A hugely talented but socially isolated computer operator is tasked by Management to prove the Zero Theorem: that the universe ends as nothing, rendering life meaningless. But meaning is what he already craves.
The fantastic tale of an 18th century aristocrat, his talented henchmen and a little girl in their efforts to save a town from defeat by the Turks. Being swallowed by a giant sea-monster, a trip to the moon, a dance with Venus and an escape from the Grim Reaper are only some of the improbable adventures. Written by
Keith Loh <email@example.com>
A lot of the negative press about the film turned out to emanate from the completion bond company, Film Finances. Their lawyer was Steve Ransohoff, son of producer Martin Ransohoff who was also Ray Stark's friend and partner. Stark and then Columbia head David Puttnam had an ongoing feud which many felt ultimately led to the unceremonious ousting of Puttnam from the film studio's management where he was quickly replaced by Dawn Steel. See more »
The lenses on Adolphus' glasses swap position just after the Baron manages to save them from the giant fish. Once they're ashore again, the lenses are back in their original position. See more »
A young Sarah Polly is swept on a grand storybook adventure when her father's theater is visited by the source of its drama; the real Baron himself (perfectly played by John Neville). The town is under siege by the Turks and only Munchausen and his band of curious adventurers can save it, so long as Death or a doctor doesn't catch him.
Terry Gilliam, having hit his stride with the 1984-and-a-half classic Brazil, went on to fulfill his ultimate fantasy film with a great cast of actors (Jonathan Price included), beautifully detailed sets and costumes, and a very strange yarn of a tale indeed. Bit parts are filled out by Robin Williams, the late Oliver Reed (seen most recently as Proximo in Gladiator) serving up a fiery Vulcan - husband to a young (not to mention stunning) Uma Thurman as Venus.
A great deal of the magic that sparkled in Brazil seems to have been rekindled here, and while it may have been panned at the time of its release, time has treated it well. The effects have that pre-cg feeling that makes me warm and fuzzy inside, and while its a little slow to get started, it surprises around every turn.
Fans of Gilliam's work (and those who still possess that curious inner child) will find much to enjoy here - even if it is nothing more than wonderful nonsense.
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