User Reviews

It would have been hard not to like this movie, since I had early previews from friends that it is boring and pointless, so my expectations were really down. I did watch it, nonetheless, and I am glad I did. If you ever watched Tideland, you know Terry Gilliam is capable of works of terrible beauty, often concocted from the ugliest bits life can provide; such is this film.

This is Heath Ledger's last film, he died during filming it, but his character is not the main one, just the extra ingredient needed to take all the important ones out of their equilibrium state. Because of this tragedic death, other actors came to fill up the role, such as Johnny Depp, Jude Law and Colin Farrell.

And still, the important character, the Faust that can't keep himself from betting with a mischievous devil that isn't even very unfriendly, is Christopher Plummer's, who played marvelously at his age of 81. I loved the way the devil was toying with him, addicted to playing games that he didn't want to win in the end so that he keeps playing. The visuals were great, the atmosphere both miraculous and brooding, but rarely in the same time. And Lily Cole was cute and sexy as hell.

Bottom line: a weird film that you need to think about to get at his many hidden meanings, with beautiful imaginative imagery and great actors. What is not to like?

HEATH LEDGER's sudden demise during filming of THE IMAGINARIUM OF DR. PARNASSUS made it necessary to change the script so that his unfinished scenes could be played by other actors within the realm of the crazy world of the Imaginarium. This clever adjustment to the script provides three other actors with fill-in roles for Ledger: JOHNNY DEPP, JUDE LAW and COLIN FARRELL.

Heath is a complete delight in his role as the mysterious stranger who comes upon the traveling sideshow and has the power to change everything. CHRISTOPHER PLUMMER is a marvel in the title role as the 1,000 year-old man who has sold his soul to the Devil and must turn over his daughter to Mr. Nick (TOM WAITS) on the occasion of her sixteenth birthday. Newcomers ANDREW GARFIELD and LILY COLE are well cast as performers in the troupe.

All of it is filled with wondrous sets, gorgeous costumes, and an abundant sense of good humor. Everyone in the cast seems to be having fun with their roles, particularly Heath Ledger. I dare say that if he had lived to complete his role, it may well have garnered another nomination for him.

Terry Gilliam has directed with a firm grasp of tongue-in-cheek fantasy and made a vastly entertaining film out of a slim story idea. Whether it appeals to you or not will depend entirely on your taste. It's certainly not a film for everyone but it is bizarre and fascinating.

Like so many of Terry Gilliam's films The Imaginarium Of Doctor Parnassus is one that is going to need multiple viewings to truly form an opinion on. Like Brazil, Adventures Of Baron Munchausen, Fisher King, Fear & Loathing In Las Vegas and Tideland (even Time Bandits really) there is so much going on here that expectations or reputations get in the way and make it hard to digest and appreciate on a single viewing. No bad thing necessarily.

Of course Parnassus has the particularly insurmountable problem of being the late Heath Ledger's final performance and following on from his superb, Oscar-winning turn in The Dark Knight. It is impossible to see the film through eyes that don't see it as the film he died making. Some parts of the film may perhaps work even better than they may of done had he lived – some of the best films are triumphs over adversity and adverse conditions don't come much greater than your star dying mid-shoot. But whatever works and doesn't in the film it is hard – impossible on a first viewing – to divorce yourself from the knowledge you bring into the theatre.

On first feeling Parnassus seems patchy, and curiously it feels like a film that may not have worked as well as it does had nothing happened to Ledger. Don't get me wrong I'd rather have a Gilliam failure and Ledger still alive to put it behind him and move on than a wonderful film that is largely the result of his tragic death. But we don't have that so I'm just looking at what's there.

The fact is the film is at it's best when galloping around the fantastical worlds of the Imaginarium, with Ledger's character Tony now played by Johnny Depp, Jude Law and Colin Farrell. Depp and Farrell are particularly good and imbue the film with an energy lacking in much of it.

The casting generally is good. Christopher Plummer is steadfast excellence as always. Lily Cole is a surprisingly strong choice. I've never understood the viewpoint of Cole as "sooooooo beautiful" that the gossip sheets and magazines espouse but she has a quirky intrigue that works wonders in a Gilliam world and proves herself as an actress amongst a proved group of impressive performers. Hers is probably the best debut performance I can recall of a model or singer turning to acting. She puts a lot of professional actresses (no Keiras named!) to shame.

