Munchausen Blu Syndrome
What an intense pleasure it was today to watch Terry Gilliam’s The Adventures of Baron Munchausen, which is not only a minor masterpiece, but which – amazingly – defines its own life as a film in the story of the ultimate storyteller.
Munchausen was the movie that killed Terry Gilliam’s reputation… and the last time I recall a movie being demanded by distributors when the studio refused to expand its release. Dawn Steel had just taken over at Columbia for David Puttnam, who greenlit the film, and in the great tradition of execs killing thier predecessor’s darlings, she did all she could to kill Munchasen… which already had been through hell as its budget of $25 million had ballooned to double that.
Still… a truly magnificent story of a storyteller coming to the end of his legend in the face of the Age Of Reason. The magic of it and the themes still resonate today as we discuss the importance – or lack of importance – of Hope as a central issue in the presidential campaign. Jonathan Pryce is the embodiment of “reason,” so fearful of the extraordinary that he executes a heroic soldier – played in one of his first film roles by Sting – for making all the other soldiers feel bad for not being as heroic.
Munchausen is also way out ahead of the grrl power movie movement, as the center of the movie is Sally (played by a pre-adolescent Sarah Polley), who not only pushes things forward with her faith, but even has to drag Munchausen, the great adventurer, along at times, when he starts to doubt himself.
It’s such a joy to see the film in this closest-to-celluloid form of Blu-ray… even the flaws… maybe especially the flaws. Gilliam did the movie with a lot of models, puppets, in-camera effects and basic old school layering of effects (like Robin Williams’ head flying around). But it’s the moments of small genius that really dazzle, whether a city of moving buildings like the inside of a jewelry box or a waltz in mid-air with Venus (Uma Thurman) and two cherubs that is interrupted by Vulcan (Oliver Reed) or the giant Winston Dennis wanted to be petite or the teamwork of Munchasen’s sidekicks or the life inside the theater in the “real” town… millions of tint, little, absolutely brilliant details. And they were all waiting, it seemed, for Blu-ray, so you can see every one.
I hate lists from media outlets. But The Top 100 Films For Blu-ray would be interesting. Really, it is the films that have that visual power that makes seeing every inch of that screen in magnificent detail a treat. The Kubrick films are that. No Country For Old Men is that. I can’t wait for Bonnie & Clyde.
And today, Munchasen. Heaven.
It really is an excellent film, although I think it’s a stretch to call it ‘grrrl power’ when Munchausen is front and center throughout the movie and Polley’s character is just the vehicle to get the audience to him.
While I don’t think it’s as great as some of Gilliam’s films (Time Bandits and Brazil), I have a deep affection for the Baron. I was always surprised it didn’t do better.
And I must say, I always liked Gilliam’s special effects, even when they didn’t look amazing. They weren’t CGI, and always looked visually interesting, even when they weren’t accomplished. I wish more filmmakers would do practical effects, rather than CGI, they just look better.
Me – Agreed they look good, but the problem is that Gilliam inevitably goes way over-budget with his practical effects, which is why more people don’t do them.
Michael Kamen’s score for Munchausen is pretty fantastic as well.
i recall when it first came out…was wowed. especially by Dante Ferretti’s production design.
also–
there is nothing on MovieCityNews about the passing of Paul Scofield. he passed away yesterday. oscar winner. theatre legend.
Seattle… Several headlines were posted on the front page yesterday morning around 7am; they’re still there until news pushes them off the page. Look for:
Paul Scofield, 86, Was Man For All Seasons
And – Michael Billington On What Made The Oscar-Winning Film Actor A Stage Great
Plus – A Scofield Gallery
Wrong on the Sting thing.
That was actually pretty much the end of his on-screen work. He’d already come to the conclusion by that point that he was not a lead actor and he just did the cameo for fun. This was post THE BRIDE, post DUNE, post BRIMSTONE & TREACLE.
Loved this movie intensely when it was released. The love was recently tempered when I read Sarah Polley’s musings on how terrified and traumitized she was making the film.
She was a kid, and it’s a trippy movie. BFD.
There was more to it than that. Don’t be so confrontational.
Gilliam is a brilliant filmmaker. BRAZIL is one of my very favorite films. But by all accounts, he can be insufferable to work with even for seasoned adult professionals, and Sarah Polley’s memories of MUNCHAUSEN make perfect sense considering the pressures Gilliam was under at the time. He’s never really been the type to coddle any actor, adult or child, and it does sound like her complaints were valid.
It’s possible to like the movie, Jeff, and still acknowledge that Polley had a point.
Drew, I think you need to direct your point at Wreck, not at me.
Actually, that was unnecessarily contentious of me. Sorry.
“It’s possible to like the movie, Jeff, and still acknowledge that Polley had a point.”
This is exactly what I do.
Flip it.
Let me clarify that:
What you’re doing is to love the movie while still recognizing Polley’s point. What I’m doing is recognizing Polley’s point while still loving the movie.
They’re not quite the same.