Review #1,209: 'Erik the Viking' (1989)

After the enormous success of Monty Python, the individual members of the innovative troupe started to branch out to work on their own passion projects, which often yielded fantastic results. Terry Gilliam's Time Bandits, for example, is now considered a family classic and remains a firm childhood favourite for many who grew up in the 1980s. A Fish Called Wanda, starring Python alumni John Cleese and Michael Palin was a hilariously farcical movie that went on to be Oscar nominated for Best Director and Best Screenplay, and winning for Kevin Kline's unhinged supporting turn. Some ventures, however, were less successful, although some Python loyalists may insist otherwise. Terry Jones adapted his own children's book for Erik the Viking, a movie that shares much in common with the aforementioned Time Bandits, but shares little of its sense of wonder, imagination and wit.

While on a routine raping-and-pillaging expedition, Viking Erik (Tim Robbins) realises he has grown tired of the never-ending circle of violence and misery celebrated by his people. He falls for a girl (Samantha Bond) after saving her from some of his bloodthirsty brothers, before accidentally killing her. The experience sends him seeking answers and wisdom from the wise woman Freya (Eartha Kitt), who explains to Erik that Fenrir the wolf has gobbled up the sun and plunged the world into the dark days of Ragnarok. Determined to see the sun again, Erik sets off on a quest to find the Horn Resounding which, when blown, will transport him to Asgard where he can confront the Gods. However, such a miracle will spell the end of war, thus putting blacksmiths Keitel (Gary Cady) and his underling Loki (Antony Sher) out of business, as well as threatening the reign of the brutal Halfdan the Black (John Cleese).

Erik the Viking takes Norse mythology so seriously that there are long stretches of the film during which it is easy to forget that it's a comedy. 10 or 20 minutes can easily go by without so much of a giggle, as Jones struggles to keep the tone consistent and, with an obviously limited budget, the action exciting. Still, although Erik pales in comparison to some of the wonderful work Jones has been involved in over the years, it certainly isn't a bad movie, and in no way deserves the stigma still attached to it. There are some laugh-out-loud moments, including the bickering relationship between beserks Sven (Tim McInnerny) and his father (Charles McKeown), and a Japanese slave master who berates his subjects with racial slurs ("You incomprehensible. horizontal-eyed western trousers wearers/How I abominate your lack of ancestor worship!"). Ultimately, the film is too inconsistent and tonally uneven to work, but go in expecting a handful of laughs and a few famous cameos and you may not be too disappointed.


Directed by: Terry Jones
Starring: Tim Robbins, Mickey Rooney, Eartha Kitt, Terry Jones, Imogen Stubbs, John Cleese
Country: UK/Sweden

Rating: ***

Tom Gillespie

Review #655: 'Time Bandits' (1981)

If you were once a young boy (or girl) who enjoyed riding their bike at breakneck speed or got their thrills from wandering off to places you were forbidden to go to, then you will totally get Terry Gilliam's Time Bandits. If adventure and danger were what spurred you on as a child, then you no doubt fantasised about travelling through time and meeting the famous historical figures you learned about whilst falling asleep in history class. Time Bandits is pure Boys Own adventure, making idiots out of the likes of Robin Hood and Napoleon, and even bringing six dwarves along for the ride. The plot is muddled and nonsensical, but the plot is beside the point - arguably just a McGuffin for some childish fun.

It tells the story of eleven year old Kevin (Craig Warnock), who, when not being ignored by his lazy absent-minded parents, spends his time doting on history, particularly Ancient Greece. One night, six dwarves come crashing out of his wardrobe holding a map that they claim show the world's time portals, that they appear to have stolen from the Supreme Being (i.e. God, played at the climax by the wonderful Ralph Richardson). Kevin goes along for the ride, and finds himself meeting Napoleon (Ian Holm) during the Napoleonic Wars, Robin Hood (John Cleese) in the Middle Ages, and King Agamenmon (Sean Connery) in Ancient Greece (amongst others). Meanwhile, in the Fortress of Ultimate Darkness, the technologically obsessed Evil (David Warner) is planning to steal the map and take over the world.