Andrew Garfield is that intriguing mix of annoying and brilliant. Like DiCaprio in What's Eating Gilbert Grape? I started out thinking he was terrible and then grew to realise it was just that I hated him, his character. He annoyed the hell out of me. In another words he had inhabited the character so fully, so convincingly that my negative feelings toward him where directed at the fictional character. A superb performance.

Tom Waits steals moments constantly. Waits hasn't been given such a juicy role that fit him better since Renfield in Coppola's Dracula and he revels as Dr Nick (the devil) here.

Oddly the performance that, again I specify on first viewing, leaves you a bit underwhelmed is Ledgers. It is not a bad performance but the expectations as you go in, knowing it was his last performance, means you expect something special. Brokeback Mountain/Dark Knight special. But of course not every role is as powerful as his in Brokeback or as scene-stealing as the Joker. I mean he didn't know it was his last performance for crying out loud. Therefore it cannot possibly live up to expectations and is destined to underwhelm until multiple viewings and some distance allow it to be judged fairly. That there was such a fully formed character there that three other actors could step in to play alternate universe versions of it entirely convincingly is arguably a testament to how strong a performance Ledger did give. It is not a likable character or a flashy character (it doesn't even really seem the main character until the alternate worlds with the alternate Tonys come in) and so Ledger's understated subtleties are easy to miss.

When you watch Fisher King the first time you remember Robin Williams, not Jeff Bridges. In Twelve Monkeys it's Brad Pitt that comes away with you not Bruce Willis. And yet on further viewings Bridges' performance seems superb, Willis' perhaps the best of his career. I suspect on repeated viewings I'm going to see the strength of Ledger's performance better. I hope so.

And of course this is a problem much of the film has. Gilliam doesn't make simple, overly explained films for the masses – thank Gilliam – you have to work with them. The problem here is that with your mind distracted with thoughts of Ledger and expectations built on that promise of Gilliam at his creative best, three step-in performances and Ledger's final performance it's hard to get your mind around the story and enjoy it as a piece of work.

Sometimes Gilliam films work, sometimes they don't. Sometimes they get better and better on repeat viewings (Brazil); sometimes they work instantly (Twelve Monkeys); sometimes they seem to work but the more you see them or think about them they crumble and ultimately don't (Brothers Grimm). Sometimes they just seem to be a mix of great ideas, wonderful performances and ingenious set pieces but hampered by an overabundance of theatricality and almost too much going on for its own good (Baron Munchausen). On a first viewing Imaginarium Of Doctor Parnassus feels like this latter. Bits work, bits don't. It's enjoyable in places but perplexing ultimately.

I will definitely revisit it though to see if changes on repeat viewings. I feel sure it will, but whether that's a good or bad thing, well, I'll have to wait and see.

The main talking point surrounding The Imaginarium of Doctor Parnassus is the fact that it is the last appearance of the late Heath Ledger, however, there is a lot more to talk about with this film. Ledger's performance is good, as one would expect, but he has done better and more iconic roles. The problem faced by his death occurring before filming completed is overcome easily and one would not necessarily know that Ledger had died just from the evidence of the film. There is a fitting tribute to him in the film, as Johnny Depp's version of Heath Ledger's character comments on how celebrities who died young will live on forever.

However, this film deserves to be discussed as a piece of work on its own. Like many of Terry Gilliam's films it is both complex and imaginative. The titular Doctor Parnassus (Christopher Plummer) operates a mostly unsuccessful travelling show where he hopes to send members of the public through a magic mirror into the Imaginarium where they will ultimately face a choice between giving their soul to Parnassus or the Devil (Tom Waits). Those two are having a contest for the soul of Valentina (Lily Cole), the Doctor's daughter. Helping the Doctor's show are the lovelorn Anton, the dwarf Percy and Tony a mysterious stranger who can draw punters.

Initially all these plot points work well. Doctor Parnassus is a desperate man who has almost given up hope, whilst the Devil is entertaining to watch, yet evidently devious. The heart of the film lies with Valentina who wants a normal life but is it unaware that it is far more complicated than just the raising of money. Unfortunately, the film runs into difficulty in the last third as the plot lines all come together and even more are added, creating a overly complex ending where nothing gets resolved properly.

The acting is good, with Lily Cole surprisingly impressive and old hands Christopher Plummer and Tom Waits leading by example. Terry Gilliam direction combines the fantastical and the ordinary in a way that only he can. It is the first time he has participated in the writing process for two decades and this film has an autobiographical feel as Doctor Parnassus tries to entice with stories and the imagination only to be met by cynical crowds. This effort to wow the public may not move them away from CGI and is short of his best, but it is still entertaining and favourable over films which lack charm, imagination and storytelling.

