones-Taylor (who would go on to become the Mayor of Aberystwyth)  has the most prominent female role as Judith, Brian's love interest.  The film also has less of Terry Gilliam's distinctive animation, which only appears here in the opening credits sequence, although Gilliam did create the spaceship sequence.
This is Monty Python's finest moment, and one of the greatest comedies ever made.

Graham Chapman in Monty Python's Life of Brian         

Fear and Loathing in Las Vegas

Year:  1998
Director:  Terry Gilliam
Screenplay:  Terry Gilliam, Tony Grisoni, Alex Cox and Tod Davies, based on the book Fear and Loathing in Las Vegas by Hunter S. Thompson 
Starring:  Johnny Depp, Benicio del Toro
Running Time:  119 minutes
Genre:  Drama, comedy,

This film is a screen adaptation of the cult 1971 book by Hunter S. Thompson.  In 1971, journalist Raoul Duke (Depp) and his friend and attorney Doctor Gonzo (del Toro) travel from Los Angeles to Las Vegas because Duke has an assignment to cover a prestigious motorcycle race, however they have equipped themselves with an astonishing arsenal of alcohol and illegal drugs, and manage to turn a simple sportswriting assignment into a prolonged binge of drug and alcohol fueled madness, as they tear Las Vegas apart and glimpse the dark side of the American Dream.

The film uses a barrage of visual and auditory techniques to recreate the experiences of Duke and Gonzo.  Director Terry Gilliam has a strong visual sense and the frequent use of TV screens showing footage from the Vietnam war and the anti-war protests give a sense of the wider world at the time. 

The development of the film was protracted and troubled.  Both Martin Scorsese and Oliver Stone at various times tried and failed to get film versions of the book off the ground, and Ralph Bakshi at one time tried to do it as an animated film.  Eventually British director Alex Cox was hired as a director for the film, until he fell out with Thompson and was dropped, although he is still credited as co-writer on the film.

The film features impressive performances.  Benicio del Toro put on 45 pounds in nine weeks for his role and extensively researched the life of the real life attorney Oscar Zeta Acosta (upon whom the character of Doctor Gonzo was based)  and Johnny Depp lived in Hunter Thompson's home for four months and formed a strong friendship with the writer which lasted until Thompson's death in 2005.  Raoul Duke is pretty obviously Hunter Thompson (at one point the name Raoul Duke is referred to as an assumed name, and in another scene he recieves a telegram addressed to "Thompson").  There are also a number of well-known actors in small roles, including Tobey Maguire, Cameron Diaz, Christina Ricci, Ellen Barkin and Gary Busey. 

The tone of the film veers from wild comedy to genuinely disturbing sequences and creates a powerful and memorable viewing experience.        

Benicio del Toro and Johnny Depp take a trip in Fear and Loathing in Las Vegas