Dr. Parnassus, the leader of a traveling show has a dark secret that he has been carrying with him for years. In fact, it's been centuries as thousands of years ago he made a trade with the devil. Exchanging the soul of his daughter, Valentina for eternal life. Now the Prince of Darkness has finally come to collect his prize. In a bid to save her, Parnassus makes a final wager. Whoever is the first to collect five souls will win Valentina. When Tony, a young man who Parnassus's troupe saves from being hanged, agrees to help them, unbeknownst to them, he has his eyes set on marrying Valentina.
It's safe to say that the Imaginarium of Dr. Parnassus couldn't be any more apt a title for what was then Terry Gilliam's foray into the imaginatively bizarre. A testament to the creative ambition and scope that he had given movie audiences with phenomenal Brazil, and The Adventures of Baron Munchausen. It received a lukewarm reception, upon its release and just managed to break even at the box office although it seemingly became more known for being the last movie of Heath Leger who tragically passed away during filming at the tender age of 28. This is something of a shame, although as sad that the cinematic world was robbed of such a hot talent all too so, it's a movie that deserves more acknowledgment of exhibiting Gilliam's bonkers imagination. Quirky as it is offbeat, the former Python does for Faust for Brazil did for Orrell's 1984. We see Christopher Plummer's world-weary Parnassus, dogged by the ravages of time, who found himself fronting a bankrupt theatre troupe which includes his teenage daughter Valentina (Lily Cole), a sleight-of-hand expert and barker Anton (Andrew Garfield), and a dwarf assistant Percy (Verne Troyer). Their main attraction is the Imaginarium which is a portal to a magical "Imaginarium", a surreal dream world that offers its participants their own desires, offering them a choice between difficult self-fulfillment or blissful ignorance. It's a wonderous conceit that affords Gilliam the free reign to be as creative and visually exuberant.
With the Imaginarium, he creates a world that is akin to the surrealist painter Salvador's eye-catching painting brought to life. Gilliam dazzles the senses but never at the expense of the plot of the movie, although he does veer a little toward overindulgence in its final act. Its story is propped up by some strong, idiosyncratic characters. The first, and foremost is Tom Waits' devilish Mr. Snatch, who delivers the goods, portraying him as if he were a disreputable snake oil salesman. The second is Ledger's Tony, a veritable wolf in sheep's clothing who is akin to being the other side of the satanic coin. Promising much to Parnassus and his troupe, but having his own personal agenda. If Imagarium does anything beyond dazzle the senses, it serves to be a reminder of what a gifted actor Ledger was. He is charming, charismatic, and just the right side of smarmy and duplicitous.
Ledger's death might have signaled a major misfortune for Gilliam's project but in an inspired piece of imaginative resourcefulness turned to Jude Law, Colin Farrell, and Johnny Depp to fill the void left by his tragic absence. And it works in its favor, adding to the mystical otherworldly nature of the Imaginarium in spades.
As with much of Gilliam's previous movies, there is his trademark combination of dark comedy and tragedy, which is when as a filmmaker he is at his most effective. As well as a touch of pythonesque lunacy that he readily throws into the mix.
As the movie's title protagonist, Plummer gives a measured performance as the weary, time-worn Parnassus. He really sells you on the fantastical notion that he has lived for centuries, and is a man dogged by regret, guilt, and sadness. His more youthful supporting cast which comprises of Andrew Garfield, Lily Cole, and the late Verne Troyer, another actor who was taken from us too soon, lend sturdy support. With Cole of particular note given her profession as a model, she proves that she is more than a pretty face. She is both demure, sweet, and captivating as Valentin. Garfield also delivers, showing the early promise he would later deliver in Hacksaw Ridge, while Troyer in wonderfully cynical form as Parnassus's diminutive assistant Percy.
If Gilliam does anything, beyond his prowess as a director, and his his aptitude for creating fantastical worlds of imagination. He creates something which as a tribute to Ledger acts as a fine final curtain call to him. And with the tragedy surrounding the story as well as the late actor, it is more than a fitting love letter to him.
It's safe to say that the Imaginarium of Dr. Parnassus couldn't be any more apt a title for what was then Terry Gilliam's foray into the imaginatively bizarre. A testament to the creative ambition and scope that he had given movie audiences with phenomenal Brazil, and The Adventures of Baron Munchausen. It received a lukewarm reception, upon its release and just managed to break even at the box office although it seemingly became more known for being the last movie of Heath Leger who tragically passed away during filming at the tender age of 28. This is something of a shame, although as sad that the cinematic world was robbed of such a hot talent all too so, it's a movie that deserves more acknowledgment of exhibiting Gilliam's bonkers imagination. Quirky as it is offbeat, the former Python does for Faust for Brazil did for Orrell's 1984. We see Christopher Plummer's world-weary Parnassus, dogged by the ravages of time, who found himself fronting a bankrupt theatre troupe which includes his teenage daughter Valentina (Lily Cole), a sleight-of-hand expert and barker Anton (Andrew Garfield), and a dwarf assistant Percy (Verne Troyer). Their main attraction is the Imaginarium which is a portal to a magical "Imaginarium", a surreal dream world that offers its participants their own desires, offering them a choice between difficult self-fulfillment or blissful ignorance. It's a wonderous conceit that affords Gilliam the free reign to be as creative and visually exuberant.
With the Imaginarium, he creates a world that is akin to the surrealist painter Salvador's eye-catching painting brought to life. Gilliam dazzles the senses but never at the expense of the plot of the movie, although he does veer a little toward overindulgence in its final act. Its story is propped up by some strong, idiosyncratic characters. The first, and foremost is Tom Waits' devilish Mr. Snatch, who delivers the goods, portraying him as if he were a disreputable snake oil salesman. The second is Ledger's Tony, a veritable wolf in sheep's clothing who is akin to being the other side of the satanic coin. Promising much to Parnassus and his troupe, but having his own personal agenda. If Imagarium does anything beyond dazzle the senses, it serves to be a reminder of what a gifted actor Ledger was. He is charming, charismatic, and just the right side of smarmy and duplicitous.
Ledger's death might have signaled a major misfortune for Gilliam's project but in an inspired piece of imaginative resourcefulness turned to Jude Law, Colin Farrell, and Johnny Depp to fill the void left by his tragic absence. And it works in its favor, adding to the mystical otherworldly nature of the Imaginarium in spades.
As with much of Gilliam's previous movies, there is his trademark combination of dark comedy and tragedy, which is when as a filmmaker he is at his most effective. As well as a touch of pythonesque lunacy that he readily throws into the mix.
As the movie's title protagonist, Plummer gives a measured performance as the weary, time-worn Parnassus. He really sells you on the fantastical notion that he has lived for centuries, and is a man dogged by regret, guilt, and sadness. His more youthful supporting cast which comprises of Andrew Garfield, Lily Cole, and the late Verne Troyer, another actor who was taken from us too soon, lend sturdy support. With Cole of particular note given her profession as a model, she proves that she is more than a pretty face. She is both demure, sweet, and captivating as Valentin. Garfield also delivers, showing the early promise he would later deliver in Hacksaw Ridge, while Troyer in wonderfully cynical form as Parnassus's diminutive assistant Percy.
If Gilliam does anything, beyond his prowess as a director, and his his aptitude for creating fantastical worlds of imagination. He creates something which as a tribute to Ledger acts as a fine final curtain call to him. And with the tragedy surrounding the story as well as the late actor, it is more than a fitting love letter to him.