The Imaginarium of Dr. Parnassus is a very strange film but it pulls together wonderfully. It was dark but funny at the same time. I really loved the imaginarium sequences. Gilliam uses dream-like imagery and odd behavior to construct a fantastic escape into imagination. Although the CGI was admittedly simplistic, it was fitting for the fantasy realm. Great performances, especially by Heath Ledger and Colin Farrell.

I don't think this movie is for everyone since it has received mixed reactions. I also would advise against having certain expectations going into it, because there's no way to anticipate what you will get out of the film. But for me, it was certainly a real treat and very enjoyable throughout.

6/10

It is impossible to write about this entry into Terry Gilliam's oeuvre without acknowledging the tragic death of Heath Ledger. Cast as the film's inciting character, Heath Ledger's untimely death spawned and air of sadness that blankets the film, especially considering the tragic nature of his character.

Of course, as they say, the show must go on, so "The Imaginarium" did as well. in an outpouring of cinematic industry kinship, Johnny Depp ("Fear and Loathing"), Colin Farrell ("In Bruges"), Jude Law ("A.I.") stepped in to play Heath Ledger's character, Tony's, alter ego when he is in the mirror world. What this film would have looked like had Ledger not departed can never be known. How much film had to be scrapped, how many scenes were restructured, what funding fell through as a result, I do not know.

For these reasons, the film, in all of its imperfection, seems to get a pass from me, as I find myself wondering how a film production would recover from such a blow. The only even somewhat similar circumstances I can think of off the top of my head is Brandon Lee's death during the filming of "The Crow," and the massive reshoot efforts undertaken to remove Kevin Spacey from the film "All the Money in the World," coincidentally played by Christopher Plummer ("The New World") who co starred with Ledger ("A Knight's Tale") in "Imaginarium."

So those are my caveats for a film plagued by problems. I watch this film with a wave of sad forgiveness and dream of its original intentions.

Suffering the double whammy of being directed by Terry Gilliam (forever the attracter of on-set misfortune – Don Quixote, anyone?) and the untimely death of its star, Heath Ledger, halfway through shooting, The Imaginarium of Doctor Parnassus has had a troubled upbringing. But with the actor's tragic passing, its unremarkable place on 2009's cinema calendar was upped by being Ledger's second posthumous and final movie, unfairly burdening the film with the anticipation of it being something great.

It's not great. But it is a good movie, and probably Gilliam's best in over a decade. Also, bittersweet though it may be, Ledger's inability to complete his work is remedied in an incredibly inventive manner that arguably improves what would have been; the multiple facets of Ledger's mysterious Tony in the Imaginarium is a great inflection, and Gilliam deserves credit for this creative retooling, and for the fact that the haste in which it was applied is not at all noticeable. Johnny Depp, Jude Law and Colin Farrell (who all donated their wages to his daughter, Matilda) honorably step in to play the alternates, paying poignant tribute to their friend. All are good (though Farrell's Irish accent is far too thick to flatten), Depp probably being the best, but its all mimicry; Ledger is the one who does all the work. His Tony, performed with a flawless English accent, is a great part for him, possessing all the characteristics of vintage Ledger – charismatic, droll, physically erratic, etc. It's not on par with his work in Brokeback Mountain or The Dark Knight, but seeing how much fun he must have been having, seeing that wily smile, makes it a none the more fitting goodbye to the man.

The multi-personas also, despite sounding like classically contrived Gilliam, actually turn out to be the most credible part of the movie; they represent the most fascinating of the film's many mediations on reality (Gilliam is always at best when toying with reality, and this is no exception) - different parallels of the human psyche (or at least Tony's) are all challenged, and make for genuinely thought-provoking stuff. The rest of the film, however, is a bit of a patchwork; provocative but hopelessly overwrought. As always with the Brazil director, you can't fault his ambition, but he's always been patently unable to neatly combine all of his ideas into a satisfying whole.

His biggest mistake is going contemporary. Gilliam's sense of humor, being that of a Python affiliate's, has always been well-authenticated by a theatrical and undeniably British zaniness. But here, we get modern social satire in the form of Tony's revamped version of the group's travelling act, and we get conversational verbosity (particularly in the poor improvisation of a pointless Verne Troyer), and it simply doesn't suit. Better are the moments where a group of "violence-loving" coppers dance about in skirts or in the inebriated ramblings of Doctor Parnassus.

