A skirmish in Shanghai puts archaeologist Indiana Jones, his partner Short Round and singer Willie Scott crossing paths with an Indian village desperate to reclaim a rock stolen by a secret cult beneath the catacombs of an ancient palace.
Jonathan Ke Quan
Why are we here, what's it all about? The Monty Python-team is trying to sort out the most important question on Earth: what is the meaning of life? They do so by exploring the various stages of life, starting with birth. A doctor seems more interested in his equipment than in delivering the baby or caring for the mother, a Roman Catholic couple have quite a lot of children because 'every sperm is sacred'. In the growing and learning part of life, catholic schoolboys attend a rather strange church service and ditto sex education lesson. Onto war, where an officer's plan to attack is thwarted by his underlings wanting to celebrate his birthday and an officer's leg is bitten off by presumably an African tiger. At middle age a couple orders 'philosophy' at a restaurant, after which the film continues with live organ transplants. The autumn years are played in a restaurant, which, after being treated to the song 'Isn't It Awfully Nice to Have a Penis?' by an entertainer, sees the arrival ... Written by
Arnoud Tiele (email@example.com)
A great comedy which may be crass and rude, but is not lacking in typical Python wit
The best thing about "Monty Python's The Meaning of Life" is without a doubt the short film that opens it. Directed by Terry Gilliam and originally conceived as an animated sequence, "The Crimson Permanent Assurance" is a crucial step in Gilliam's career as a director. His previous two solo efforts as director, the inconsequential "Jabberwocky" and the brilliant-in-its-own-way "Time Bandits" saw him developing his visual style much further than he did for his scenes for "Monty Python and the Holy Grail", with "Time Bandits" arguably being the first 'Gilliam-esque' film he made. Still, "Time Bandits" didn't see his style fully developed, and "The Crimson Permanent Assurance" is an even more bizarre film, but with a far more confident and clear-cut visual style. Simply put: Gilliam was ready for "Brazil". This segment is the best in the film from a cinematic viewpoint, without a doubt, and even gives some of the other segments a run for their money in terms of the quality of the comedy, which involves office clerks who become pirates. Yes, it is quite strange.
The issue a lot of people have with "The Meaning of Life" is that it is crass and rude and even sillier than the Python standard. It's shock humor, but for the majority of the sections of the film work so well and are so clever even in their lack of class that I would not hesitate to put "The Meaning of Life" on the same level as "Life of Brian", though it's not as good as "Monty Python & The Holy Grail". That's not to say this isn't 'Python-esque', because it's very much so, they're just completely liberated by the medium of film to say and do whatever they please. Indeed, there's something in here to offend nearly anyone, but there's also a fair bit in here to please everyone, even a wonderful scene in which Gilliam's 'supporting feature' "The Crimson Permanent Assurance" suddenly intrudes on the events of the film.
"The Meaning of Life" is constructed as a series of skits, and though many have suggested that it is hence not as much of a narrative movie as their previous two efforts. I tend to disagree with this viewpoint. Yes, this film is a series of skits, but they are all elaborately set up within an overarching 'commentary' on the general theme of the movie, the title. There is one section of the film which is both entirely unnecessary and honestly quite bad is 'The Autumn Years', an unfunny and vile piece centered around Terry Jones in a fat-suit repeatedly vomiting and eventually exploding. Basically all of the rest of the film is very, very funny, and even the jokes which fall flat within scenes like "Live Organ Transplants" and "Death" don't go terribly wrong because the overall quality of the scenes and sections are so high and the concepts behind them very funny. Gilliam's animations work excellently within the film and this would sadly be the last time we saw a distinctive Gilliam animation within a major film.
"The Meaning of Life" is great comedy. It's crass and rude and goes for cheap humor often, but it's mostly handled with a great deal of wit and intelligence that elevates even the section involving the world's most pornographic sex education class to a high level. Perhaps in retrospect this film's flaws are more obvious than those "Life of Brian" suffers from, but both are ultimately on the same level.
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