A very ambitious title prefixed Monthy Phyton with this "The meaning of life" (1983). Directed by Terry Jones, except for the first introductory short signed by Terry Gilliam (who distorts his initial animated idea without the knowledge of the other members). Troubled production, convinces Jones's Screenplay. An interesting parallelism with the evolution of the careers of Jones and Gilliam: the first one surrenders despite his own ideas, if rejected by the other members of the group, while Gilliam "fights" to impose his thoughts (and his cinema), by any means available. It seems that, as evidenced by their different filmography, Gilliam's approach works maybe better, since he has been capable of directing movies by imposing his concept idea.
Comment:
This immense masterpiece of screenplay searches the answer to the question perhaps more important that the human being has ever posed, without being pretentious, despite sometimes manifesting his opinion in a veatedly blatant. A path dismayed by powerful criticisms of modern society and profound metaphorical messages, expressed with a demential and black comedy, never resulting offensive. "The meaning of life" is a chaotic struggle and it is understood that only those who are committed can get it: the final reference in the studio, in fact, is a real motivational that alludes to a positive vision, willing but not maniacal, of its approach to the question. The metacinema component is extremely represented, it is a continuous dialogue with the spectator in a playful way, as on a jousting, ironic and self-ironic on the society, on the cinema, on the public and on the movie itself. Irreverent and ingenious, a black comedy that plays, without escaping from the limits of satire, with sexism, homophobia, racism and other themes, in some respects almost untouchable, such as religion, pregnancy, social differences, death and much more (of which the film itself is impregnated, as for example demonstrates the absence of women in the cast, interpreted by male actors. A film of incredible completeness, although chaotic, on the other hand it reflects the abyss that surrounds the title itself, which does not have a determinable solution. The whole is expressed with the rebellion to the authorities, probably influenced, also for the similarity of the directors, from the final hymn to the Freedom in "Zero de conduite" of Vigo, including the cinema itself, questioned and analyzed in a critical way remembering Keaton's "Sherlock Jr" and "The cameraman", but focusing on the other side of the camera, that is our part of spectators.
Comment:
This immense masterpiece of screenplay searches the answer to the question perhaps more important that the human being has ever posed, without being pretentious, despite sometimes manifesting his opinion in a veatedly blatant. A path dismayed by powerful criticisms of modern society and profound metaphorical messages, expressed with a demential and black comedy, never resulting offensive. "The meaning of life" is a chaotic struggle and it is understood that only those who are committed can get it: the final reference in the studio, in fact, is a real motivational that alludes to a positive vision, willing but not maniacal, of its approach to the question. The metacinema component is extremely represented, it is a continuous dialogue with the spectator in a playful way, as on a jousting, ironic and self-ironic on the society, on the cinema, on the public and on the movie itself. Irreverent and ingenious, a black comedy that plays, without escaping from the limits of satire, with sexism, homophobia, racism and other themes, in some respects almost untouchable, such as religion, pregnancy, social differences, death and much more (of which the film itself is impregnated, as for example demonstrates the absence of women in the cast, interpreted by male actors. A film of incredible completeness, although chaotic, on the other hand it reflects the abyss that surrounds the title itself, which does not have a determinable solution. The whole is expressed with the rebellion to the authorities, probably influenced, also for the similarity of the directors, from the final hymn to the Freedom in "Zero de conduite" of Vigo, including the cinema itself, questioned and analyzed in a critical way remembering Keaton's "Sherlock Jr" and "The cameraman", but focusing on the other side of the camera, that is our part of spectators.