A former radio DJ, suicidally despondent because of a terrible mistake he made, finds redemption in helping a deranged homeless man who was an unwitting victim of that mistake.
Jack Lucas was once a famous, arrogant and egotistical New York City call-in radio talk show host. Largely self-inflicted due to remorse and grief, Jack goes on a quick downward spiral, both personally and professionally, after a glib comment he makes to one of his regular callers results in that caller going on a murder spree. Three years later, the only emotional and financial support a despondent Jack receives is from his current video store owning girlfriend, Anne. When Jack hits rock bottom, he meets a seemingly crazy and homeless man calling himself Parry. Parry does have mental health issues, namely hallucinations centered around the story of the Fisher King, which is why he has an obsession with obtaining the Holy Grail. When Jack learns of Parry's own background and the reason he got to where he is, Jack feels he needs to be part of Parry's salvation. He figures the way to do so is to connect Parry with Lydia Sinclair, a shy and uncoordinated woman who Parry loves from afar. ...Written by
Huggo
The dialogue that Parry mutters to himself while sitting on top of the car while the alarm blares is attributed to both Percival - for whom Parry's character is named - and to Don Quixote. Terry Gilliam would later direct The Man Who Killed Don Quixote (2018). See more »
Goofs
The recording of Jack's diatribe on yuppies is very different from the "live" version we saw earlier. See more »
Quotes
Crazed Video Customer:
What I'm in the mood for is sort of a Katherine-Hepburny, Cary-Granty kinda thing. Nothing heavy; I couldn't take heavy. Something zany! I'm looking for something zany... or something modern would be fine, too, like a Goldy-Hawny, Chevy-Chasey kinda thing - you know, funny! I want to laugh. I have to laugh tonight, really. Oh, do you have anything with that comedian, he's on that show that's on the radio? You know, the guy who says, "Hey, forgive me!" I get such a kick out of the way he says ...
[...] See more »
A touching yet humorous tale, THE FISHER KING brings together amongst the best performances given by Robin Williams and Jeff Bridges, as well as Terry Gilliam's finest directorial effort. Solid supporting performances by Amanda Plummer and Mercedes Ruehl round out a great film that ranks among my personal favorites.
Bridges portrays an arrogant radio shock-jock, who's big mouth and flippant comments send a disturbed listener on a murderous rampage, thus ending his career. Enter Ruehl as his new enabler girlfriend, waiting patiently for him to drag himself up from the dregs, hoping to catch a ride to the top. Just when Bridges seems to have hit rock bottom, he encounters Williams, a crazed vagrant who thinks he is a knight in shining armor.
What ensues is a tale of remorse, redemption and rebirth which is made all the more magical by Gilliam's magnificent vision. Most notable is a scene which takes place in Grand Central Station where the hustle and bustle of the busy commuters dissolves into a spectacular waltz as Williams follows Plummer, the woman of his dreams. Gilliam's style makes Williams delusions come alive as the character makes the slow journey from trauma-induced insanity to stark, yet hopeful, reality.
Every character in this film undergoes a metamorphosis, each learning from the others along the transformation. It is a beautiful film to watch, and an achievement to all involved that subject matter of such depth can come across with such humor and with such beauty.
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A touching yet humorous tale, THE FISHER KING brings together amongst the best performances given by Robin Williams and Jeff Bridges, as well as Terry Gilliam's finest directorial effort. Solid supporting performances by Amanda Plummer and Mercedes Ruehl round out a great film that ranks among my personal favorites.
Bridges portrays an arrogant radio shock-jock, who's big mouth and flippant comments send a disturbed listener on a murderous rampage, thus ending his career. Enter Ruehl as his new enabler girlfriend, waiting patiently for him to drag himself up from the dregs, hoping to catch a ride to the top. Just when Bridges seems to have hit rock bottom, he encounters Williams, a crazed vagrant who thinks he is a knight in shining armor.
What ensues is a tale of remorse, redemption and rebirth which is made all the more magical by Gilliam's magnificent vision. Most notable is a scene which takes place in Grand Central Station where the hustle and bustle of the busy commuters dissolves into a spectacular waltz as Williams follows Plummer, the woman of his dreams. Gilliam's style makes Williams delusions come alive as the character makes the slow journey from trauma-induced insanity to stark, yet hopeful, reality.
Every character in this film undergoes a metamorphosis, each learning from the others along the transformation. It is a beautiful film to watch, and an achievement to all involved that subject matter of such depth can come across with such humor and with such beauty.