The Imaginarium of Doctor Parnassus (2009)

At its heart THE IMAGINARIUM OF DOCTOR PARNASSUS beats with the essence of what makes Terry Gilliam stand out from his peers: a fierce, uncompromising visual palette, stand-out acting performances, and a solid foundation in mythic storytelling.  And when left alone to pursue his distinctive vision, you get images that feel ripped directly from that tiny place in your brain reserved for the imagination of your youth.  It's what makes THE CRIMSON PERMANENT ASSURANCE, the short film that precedes the "proper" film within MONTY PYTHON'S MEANING OF LIFE one of the most indelible 15 minutes put to film.  It's what makes the best moments of TIME BANDITS and, to a lesser extent THE ADVENTURES OF BARON MUNCHAUSEN stand out in our minds, capturing those afternoon daydreams as I sat on a large rock next to the house, playing pirates and cops and robbers in a universe that was wider than the borders of my yard.

But like MUNCHAUSEN, which in terms of overall tone seems the closest relative to PARNASSUS, the film struggles but ultimately fails as a complete story. Of course by now the production disasters that plague Terry Gilliam on so many of his pictures are near mythic proportions.  Natural disasters and lack of funding are par for the course on a Gilliam production, and one of the biggest (but not the biggest, obviously) obstacles in the movie is how small it seems in relation to the subject matter.  PARNASSUS never seems like an open world: everything is cramped and narrow; even when we're in the streets of modern London there's something artificial and askew when it comes to the scale of the environment.  MUNCHAUSEN, for all its issue seems gigantic in relation to PARANASSUS.  I fully realize this has more to do with funding than anything else, but even smaller pictures like TIDELAND felt larger on screen.  Now this could also have been a stylistic choice on Gilliam's part, but watching it on the screen I couldn't help but feel compressed.

No review of PARNASSUS would be complete  without mentioning the tragic death of Heath Ledger, and it effect on the film.  His presence, and subsequent absence, leave a huge watermark on PARNASSUS that never manages to fade into the background.  The idea to have his unfinished scenes performed by a trio of great actors - Johnny Depp, Jude Law and Colin Farrell - is inspired in theory but in execution damages things beyond repair, particularly Farrell's performance.  It's fine on its own, but having to carry a significant portion of the film - including the climax - it acts as a reminder of how things could have been had Ledger lived to complete Gilliam's vision.

Normally I wouldn't lead off with my criticisms of a film, and it would be a lie if I said I didn't find a lot to like in PARNASSUS.  As usual, Gilliam is inspired in his casting choices, particularly in his pairing of Christopher Plummer and Tom Waits in the lead roles.  I'd be hard pressed to think of a bad Christopher Plummer performance, but here he's stretched into playing someone who's lived for hundreds of years, and damn if he doesn't make you feel every single year.  Tom Waits can only really play himself but, that being said, I can't believe it took so long for someone to cast him as the Devil, or Mr. Nick as he's called here.  One of the delights of PARNASSUS is watching the purposefully nonsensical way continuously meddles in the affairs of the Doctor Parnassus.   Even with victory seemingly his, Mr. Nick can't help but throw it all away on one more bet, one small wager, even one he knows he'll ultimately lose.  There's an entire other story here about the reason why Mr. Nick is so infatuated with Parnassus, and the way Gilliam refuses to provide the reasons (their initial meeting in the monk's temple provides no answers, merely the opening exchange) is both typical of his storytelling technique (admittedly sloppy, but I think sometimes purposely so) and a welcome change from the exposition that would have mandatory in another film.

Even when I don't like a Terry Gilliam film (BROTHERS GRIMM, TIDELAND), there's always something that leaves me breathlessly waiting for the next film.  THE IMAGINARIUM OF DOCTOR PARNASSUS is better than both those films; despite the issues there's enough wit, style, and good performances on display that I wouldn't hesitate to recommend at least one viewing.  And it ultimately makes me even more excited to see how he manages to re-tool and re-launch THE MAN WHO KILLED DON QUIXOTE, which sounds like his personal white whale and another unique vision perfectly in place with the rest of his filmography.