Why Gilliam didn't stick to his personal brand of appealing outlandishness is a shame, and a mystery, considering his fine cast of comically-endowed Brits, with glorious thespian Christopher Plummer at its head as the titular Doc. Of all the actors on hand here, Plummer is the one who best excels with the material. Playing a man who has lived over one-thousand years, he manages to convincingly carry himself with the weight of that time, his sallow-skinned and ravaged face, heavy, sad eyes, and world-weary frown scarily naturalistic. He's a heart-breaking character, and Plummer makes him an uncompromising presence.

Also impressive are newcomers Andrew Garfield and Lily Cole, and Tom Waits as Mr Nick, the Devil himself. The notorious singer has never really had any good roles to work with in his career, and, in all fairness, his talents as an actor dictates just as much, but he's simply perfect here, his Machiavelli stealing all the scenes he wonderfully chews with his smarminess. It's not exactly a creation of noteworthy prowess (and neither is the character – the cavalier, smooth-talking, gentleman-like villain, who relishes fomenting, is very overdone), but he's just such a hoot and effortlessly magnetic. He's pretty much the best thing here, and worth the admission price.

Along with the cast, the visuals, a branch you can expect brilliance in with Gilliam, are a real saving grace. The special effects in the Imaginarium aren't extraordinary, but that's the point; it's an accentuated, animated reality – one's greatest dreams (and nightmares) aren't supposed to be realistic. And few images this year are more stirring than of a harrowed Parnassus wandering through a vast snow-plain, giving up his struggle at a crossroad sign that reads "High Road" or "Low Road".

It's a very entertaining movie, and thematically sound (it manages to make existentialism and solipsism accessible), and endearingly whimsical in tone and style. Unfortunately, it frequently degenerates into a muddle, the many ideas it juggles far too incoherently transcended. Thankfully, however, after the monotonous middle act, the movie picks up steam and the great Imaginarium sequences arrive to compel. And, in the end, it's a sheer miracle that the movie got made; the fact that Gilliam didn't give up, that he persevered and single-handedly defeated one of the worst production catastrophes, and that he gave Ledger his swansong, is something truly amazing. And it is for that reason that The Imaginarium of Doctor Parnassus will be remembered.

In London, Doctor Parnassus (Christopher Plummer) leads a troupe of traveling entertainers including his daughter Valentina (Lily Cole), midget Percy (Verne Troyer), and Anton (Andrew Garfield). Parnassus claims that many centuries ago, he gained immortality from the devil Mr Nick (Tom Waits). However it's a trick that turned everlasting life into everlasting torment. Then one night, they find Tony (Heath Ledger) hanged off a bridge. When he comes to, he can't remember anything.

It's got the wild imaginings of director Terry Gilliam. This is one rambling disjointed crazy confusing mess. And it has nothing to do with replacing the deceased Heath Ledger with 3 other actors Johnny Depp, Colin Farrell, and Jude Law. I understand that part. Everything with the devil is just confusing. It is weak storytelling. However I have to give him credit for visual style.

This is Terry Gilliam's dark masterpiece. It's a brilliant film--there are fabulous, fantastic, surrealistic visual effects; gorgeous cinematography; and stunning performances by an amazing cast of consisting of both famous stars and lesser known (but excellent) actors. It's in the vein of the great European surrealistic movies like Fellini's "8 1/2" or "Satyricon". But--if you're not open to a mind bending, almost psychedelic fantasy and a plot with strange twists and turns that can be challenging to follow, this won't be for you. The cast is terrific--I mean, Tom Waits plays "Old Scratch"--how can you lose? Christopher Plummer is excellent in the title role; Heath Ledger's last performance is stellar. Lily Cole, Johnny Depp, Andrew Garfield, Jude Law, Verne Troyer, and Colin Farrell are also very good. The costumes and sets are gorgeous, though often in a dark and grungy way. By the way--it also ends up being a story about ethical choices in life and how some people are very misleading. Probably not material for a box office hit, sadly, as this film is probably too unusual for most Americans.

