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A+ |
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Now we see the violence inherent in the system...
by Semi-Mad Scientist (!) (movies profile)
Jun 11, 2008
32
of
35 people found this review helpful
I don't like to classify any film as my favourite. This does a disservice to the notion that films are complex structures that cannot be reduced to a simple linear of comparison. This would be like asking someone to rank their family and friends, allowing them to compare lists, which is something that I hope most people don't take into adulthood.
However, a film that causes me to remember practically every single line of dialogue uttered and anticipate nearly every scene has got to be recognised. So for Monty Python and the Holy Grail, which meets these criteria, I declare it to be my Number One film. Not necessarily the best, but the one that has integrated the most into my personality.
The acting is adequate, but only because the story is undemanding of it. Instead, the film focuses on the humour that drives practically every situation. And it is not simply a rehashing of the same humour throughout the film, but a variety that leads to the mental replaying of a particular scene in on circumstance and another scene elsewhere. The lines are so diverse that one can come up in conversation and be very different to the intent within the film.
What is the philosophy of the film? Actually, none. Zip, zilch, nil. Instead, the film is a collection of many philosophies with one common thread, that philosophies are silly. We see Dennis protesting the autocracy with no effect, the Black Knight's stubborn refusal to admit defeat, Tim the Enchanter's manipulation of the elements that leads to a quirky demeanor that none can relate to, and the women of Castle Anthrax who desire submission at the cost of their own individuality.
And what of Arthur and his men? Perhaps they are seeking more than a mere Grail. Perhaps their true quest is to find themselves, with Sir Lancelot seeking adventure when none is available, Sir Galahad searching for his sensual nature amid the perils of sexuality, and Sir Robin in a quest for courage (like unto the cowardly lion in the Wizard of Oz). And Arthur himself seeking to be important when one individual is merely subordinate to society at large. Thus he becomes violent to Dennis, uncaring to the Black Knight, and outright rude to the woman when seeking shrubbery. Even his responses to the bridge-keeper portend an arrogance that is unsupported by self-confidence.
The true star of the film is the dialogue. Every line of the movie is uttered without any pathos whatsoever. It is as if the film was being done as a debate instead of a normal human conversation. There is a certain remoteness that each character has in regard to others, a kind of mutual solipsism that permeates the world of A.D. 932. Perhaps this is a world lacking in redeeming qualities, and the final scenes of the film provide the just comeuppance to the characters.
Of course, what I have written over the last few paragraphs is a bunch of jabberwocky, written in the wee hours of the morning. The reason that this film rates highly in my mind is that IT IS FUNNY AS HELL! I can watch it over and over and still laugh, even though I can play out the whole upcoming scene in my head. Few movies integrate into my personality in any sense. Very few movies have more than one line of memorable dialogue. Most of this film is memorable dialogue, from the Swedish subtitles to the final tauntings of the French. It plays out as more of a long comedic stretch than a coherent movie, but that's what makes it special. |
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