Book review: Monty Python’s Hidden Treasures by Adrian Besley

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Published by: Carlton Books
It is a sad fact that the world today can be divided into two groups. Those who, like me, will always be amused by the likes of the Dirty Fork Sketch (punchline: “A good job I didn’t tell them about the dirty knife as well!”), the Upper Class Twit of the Year contest (“Nigel Incubator-Jones. His best friend is a tree. Works as a stockbroker in his spare time”), the quiz show Blackmail, the Ministry of Silly Walks, the Funniest Joke in the World and, of course, the Dead Parrot Sketch.

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Then there are those, perhaps a majority now sadly, for whom the humour of Monty Python’s Flying Circus will always be a mystery. Like The Goon Show which is now largely incomprehensible to anyone born after 1960, MPFC is increasingly dated.
Disparate members of the first group even those like me who were born after the series finished are thus forced to eternally roam the land muttering catchphrases (“nudge nudge, wink wink, likes photography? I bet she does! I bet she does!”) which are totally incomprehensible to the second group and trying to convince them it was funny.
In truth, although patchy as all TV sketch shows are, it really was often very funny. The cause was helped by the films too, particularly the Life of Brian, which have by and large aged better than the series.
This book attempts to bridge the gap still further with (if I may quote from the press release) “22 removable facsimiles of rare memorabilia from their official archives, including hand-scribbled scripts, cue sheets, character lists, posters, and animation artwork”. If the aim is to introduce the uninitiated to the ways of Python, I’m not sure it succeeds. Would anyone who didn’t know the series well buy it anyway? I doubt it.
But for any Python fans out there, this is a lovely book and a beautifully crafted treat for them.
And let’s not forget the Spanish Inquisition. Nobody expects…oh bugger.

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Book Review: Gilliamesque by Terry Gilliam

For more on Terry Gilliam, see my feature The Imaginarium of Terry Gilliam in issue 14 of Geeky Monkey magazine.

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Gilliamesque: A Pre-Posthumous Memoir by Terry Gilliam, published by Canongate, 2016

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Terry Gilliam has always stood out from the crowd.

Even when in Monty Python, he stood out somewhat as the one American. Slightly odd looking, he mostly remained off screen at first, producing instead the celebrated animated sequences (for example, during the series’ opening titles sequences) for which he became famous. Nearly fifty years on, this book, his memoir is illustrated throughout in a similarly unique style.

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Like many people called Terry (Terry Pratchett, Terry Brooks, fellow Python Terry Jones, er, Terry Scott?). Gilliam found himself drawn to the fantasy genre. His directing career began awkwardly with co-directing Python ventures with Jones. Although mostly good films in the end, they were tough shoots with Jones and Gilliam gently wrestling for overall control and the likes of Cleese and Palin losing patience with the American who they felt treated them like they were bits of animated card.

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Gilliam really came into his own in the first half of the Eighties with brilliantly imaginative fantasies like Time Bandits and Brazil. He’s had many fine moments since – notably The Fisher King and Twelve Monkeys  and has undeniably developed a unique visual style. Despite this, he has never developed a reputation for being a safe pair of hands, largely due to high profile flops like The Adventures of Baron Munchausen (1988) and The Adventures of Don Quixote which never even completed filming.

Though he sometimes adopts an overly defensive tone when discussing his own films, Gilliam makes for an engaging likeable narrator on his own life. The world of cinema would certainly have been poorer without him.

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James Bond vs Doctor Who

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Two great national institutions celebrate their fiftieth anniversaries this year and next: James Bond and Doctor Who. On the face of it, the two franchises could not be more different. One is a sci-fi TV series arguably aimed at children, the other a serious of sexually charged action films. But beneath the surface, the two are more similar than they seem. Consider:

  1. Both began at a very similar time. The first Bond film Dr No was released in October 1962, the same month as the Cuban Missile Crisis. Doctor Who first graced British TV screens on November 23rd 1963: the day after President Kennedy’s assassination.
  2. Both fizzled out in 1989: Timothy Dalton’s second Bond film License to Kill turned out to be the last for a while. Some blamed the end of the Cold War. The Berlin Wall had fallen: who should Bond fight now? In fact, the success of Die Hard raised the stakes as far as action film budgets were concerned and with the British film industry then in the Thatcher-era doldrums, Bond couldn’t compete. Doctor Who’s end, meanwhile, is sometimes blamed on the malice of BBC controller Michael Grade. Grade freely admits he disliked the series. But in truth, like Bond, Doctor Who had been in a state of decline for some time.
  3. Both came back in the mid-Nineties (sort of):  Bond returned in style with Goldeneye in 1995 and a new Bond, Pierce Brosnan.  Brosnan would star in three more Bond films. Doctor Who’s “comeback” in a 1996 TV movie starring Paul McGann was a total flop. Although ironically the show did see the Doctor behaving more like James Bond.
  4. Both came back AGAIN about six years ago: Brosnan was replaced with Daniel Craig and the whole franchise got a reboot with Casino Royale in 2006. The year before Russell T Davies finally re-launched Doctor Who properly with Christopher Eccleston enjoying a one series run as the Doctor and ex-teen pop star Billie Piper as assistant Rose Tyler. The Doctor has regenerated twice since then but has been with us ever since.
  5. Both franchises replace their star every few years: The Doctor famously regenerates whenever the lead actor fancies calling it quits, something that first occurred when the elderly first Doctor William Hartnell left early in the series’ life in 1966 and transformed into the physically dissimilar Patrick Troughton. The “regeneration” device has proven very handy over the years. Matt Smith became the Eleventh Doctor in 2010. As there is no obligation for the Doctor’s different personas to physically resemble each other, this has led to some wide ranging choices. Generally the actors seem to have got gradually younger over time, although all have been male. Bond, in contrast, doesn’t regenerate and is supposed to be the same character. Casting directors have generally gone for reasonably well known but not famous thirty something British actors for the role: Craig is more different than any of the others, simply because he’s blonde. There is only a slight sci-fi element to Bond, of course, but it is odd that we are expected to believe the same man has stayed roughly the same age for fifty years.
  6. Doctors on average change at a faster rate than Bonds. Assuming Matt Smith is still Doctor in one year, there will have been on average one doctor for every four and a half years. Bond actors usually last for an average of just over eight years. There have been six so far.
  7. Iconic music and title sequences: The haunting Who theme has changed gradually over time as the floating head has (until recently) changed from one Doctor’s into another during the title sequence. The main Bond theme has remained unchanged through the decades although each film has, of course, seen a range of different themes by artists as diverse as Nancy Sinatra, Duran Duran, Tom Jones and (on three occasions) Shirley Bassey. The Bond title sequences have also grown increasingly imaginative and, at times, eccentric.
  8. Girls: Bond girls have ranged from Ursula Andress, Barbara Bach, Kim Basinger and Halle Berry. The Doctor, in dramatic contrast seems almost completely asexual. Yet his “companions” (who are occasionally male) have included Bonnie Langford, Katy Manning and many others.
  9. Taking the piss: Bond has been parodied extensively. The 1967 Casino Royale (an overblown mess starring Orson Welles, Peter Sellers and Woody Allen) mocked Bond from within. Since then Austen Powers and Johnny English have done so more effectively. Rowan Atkinson interestingly has parodied both Bond (in Johnny English and the TV ads which spawned it) and played a comic Doctor Who in a Comic Relief spoof alongside Julia Sawalha. Filmed in 1999, it was “The Curse of Fatal Death” was the closest thing to a new Doctor Who anyone had seen in year
  10. The Cleese connection: At the height of his late 70s post Life of Brian/Fawlty Towers fame John Cleese appeared in the Tom Baker Doctor Who saga City of Death in 1979 (Cleese’s friend Douglas Adams was Script Editor on the story). Much later, Cleese appeared as “R” assistant to “Q” in the Bond film The World Is Not Enough. He actually took over for another “hilarious” turn as the new Q in Die Another Day in 2002. He hasn’t appeared in any Bond films since.
  11. Our Friends in the North: As author Alwyn W. Turner has pointed out, the groundbreaking Nineties BBC drama Our Friends in the North saw both future James Bond Daniel Craig and future Dr Who Christopher Eccleston playing side by side. Eccleston played Nicky, a bearded University drop out who during the course of the series ran for parliament in a bid to become a Labour MP before becoming a photographer. Craig played his childhood friend Geordie who falls in with the London criminal element and ultimately faces a bitter struggle with alcoholism and homelessness.

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