I found this film interesting and visually stunning, but flawed. At least one of the flaws cannot be attributed to faulty writing/production, but several others can be. For example, there is nothing new or original in the story: it is a straightforward retelling of Faust, the man who makes a pact with the devil and discovers that the devil is smarter and has all the time in the universe to prove it. The ideas of a man who asks for immortality but neglects to ask for eternal youth, and of a child born with a curse on her because of a prior wager her father has made with divine powers to further his own interests, are taken straight out of Greek mythology. Still, one could do worse than borrow from Goethe and Greek mythology.

The movie weaves in and out of mundane reality (the traveling freak show in modern England) and schizophrenic hallucinogenic scenes inside the Imaginarium, which is the carnival attraction into which Dr. P lures potential sacrificial victims in his attempt to outwit the devil. The scenes inside the Imaginarium show what happens when you give an ex-Python unlimited access to digital effects: quite stunning, but having little to do with the story. They show the fantasy of Gilliam running wild on a huge budget, more than effectively advancing the story of Dr. P and his accursed daughter. I ask myself what a 1930s producer/director, Fritz Lang or Tod Browning for example, might have done with this story and these characters, but without the digital effects- -the story might have benefited from leaving the hallucinogenic details more to the imagination of the viewer than brow-beating us with a pixel- barrage of details. The real horror of what Dr. P is doing is masked by the almost Dr. Seussian silliness of the visual effects (dancing policemen??): Dr. P is luring souls to eternal damnation in an attempt to free his daughter from a wager he made centuries ago. Dr. P is, in essence, trading in human souls. Dr. P himself is immortal, but his daughter is not, and time is running out for her; the horror of her situation, and the evil Dr. P is willing to perpetrate to undo the effects of his own damnable wager, could certainly have been ratcheted up by more subtle means than Gilliam employs here.

The reality scenes sometimes interweave with the fantastical ones in schizophrenic confusion, indicating, so I suppose, Dr. P's own tenuous grasp on reality. The schizophrenic quality of the film is enhanced by the fact that several different actors play the part of one of the main characters, Tony. I ask myself whether any producer/director would have chosen this as his preferred mechanism to unfold this story, and the answer I come up with is, "no". It is a trick which doesn't quite work for this story; though it did work for "I'm Not There" (no one could play Bob Dylan). The film just barely manages to make the trick plausible by implying that the differences in the character's appearance are due to the perspectives of the different people who perceive that character within the Imaginarium. OK, it was made necessary by the death of the actor in the middle of production, otherwise the film would not have gone public; I can see that Gilliam made the best of terribly unfortunate circumstances. But it is still a dubious trick.

The casting is excellent: Plummer is entirely convincing as the world- weary Faustian character, Miss Cole acquits herself well as the girl clueless as to her own impending doom, and Waits is superb as the devil. If I hadn't seen any other film with Heath Ledger in it, I would not have thought him an especially gifted actor based solely on this performance; maybe if he had completed the film, it would have shown his true abilities.

6/10

This movie was crazy. Don't get me wrong, though. It was crazy in a good way. This movie plays with your imagination. We're transported into different worlds- inside the Imaginarium of Doctor Parnassus. I enjoyed seeing the different places. All the color that was in it and etc. It really reminded me of 'Charlie and the Chocolate Factory' with the delicious candy and the beautiful edible rivers- only obviously, this film was a whole lot crazier.

This movie is about Doctor Parnassus who has to give up his daughter, Valentina, on her 16th birthday to the devil, after losing a bet. But the devil gives Parnassus a chance to stop this by making ANOTHER bet- the first one to get five souls wins and gets to have Valentina.

The 4 stars that I gave in the rating was for the settings and the tinge of magic and fantasy that the movie gave. The last star is for the cast and crew. I admit that I've never heard of this movie before. But after watching one of Ledger's films, I got curious about his career and saw that this was the last film that he made, so I decided to watch it. It's impressive how they managed to make this movie still work even after the main actor passed away. It made me think about the 'Harry Potter' franchise and how they would handle it if one of their main characters died. The whole cast and crew did a terribly wonderful job even after the very unfortunate tragedy that they experienced. The other 3 Tonys did a wonderful job. Especially Johnny Depp. I also thought that it was wonderful and selfless for Johnny Depp, Jude Law and Collin Ferrel to donate their earnings to Heath's daughter. Once again, kudos to the cast and crew!

Now for this movie's big failure. After the film, I asked myself, "What just happened?" There were so many things happening. I couldn't understand everything. And judging from the board and other reviews, I'm not the only one. It was just too confusing. I think it was the symbolism that made viewers kind of confused. Up until now, I still have so many questions. But I won't bother researching on them anymore, since most people's answers are, "It's left up to your imagination." I'm a fan of open ending movies, but this one was just crazy.

