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THE IMAGINARIUM OF DOCTOR PARNASSUS Terry Gilliam Starring Heath Ledger Christopher Plummer Lily Cole Johnny Depp Jude Law Colin Farrell It's always a challenge to offer a rounded opinion of a new Terry Gilliam film after only one viewing. The man, after all, has dealt with themes of madness, perception and the self-absorbed acts of the socially accepted and as such his films appeal to a very specific esoteric taste. Following the brutal slaying of the under-rated Tideland, Gilliam's latest offering seems to portray a very personal tale - a reflective piece, spanning the highs and lows of the director's troubled career. The plot details a travelling sideshow wagon, helmed by the aging Dr. Parnassus [Plummer], which makes its way around London, offering passers-by a chance to step through a faux-mirror and into their imagination. The culmination of this hallucinatory experience is a simple choice of good and evil: the long hard road to redemption or simple temptation. Evil, in this film, is represented by the fiendishly charming Mr. Nick [Tom Waits], who struck a deal with Parnassus , granting him eternal life on the condition that he would return to claim his first-born on their sixteenth birthday - it's all very Grimm's, really. The aforementioned child, in this case, is the peculiar-faced Valentina [Cole] (I say peculiar-faced because her heart shaped head kinda freaks me out). With three days before she comes of age, the wagon stumbles across the hanging body of a man in a white suit, Tony [Ledger]. Aided by swallowing a brass pipe, Tony manages to avert death but loses his memory in the process. This mysterious newcomer generates friction between the troupe as his history and intentions remain cloudy. Now, the story itself, which may come off as incredibly convoluted at times, is actually very simplistic. It's a base parallel between good and evil, the choices that beset mankind and also, the film world. It's this final one that will be neglected and glazed over the most but it is one that seems the most important. When detailing his past, Parnassus explains that his religion holds the steadfast belief that without someone telling a story, the world would fall apart. It is in this modern era, that the crumbling, dated sideshow travels to dwindling audiences who mock and criticise the show's flamboyancy - no doubt a comparison between genuinely inventive storytelling and the array of pap that is pumped out into cinemas. **Spoiler at paragraph's finale** Now, rather importantly, we need to discuss Tony. This is not a Ledger film, this is the story of Parnassus as he looks back on his life and career and wonders how he can retain that which he holds most dear. Unfortunately, with the death of Heath Ledger, no one will think that. Furthermore, they will more than likely go into this film expecting a riveting portrayal, similar to that of The Joker. I'm not sure if they will necessarily be disappointed or not but Ledger isn't exactly afforded great opportunity for extravagance. With that in mind, I tried desperately to put that out of my mind and watch The Imaginarium simply as a film. . . turns out it's impossible. Impossible for the fact that in the real world Tony is played by Heath Ledger and in the mirror-world of the Imaginarium, he is played by Depp, Law and Farrell. All do fantastic jobs and I must confess, the film wholly benefits - as if without the cameo'd incarnations, it may not have worked as well. So, what's the problem with Tony? Well, the next bit is a bit of a spoiler (quite a monumentally HUGE fucking spoiler) so do skip on if you must. As the film progresses we trust Tony less-and-less and it is apparent that his intentions are less than pure and as such his character is tricked into making the right choice. However, this implies martyrdom and his ultimate demise. This presents a problem if only because of audience association. The final incarnation is played by Colin Farrell and as this film has been labelled Ledger's last release, audiences won't want his character to die. The whole thing makes sense but even if the character was a complete bastard you feel this underlying urge to see redemption and (I'm sorry to say) Colin Farrell played the twisted Tony so well that you want him to die but Ledger to come back. It sounds a little peculiar but as stated, it's a simple case of the audience's inability to separate character from actor. So, positives and negatives. First off, the film looks brilliant; I don't simply mean the fantastical worlds either (although they are spectacular, reminiscent of Gilliam's previous works and visual style) but London itself is portrayed in a way similar to New York in The Fisher King. Technically speaking, the movie is sound, producing a delightful combination of inspirational lighting, musical scoring, direction and production design. The acting is all commendable and then there's the story itself which, while a little disjointed and jarring, is still a work of incredible intellect and imaginative genius. Any negative points to address would come off as a little trite and nit-picking, most of which arise when drawing comparisons with Gilliam's other films and attributable to the fact that a great deal had to be reworked after the untimely death of their lead. I think this film will be lost on many mainstream viewers, I think fans of Gilliam's work will find it a tad derivative and that it steals a lot from older works, I think Ledger fans will be disappointed and annoyed, I think elitist cinemagoers will bemoan the stark contrasts and simplicity of the fairy-tale aspects. I know, however, that this is one of Gilliam's finest works and one which should be seen as a beautiful interpretation of an old man's career and the affect it has had on him and the viewers and followers that have come and gone over the years. As the closing lines state: "Does it have a happy ending?" "We can't guarantee that." Release Date: UK - 16th October 2009 US - 25th December 2009 The Scene To Look Out For: I think two scenes are probably necessary. The first is one I greatly enjoyed and the second, one that caused great conflict. After a revamp of the travelling show, Tony sells the new look to the shopping elite of London. His take on how best to market for this contemporary audience is amusing, satirical and thoroughly entertaining. The second is the first incarnation of Tony, played by Johnny Depp. I had no issue with Depp or the change of face - it all seemed to make perfect sense, actually - it was the fact that he gives this saccharine salesman speech about the immortality of those who are remembered after death. It's an obvious eulogy for Ledger but I just can't tell if it's exploitative, tasteful or just plain out-of-place. Oh.. and a possible third: dancing policeman. Yeah, good times. Notable Characters: Two characters (sort of) to highlight for you. The first is Mr. Nick, played by the disgustingly talented Tom Waits, harking back to his portrayal of Renfield in Dracula - enthralling and encapsulating to watch. Then there's my beard. Sorry, should I repeat that? Yes, my beard. You see, I have a moustache and beard look that I've been rocking for several years now. All of a sudden this film comes along detailing some prat-of-a-scoundrel with a conquistador beard and a London accent - essentially, that's me. All I'm saying is a little recognition would be nice, a small 'thank you' in the credits perhaps. Never mind, as long as people don't start accusing me of stealing Heath Ledger's look. . . . . it's my look! Highlighted Quote: "No one's interested in my stories anymore" In A Few Words: "A thoroughly entertaining and profoundly reflective piece, faulted only when in comparison to Gilliam's finest works" Total Score: 
8/10Matthew Stogdon |
