Hey, everyone. Capone in Chicago here.
Sometimes a work of art isn't a pretty, serene, neatly packaged thing. Sometimes it's a controlled mess--chaotic, with touches of the grotesque and very few shiny corners. The latest work from director and co-writer (along with Charles McKeown) Terry Gilliam is an uproarious celebration of the way our minds work and the ways they are constantly conflicted, challenged, and tempted to follow the path to instant gratification rather than spiritual fulfillment. THE IMAGINARIUM OF DR. PARNASSUS is also a certified riot, a carnival ride, a love story, and a biblical epic co-starring the devil himself (played by the only man with the pipes or balls to play Satan the way he should be played, Tom Waits).
My favorite Gilliam films are those with which he is able to truly cut loose and let us peak behind his eyes into that wonderfully complicated brain of his. DR. PARNASSUS is such a film and then some, with a small squadron of gifted actors guiding us through a visual landscape that barely makes sense after a second viewing of the film. In fact, it's difficult for me to imagine that anyone could really process everything that's going on in this movie after only one sitting. I've seen it twice and I'm ready to experience it again just to make sure I didn't miss anything. The first time, you watch it to get to know the characters and learn the basic plot; the second time, you take in the ideas behind the Imaginarium itself--a world literally behind the mirror where your soul is up for grabs. Just thinking about it again makes me ready to see it one more time.
Of course, DR. PARNASSUS will be remembered as the last filmed performance of Heath Ledger, who plays Tony, a man found hanging by his neck from a bridge by a group of traveling performers and conjurers. They save him, and he uses his skills as a salesman to help bring much-needed customers to their little buggy of wonders. It's actually kind of remarkable and, in a weird way, fortuitous what Ledger was able to complete for this film and what he wasn't. If what is on screen is the only indication, he shot everything except what I assume would have been largely green screen work for scenes that take place on the other side of the Imaginarium's mirror. In an effort that I think makes for a better film, Tony transforms into a different-looking person (played by different actors) each time he enters the other side. Johnny Depp, Colin Farrell, and Jude Law take their turn attempting to capture the spirited performance that Ledger brought to this role. It's great to see that, much like he did in THE DARK KNIGHT, Ledger was interested in cutting loose and having fun with this part. And if you watch carefully, tucked away in the middle of Depp's appearance as Tony, you'll get a fitting and lovely tribute to those who pass away too young.
I've somehow managed to make it this far in my review without even mentioning the rest of this memorable cast. Andrew Garfield (LIONS FOR LAMBS; the RED RIDING trilogy) plays Anton, the act's barker who is charged with bring customers to the world of Dr. Parnassus (Christopher Plummer, whose look for this part is remarkably similar to that of his portrait of Leo Tolstoy in the upcoming THE LAST STATION). Unbeknownst to his co-workers, Parnassus is actively attempting to protect souls from being captured by Mr. Nick (Waits). The prize for the most souls is the good doctor's daughter Valentina (model Lily Cole, giving a solid performance here that is part innocent, part temptress). Verne (Mini Me) Troyer is also on hand as Percy, and I was really pleased to see him get a role that wasn't just about having him around for comic visual relief. Percy is the voice of reason in this pack of freaks, and while Troyer isn't the greatest actor, he's a genuine standout. When Tony gets wind of Parnassus' plight to save his daughter from the devil, he dives head first into actively working to improve the customer count and save a few souls.
While being a work of fantastical genius, THE IMAGINARIUM OF DR. PARNASSUS isn't always a pretty thing. These characters exist in the gritty, grimy streets of London. And while the world on the other side of the mirror is certainly more pristine at times, it too can turn pretty nasty, especially when Nick infiltrates and attempts to steal souls. But it's in this world where we see Gilliam shine as the visual artist he has been since his Monty Python days. My favorite Gilliam film remains FEAR AND LOATHING IN LAS VEGAS, and there are some very similar visual themes happening in DR. PARNASSUS. He doesn't create fantasy worlds to loose yourself in; he wants you tense, even scared about what's around the corner or just off frame. His images are, at times, disturbing, if only because you can't believe a single person could envision such things. For all these reasons, I implore you to check this film out. If you see it more than once, I guarantee you'll see very different films with each viewing. It's worth watching on the strength of Ledger's work alone, but it's everything else that's going on that's going to keep you enraptured.
-- Capone
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