Just before leaving to go and see The Imaginarium of Dr. Parnassus, the latest offering from the perpetually 'unlucky' yet stubbornly visionary Terry Gilliam (Fear and Loathing in Las Vegas, Time Bandits), I asked a good friend, also a movie buff, if he wanted to come with.

"No way," he proclaimed. "I can't sit through a Terry Gilliam movie." Having sat through the 2 hour + film myself, I'm convinced he made the right decision, as I even had a tough time with it. It's definitely too long, rarely makes sense and feels as though it might unravel at any minute. As usual, Gilliam's imagination takes over the film, running completely wild in every direction, resulting in a rich visual feast that's a delight to look at. As usual, though, this comes at the expense of clarity and accessibility, which is unfortunate, especially so considering the multiple real-world challenges that severely disrupted the film's production and its theoretical comprehensibility anyway. Is Gilliam ever gonna catch a break? And, if he does, will he be relaxed enough to create something that more that a handful of folks might like? This film's script (mostly unchanged, despite production difficulties) will definitely try one's patience; characters make weird choices and important plot elements are left unexplained. As a decision seemingly made to serve the story, most of Gilliam's film operates on a kind of dream logic, which at the best of times put a huge grin on my face and made me feel all gooey inside and at the worst of times pulled me right out of the film, faster than a spilled cold Coke in the lap. As an example of the latter, one would think that Gilliam, having famously made the creative decision to bolster the late Heath Ledger's incomplete performance with the work of Johnny Depp, Colin Farrel and Jude Law, might have installed some sort of interesting yet logical plot device allowing that singular character to appear physically different at times. Sadly, the reasoning is, for some reason, half-baked - the other characters in the film are just as puzzled as the audience is at the changes, even going way too far with their "No, wait... who are you?" line of questions. If one's own characters seem to think it's out of place, then the audience will have no choice but to question it as well. Disbelief: unsuspended and resolute in its anchor-like stolidity (how's that for a sentence?).

Now, despite all that, I absolutely, positively and without question adored The Imaginarium of Dr. Parnassus. Because Gilliam is really, really good at what he does best. It's far and away one of my favourite films of the year, and easily the most important film of Gilliam's career, warts and all. With Parnassus, he continues to stylistically explore potent ideas about the power of storytelling and imagination, and what happens when the worlds of fables and make-believe collide with our cynical, sober reality - all concepts I personally go nuts over. When in this mode, he always managed to sub-textually raise questions about imagination and dreams as important sign-posts in our collective unconscious, lighting the way to collective and individual hope, joy and happiness. The difference with Parnassus is that Gilliam has finally made a film that is explicitly and without question about that exact thing, positing at its core that stories and imagination and new ideas are the very things that hold the fabric of the universe together. A beautiful idea, and as relevant as ever considering Hollywood's constant push for the bottom line over creative integrity, and Gilliam's own personal feelings regarding his stifled creativity and the uncertainty of his place in modern cinema. And if you're anything like me (Naive? Simple?), this stuff, when fused with Gilliam's impeccable eye for composition and always fantastic production design will help you forget that the film isn't perfect or logical or accessible.

Despite all of the aforementioned flaws in the story (which, understandably, most movie-goers may have a low tolerance for), The Imaginarium of Dr. Parnassus is actually quite brilliant, and contains some of the single best movie moments and ideas seen all year, and by dint of its stellar cast (besides Heath Ledger and friends, the film stars Christopher Plummer and Tom Waits, both in memorable roles), serves as a showcase for some of the best talent working in film at the time of production. But because of its flaws, it probably won't generate the word of mouth necessary to bring the crowds (and as such, the box office receipts) that Gilliam so desperately needs in order to continue to be able to make films of this scale. Which is too bad, as directors like Gilliam, who so zealously worship at the alter of imagination and visual splendour with a slavish dedication to film-making craft are not so high in abundance. Maybe if he was actually able to, you know, make a film without having outside elements messing up his plans, he might actually live up to his ultimate potential as an original story-teller able to easily reach the masses. As it stands, though, his status as such, as well as the very fabric of the universe it seems, continue to be under threat.

My score? 7/10.