Re-Cycle (2006)

Business travel got the better of me, so pardon the lack of reviews over the past few days. I'll get a few up today, starting with this horror/fantasy from the Pang Brothers, who brought us THE EYE a few years back. #7 in our ramp-up to Hail Horror 4.

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In a weird, unsuccessful way the Pang Brothers are kind of hot in Hollywood right now. Having made a name for themselves in Asia with films like THE EYE and BANGKOK DANGEROUS, they made their US directing debut with the poorly received THE MESSENGERS, which tried to mix elements of the traditional "J-Horror" with a more Midwestern, American vibe. Both THE EYE and, more recently, BANGKOK DANGEROUS, have been given Hollywood makeovers, with the latter being adapted by the brothers themselves.

Surprise: the films tanked, and yet we still get a Region 1 release of their 2006 horror/fantasy film RE-CYCLE. Reuniting them with their EYE star Angelica Lee, I saw some incredible stills a few years ago but despaired of it ever coming around this neck of the woods. Although guilty of a few abrupt shifts in tone and editing, and some obvious CGI, RE-CYCLE turns out to be an interesting mix of ideas, taking the ghostly scares from horror and borrowing heavily from fantasy fare like THE WIZARD OF OZ and THE NEVERENDING STORY, layering fantastical images one upon the other.

Lee plays Ting-yin, a successful novelist whose new book, Re-Cycle, is a supernatural departure from her usual love stories. She begins to concoct her tale: a young woman with long hair being haunted, but writer's block and personal complications cause her to throw away her notes in frustration. Soon after she begins to notice strange things in her apartment: long strands of hair left on the counter, and movement out of the corner of her eye. The Pang Brothers shoot everything with an alarming clarity, often using extreme close-ups of everyday objects to emphasize the tension in the scene. They do well with the ghostly images as well: in one tense scene Ting-yin puts her head down to listen to odd noises emanating from her answering machine. When she picks her head back up, a blurry ghost head pick up its head a second later.

She later meets with an old lover who abandoned her years ago for another woman he got pregnant. Upset at the encounter and still freaked out over the disturbances in her apartment Ting-yin becomes lost, transported to a nightmarish world where everything deserted and abandoned winds up, and is being pursued by the remnants of the very character she tossed aside in the trash.

There are plenty of scare of the "jump" variety in RE-CYCLE, but the real fun comes in the Gilliam-esque (not really a word, but you know what I mean) images and scenery the Pang Brothers create. Seemingly right out of films like BARON MUNCHAUSIN and BRAZIL, we're treated to a basement straight of some urban version of Dante's Inferno, where evil things stutter and scream in darkened spaces, a building constructed entirely of books, a land of broken toys, and a decrepit amusement park impossibly situated between two apartment buildings:

An old man and a young girl aid her in her quest to return to the real world, and to tell you who these people are would be to spoil a large part of the movie. There's also a very disturbing section of the film where a significant abandonment issue is addressed, and we see that the implications of this episode have consequences that color the rest of the movie. Upon RE-CYCLE's release there was a lot of controversy around the film, many saying it was a thinly-veiled jab at abortion rights. But I think that's giving the film more of a reach than was intended - it feels much more like a narrative ploy to tie everything together into an obligatory "shock" ending. Which works, even if it's constructed out of ideas and images that are best taken as the stuff of dream and night terror rather than any tangible sense of reality.

From a purely visual perspective I enjoyed RE-CYCLE. There were more than couple nice scares (again, it was the "loud noise and jump" variety but that's okay) and there's plenty of eye-candy on display - Color and its conspicuous absence are used masterfully throughout the movie and everyone does a fine acting job. If you enjoy your horror or fantasy with a healthy dose of the industrial, give RE-CYCLE a try. There's more than enough there to keep you entertained.