The Imaginarium of Dr Parnassus

Director: Terry Gilliam
Cast: Christopher Plummer, Lily Cole, Tom Waits, Johnny Depp, Colin Farrell, Jude Law and Heath Ledger
DVD release: 19 May 2010
Rated: PG

Forty years ago, the inspired lunacy of Monthy Python’s Flying Circus fired up the careers of John Cleese, Graham Chapman, and Terry Gilliam. Even the name of Gilliam’s new film - The Imaginarium of Dr Parnassus - has echoes of Python days and the Imaginarium itself is a masterpiece of Python design as it eerily unfolds its parts. Give Gilliam his due, he's one of the most visually stimulating if unlucky filmmakers in the business, with his recent projects having been plagued with misfortune. Although his early films stood alone in their visual intoxication, today his imaginative cinema may be slightly diluted due to the increasingly frequent use of digital effects in movies. We're getting used to plausible impossible flights of fancy.

That’s not taking anything away from Gilliam’s latest essay into wondrous dreams or nightmares; this is another of his works that gleams with invention. It follows in the tradition of The Adventures of Baron Munchausen with some debt to TV’s Carnivale, Alice Through the Looking Glass, and even Chris de Burgh’s lyrics from ‘Spanish Train’.

It also marks Heath Ledger’s last screen appearance. Sadly he didn’t complete his part before his untimely death and it looked like the film would be shelved. However Gilliam finally overcame the problem (taking a leaf out of David Lynch’s book) having three other actor friends of Ledger complete his role. It's so skilfully done you have no qualms about the substitution, and Ledger’s incomplete performance is actually enhanced.

Briefly the film tells a morality tale about Dr. Parnassus (Christopher Plummer) and his marvellous Imaginarium, an ancient travelling show where audience members are given a trip of the imagination for better or worse when they pass through a fake mirror. Unfortunately Dr P. has for centuries been gambling with the Devil, Mr. Nick (Tom Waits) who gives the doctor immortality but at a terrible cost. His lovely daughter Valentina (Lily Cole) will become the property of Mr. Nick on her sixteenth birthday.

With this birthday coming up, Dr. P. makes a last bet with the Devil that the winner of Valentina will be the one who seduces the first five souls. Tony (Heath Ledger) an opportunist of uncertain motivation found hanging under a bridge joins the show and seriously affects the outcome of this race against time. He also modernises the show’s creaky Victorian presentation. During Tony’s visits beyond the mirror, he’s played by Johnny Depp, Colin Farrell and Jude Law. Others in the troupe include Percy (Verne Troyer) the Doctor’s diminutive faithful assistant, and Anton (Andrew Garfield), a young actor playing Mercury.

Heavily made-up Christopher Plummer (Closing The Ring) gives a somewhat theatrical performance but one in keeping with the film’s style. Heath Ledger (The Dark Knight) lends an edge to his scenes that are later extended by his three other faces. Super model Lily Cole (St. Trinian’s), that sumptuous Botticellian beauty, proves she can also act. Musician Tom Waits (Coffee and Cigarettes) is a comfortably sinister Devil, with overtones of Burgess Meredith of the old Batman & Robin TV series. Vern Troyer (Mini-Me in Austin Powers) works hard to make a memorable character of Percy.

Film references abound, from the wide angle depth-of-focus opening shots reminiscent of Orson Welles to the later mirror sequence from same director’s Lady From Shanghai. There’s a touch of the gothic The Elephant Man in the scenes around London, the haunting dark shape of the Imaginarium lumbering through contemporary streets having a dismal nineteenth century aspect.

Despite moments of over-indulgence and obscurity, Gilliam’s more disciplined than usual, managing to pull the show firmly together. There’s still a lot of Python in the man. Fantastic images are what you expect from Gilliam, writer Charles McKeown and their technical crew of wizards. I have the feeling losing fifteen minutes of running time would do no harm at all, but overall the stylish sets, GCI effects and vibrant performances make it an engaging experience. Images remain in the mind long after the stop button is pushed.

John Bale