Terry Gilliam's 'The Imaginarium of Doctor Parnassus' is what I call, a future Hollywood Cult Classic. An interesting tale of a leader traveling theater troupe who, having made a deal with the Devil, takes audience members through a magical mirror to explore their imaginations.

'The Imaginarium of Doctor Parnassus' which received two nominations at the Academy-Awards this year, will ensure a huge fan following in the coming years. As mentioned, a future cult classic for sure! Gillam's direction is simply awe-inspiring. His writing isn't, it has it's share of flaws, but he can be forgiven.

In the acting department, Christopher Plummer is fantastic, he steals the show with a controlled performance. A true legend! Late Heath Ledger is, as always, good. Johnny Depp, Colin Farrell and Jude Law's appearance makes you moist eyed, as they did this role of their late friend Ledger. Oh boy, what a emotional moment!

I recommend this film to everyone.... Thumbs Up!

In London, the sideshow troupe of Doctor Parnassus (Christopher Plummer) promises to the audiences a journey to the "Imaginarium", an imaginary world commanded by the mind of Doctor Parnassus where dreams come true. In the stories that Doctor Parnassus tells to his daughter Valentina (Lily Cole), to the midget Percy (Verne Troyer), and his assistant Anton (Andrew Garfield), he claims to have more than one thousand years; however, when he felt in love for a mortal, he made a deal with the devil Mr. Nick (Tom Waits) trading his immortality per youth. As part of the bargain, he promised his son or daughter to Mr. Nick on the sixteenth birthday. Valentina now is almost in the doomed age and Doctor Parnassus bets with Mr. Nick that whoever seduces five souls in the Imaginarium will have Valentina as a prize. Meanwhile the troupe rescues Tony (Heath Ledger) that was hanged on a bridge by the Russians that explains why he had been chased and he joins the group. Tony and Valentina fall in love for each other and the jealous Anton discovers that his competitor is a liar.

"The Imaginarium of Doctor Parnassus" is another original movie with the surrealistic and imaginary world of Terry Gilliam and last work of Heath Ledger that had to be replaced by Johnny Depp, Jude Law and Colin Farrell in the "Imaginarium" to complete the missing scenes. Further, the trio of actors has donated their income with this film to Heath Ledger's daughter to guarantee her financial situation in the future in magnanimous attitudes. The duel between Doctor Parnassus and Mr. Nick together with the vision of the world of fantasy of Terry Gilliam is awesome. For those that liked this movie, I would like to recommend the also surrealistic "O Homem Que Desafiou o Diabo". My vote is eight.

Title (Brazil): "O Imaginário Mundo do Doutor Parnassus" ("The Imaginary World of Doctor Parnassus")

The plot in Terry Gilliam's manic eleventh film is typically all-consuming, all across the board but there's a foundation, I think. His far-out creations in character, costumes and CGI effects, all with his charming trademark textural density, are given purpose by a story that necessitates alternating dimensions. Features of this story were required by the death of Heath Ledger halfway into the filming, although the state of the narrative itself I imagine was intact from square one. It concerns an oddball, boilerplate traveling show that unravels out of a shabby old camper in dilapidated corners of London populated largely by lushes and freaks. Comprising the show is the fine and enduring talent that is Christopher Plummer, in the form of the astronomically old Parnassus, squatting mysteriously on a stool while his id, Anton, played by decent new face Andrew Garfield; his daughter and his agitated midget played inevitably by Verne Troyer, perform for a loudmouth posse of beer buddies.

Percy and Anton save the life of a man hanging from a bridge. Why they can do this is safely not described. The man on the rope is Heath Ledger. That's right. He gets in on the traveling wagon performance, is repulsed by its primitive style and recommends making it more state-of-the-art. Why it's so flimsy is because Parnassus is several hundred years old, having made a deal with the devil, played typically by Tom Waits, to live eternally as long as Satan can take Valentina when she turns 16. So you have to concede that Parnassus took his own sweet old time procreating. But naturally he wants out of the deal. I always did feel like Satan must often run into default risks.

