The Imaginarium of Doctor Parnassus

2009. Dir: Terry Gilliam. Starring: Christopher Plummer, Lily Cole, Tom Waits, Andrew Garfield, Heath Ledger and friends. ●●●○○



If you were to brainstorm words associated with the back catalogue of Terry Gilliam then you would almost certainly perfectly describe his latest piece. Indeed The Imaginarium of Doctor Parnassus is a typical example of both the positive and negative aspects of the former Python's oeuvre.

Creative - Inside the titular doctor's travelling show, and it's portal to another dimension there is a unique and beautifully crafted world where anything that can be conceived is not just attainable but perfectly logical. Indeed the entire basis of the plot, where the souls of mankind are fought over by making people choose the end to their story whichever way they feel necessary.


Half baked Yes Terry has this fantastic concept, but he can't think of enough of a story to hang it on - or at lest make a decision to stick with a particular story - is it the wager with the devil we are concerned with, or Valentina's coming of age, or the origins of Heath Ledger's anmesiac stranger?

Cast Great actors Like the venerable Christopher Plummer in the lead, or taking risks withs model Lily Cole and gravelly voiced singer Tom Waits. Even to tragic loss of Heath Ledger, and the subsequently rewriting of the fantasy scenes to introduce multiple actors (Johnny Depp, Jude Law and Colin Farrell) to play alternative Tony's seems utterly organic.

Forget to direct the actors unfortunatly there is little point in being creative in casting if you allow the stars to coast (yes Johnny I'm looking at you), give them nothing to do (Plummer's the lead role but so very one note) or allow free reign (I don't wish to speak ill of the dead but Heath is just plain bad in this). Andrew Garfield is a real find though.

Excellent production design as ever there are some memorable and disturbing images, especially from the dreamscapes and from the inside of the caravan. Anastasia Masaro has a lot to be proud of.

Allow the images to dictate the story dancing policemen in stocking a suspenders may work in a late 60's sketch show, but unless it's forwarding the plot it comes across as indulgent.

When we combine all these elements it's not hard to see how the entire film can be described as classic Gilliam. It's like painting with your neice - enjoyable and fun
whilst you're doing it, but ultimatley messy and forgettable.