• Gilliam moved on from trilogy of imagination in the 1980’s (Time Bandits, Brazil, The Adventures of Baron Munchausen) to a new trilogy- the trilogy of Americana in the 1990’s starting strongly with The Fisher King
  • At first blush it appears heavier than anything he’s done before— more grounded in reality (for a Gilliam effort)—a Howard Stern-like radio DJ turned alcoholic (Jeff Bridges) and the interconnected life of one of his victims (by proxy with a listener and a mass shooter/murderer). Robin Williams in his second collaboration with Gilliam. It is an ambitiously and unsubtly (is there any other kind of Gilliam film?) told tale of guilt and redemption. The lack of subtlety is a description, not a critique
  • starts with the open mouth of Bridges in the DJ booth—and Gilliam is just such a singular artist- we have the overhead of the stylized booth, the camera floating around—he infuses creativity into even seemingly the most confined settings

Gilliam is just such a singular artist- we have the overhead of the stylized booth, the camera floating around—he infuses creativity into even seemingly the most confined settings

  • cuts to another sublime image—the overhead shot of the yellow cabs and one lone black stretch limo

cuts to another sublime image—the overhead shot of the yellow cabs and one lone black stretch limo

  • the opening 10 minutes is it its own little short story- ending in Jeff Brides in a shocked close-up—then the screen goes black and we cut to three years later
  • wide angle lens shows Bridges’ disorientation with reality in a state of drunkenness
  • at 15 minutes one of the 4-5 greatest images in the film- the canted, tilted or dutch angle of the rainy street outside of the video rental story—his worldview indeed

at 15 minutes one of the 4-5 greatest images in the film- the canted, tilted or dutch angle of the rainy street outside of the video rental story—his worldview indeed

  • Gilliam takes a sharp skewer to modern day sitcoms, commerce, with the little “forgive me” which certainly has multiple meanings catch phrase
  • The den and décor of the homeless throughout- perfect match for Gilliam’s already trademark hoarder/garbage art look. We even have the shot of the ducts (an ongoing mise-en-scene visual design in Brazil) in Robin Williams’ home. Williams is introduced 20 minutes in—at his manic best here. This, as all of the 1990’s Americana films are for Gilliam, is a male two-hander—and both leads here are impressive—a major resume builder for Brides and Robin

both leads here are impressive—a major resume builder for Brides and Robin

  • Gilliam intercuts the main narrative with surrealism sequences much like Jonathan Pryce’s fantasy daydreams in Brazil– Williams’ character is literally battling his demons here (first time at 46 minutes)- in the form of the red knight character (the color red is featured predominately throughout in the design)

Gilliam intercuts the main narrative with surrealism sequences much like Jonathan Pryce’s fantasy daydreams in Brazil– Williams’ character is literally battling his demons here (first time at 46 minutes)- in the form of the red knight character (the color red is featured predominately throughout in the design)

  • Gilliam goes full-bore in the Wellesian low-angles to powerful effect. It fits both the narrative (disorientation and distortion of reality is key for Gilliam) on top of being handsome to look at. It also fits Gilliam as an artist who views himself very much outside of the system—Welles has to be a hero to him.

 

Gilliam goes full-bore in the Wellesian low-angles to powerful effect

It serves the story (disorientation and distortion of reality is key for Gilliam) on top of being handsome to look at

It also fits Gilliam as an artist who views himself very much outside of the system—Welles has to be a hero to him.

  • Formally/visually so strong—it isn’t just the low-angle cameras, we have the repetition with the overhead shot—from the DJ booth, Williams’ boiler room, to the hospital, to the overhead of the Grand central station waltz

Formally/visually so strong—it isn’t just the low-angle cameras, we have the repetition with the overhead shot—from the DJ booth, Williams’ boiler room, to the hospital, to the overhead of the Grand central station waltz

  • Mercedes Ruehl (who won an Academy Award here) and Amanda Plummer are very fine in support
  • I would’ve cut out the cheesy wipe edits during the disastrous double date dinner (which is mounted with this great handsome backdrop—a jaw-dropper at 91 minutes—red booth, blue background and Gilliam pulls the camera back in a tracking shot just as he did earlier when Ruehl cooked dinner for Brides and was stood up by him so she was eating alone

a jaw-dropper at 91 minutes—red booth, blue background and Gilliam pulls the camera back in a tracking shot

  • Like a Gilliam-infused version of Woody Allen’s Manhattan Brooklyn bridge skyline at 102 minutes—we even have a trash can and paper in the foreground to design and block the frame

Like a Gilliam-infused version of Woody Allen’s Manhattan Brooklyn bridge skyline at 102 minutes—we even have a trash can and paper in the foreground to design and block the frame

  • The all-white hospital, tilted at an angle—and then a short time later a staggering Kurosawa-like blocking composition with five patients from the hospital in the frame with Bridges in black— magnificent work

The all-white hospital, tilted at an angle– this is expressionism — Caligari

  • A Must-See film- top five of the year quality