Tony, it unravels, can access or summon or manipulate or make up odd dimensions on the other side of a mirror on the crummy footlights. In these dimensions, anything goes, which is invariably what Gilliam favors. CGI lets the filmmaker and his designers to go crazy, which they consciously do with vigorous fervor, and some astonishing imagery appears. I think Ledger was supposed to be the master of all of these worlds. Alas, Gilliam evidently finished filming all the outer-world London scenes, Ledger returned to New York for R&R, and after that came tragedy. True to Gilliam's filmography's most prevalent thread of fantasy as escape from reality but carried by an air of loss, he juxtaposed him by casting Johnny Depp, Colin Farrell and Jude Law as the Tonys of Imaginariums Nos. 1 through 3 and not elaborating further, as in fact with Imaginariums, that's not necessary. Depp looks the most like Ledger, although it's an ironic feeling of mine that Farrell steals the role. In a sense, the finished product is rather serendipitous in its tragedy, as in most of Gilliam's films, fantasy is treated as creative and imaginative escape from reality, but it also carries with it an atmosphere of loss. This often evokes a violent and sudden response, as is the case with the presence of the humongous squashing foot crashing down that appears in the Python credits he animated.

My dilemma with Gilliam's films, which nonetheless inventively combine the Gothic and romantic, is that, while I don't need A-B-C, Act 1-2-3, I do somewhat prefer having some idea of a film's own conditions. You get the feeling that if a creative idea hits Gilliam, he finds himself at liberty to seize and squeeze it for all the juice it can drain, which is good, though often going not just for broke but for overdraft fees. Almost invariably longing to like Gilliam more than I do, I went out of my way to see Doctor Parnassus essentially to be confounded. Gilliam has never been guilty of the crime of being on auto-pilot. But a good deal of his movies are an acquired taste.

Now what I see is a company of seasoned actors sportingly attempting to maintain their sanity while all around are losing theirs. Can it be easy to play one-third of a master of one-third of a capricious fantasy realm? You only have to dive in. Ledger himself---who makes Tony comparatively down-to-earth in the "real" world, which is of course intentional---must have been ready to do the same and would have given the plot more cohesion. Nevertheless, this is without a doubt an Imaginarium. The best angle is to sit there and let it wash over you. Get caught up in the present-tense much in a way like reading a Kurt Vonnegut book, not worrying so much about hearkening back to the beginning or guessing the end, because at any rate you can't.

Gilliam's strength, as always, is in having the ability to project the craziest depths of his imagination on to the big screen and this film provides the ideal platform for him to showcase his stunning visual conceptions. The 'Imaginarium' itself is a spectacle of fabulous colours, wonderfully bizarre landscapes and alluring visions; each personal to whoever enters through the magical mirror of Dr. Parnassus' mysterious travelling sideshow.

On the face of it, this vague idea along with an unparalleled cast sounds like it could be a winning concept for another masterpiece from acclaimed filmmaker Terry Gilliam (Twelve Monkeys, The Fisher King, Brazil, Fear and Loathing in Las Vegas), but I think it lacks the substance to make it a winner. Having said this, credit should be duly given to Gilliam, as the sudden death of Heath Ledger before filming had finished meant that some of the script had to be rewritten and other actors drafted in to complete Ledger's part (Depp, Law and Farrell).

The plot is hazy and with so much going on throughout it is very difficult to summarise. Dr. Parnassus (Plummer) is accompanied on his travels by his 15 year old daughter, Valentina (played very well, actually, by model-turned-actress Lily Cole). They are joined on the road by two more assistants; the somewhat irritating, yet harmless character of Anton (Andrew Garfield) and Parnassus' "number two", Percy (Troyer). Parnassus possesses the extraordinary power to invite people into their own imaginations through the main attraction that is the Imaginarium, which appears to be a completely ordinary two-sided mirror from the outside. Once inside, however, people are enticed one way and another and eventually, required to choose their fate. Heath Ledger effortlessly plays Tony, an ambiguous, enigmatic character who brings charisma and charm to the failing sideshow. It is very much a supporting role and he turns up towards the second half of the film. Johnny Depp, Colin Farrell and Jude Law each bring an interesting dynamic to the character, even though they feature only for short spaces of time within the Imaginarium.

I would like to watch this film several times more before making my mind up completely as to whether I like it or not; but the main reason that I wouldn't put this amongst Gilliam's best is that it is quite slow-moving in places, where Gilliam seems to have gotten so carried away with his imagination-land that some of the other scenes are lacking focus. It is also difficult to feel any empathy or emotion for the characters, because even with some excellent performances – particularly Plummer as Parnassus himself – there are no distinct personalities to love or hate. In this sense, it is quite possible that this will appeal to cult fans of his niche film-making style. In any case, it is absolutely essential when watching this film that you abandon the desire for a plot in any conventional sense of the word and accept that, in order to appreciate it, your imagination must take over