The set design is fantastic in this film, and the main credit should go to that department. The sets look as if constructed from the mind of a child, paying no real attention to historical detail or a 'lived-in' feel - this is all pure fantasy. The film rushes at such a breakneck speed that we don't get to spend enough time with these characters in their times, and this was my main (and only) problem with Time Bandits. Thankfully, these scenes are packed with so much wit by writers Gilliam and Michael Palin (who also appears as the dim-witted romantic Vincent), that it is hard to care too much. This is not Monty Python though, there is humour here for children and adults both, but it's just as funny. John Cleese's over-enthusiastic Robin Hood was a particular stand-out for me.

Gilliam also uses the film to take some sly satirical digs at the emergence of technology, juxtaposing Evil's plan to use computers to carry out his evil deeds alongside Kevin's active imagination and sense of wonder. His parents are bone-idle idiots that get excited at the idea of a microwave cooking their dinner in quick time, and technology is clearly viewed by Gilliam as something that will rot the imagination. This isn't entirely true of course - technology can inspire innovation - but I often see young children staring open mouthed and expressionless at their mobile phones when they should be annoying their parents or getting up to something they shouldn't be, so I can certainly sympathise with Gilliam's concerns. But Time Bandits is mainly about adventure and the wonder of a child's imagination. Funny, manic, and occasionally moving, this is one of the definitive movies about childhood, and how we occasionally long for it.


Directed by: Terry Gilliam
Starring: Craig Warnock, John Cleese, Sean Connery, Shelley Duvall, Katherine Helmond, Ian Holm, Michael Palin, Ralph Richardson, Peter Vaughan, David Warner
Country: UK

Rating: ****

Tom Gillespie

Review #192: 'Monty Python and the Holy Grail' (1975)

This is one of those films that I can't believe I had never seen before now. Also on this list are the likes of It's A Wonderful Life (1946) and The Great Escape (1963), but they will be seen all in good time. It's a shame I had waited so long to be honest, as it is quite possibly the most hilarious and brilliant comedy I've ever seen. There's not much to say about Monty Python that hasn't already been said, but it is well known that the group (John Cleese, Graham Chapman, Eric Idle, Terry Jones, Terry Gilliam, Michael Palin) were revolutionaries in the art of comedy, combining a number of elements to create an overall surreal and ingenious sense of humour.

The film is based loosely on the legend of King Arthur (Chapman) and the Knights of the Round Table. Arthur is on a quest to find the Holy Grail, and with his fellow Knights, encounters a number of dangerous and ridiculous obstacles along the way. These include a castle guarded by French knights with 'outrageous accents', the Black Knight, the Knights Who Say Ni, the Three-Headed Giant, the Rabbit of Caebannog, and the Beast of Arrrrrrggggghhhhh.

Whereas Life of Brian (1979) was a very intelligent and quite biting satire on religion, Holy Grail is pretty much just an excuse to be extremely silly. From the opening scene, where Arthur arrives pretending to ride on his imaginary horse while his squire bangs two coconuts together to make a galloping noise, you know that the film is not going to play by any comedy rules, and is certainly not afraid of being just plain weird. It plays out in an episodic structure, much like The Flying Circus, but the team are clearly at their most comfortable here and are certainly no slouches when it comes to comedy set-pieces. My favourite would probably be the famous Black Knight, who when Arthur has hacked three of his limbs in a brilliantly gruesome manner, is still trying to fight ("'tis but a scratch!").

The comedy comes from all angles - word-play, visual gags, surrealism, post-modernism, blink-or-you'll-miss-it background gags, and simply pulling silly faces - and they come thick and fast, including more laughs per minute than most comedies will be lucky to muster in 90 minutes. This is simply a brilliant film, and will forever remain amongst the greatest comedies ever created.


Directed by: Terry Gilliam, Terry Jones
Starring: Graham Chapman, John Cleese, Eric Idle, Terry Gilliam, Terry Jones, Michael Palin
Country: UK

Rating: *****

Tom Gillespie

Review #167: 'The Great Muppet Caper' (1981)

In the short life of Jim Henson, he achieved some quite spectacular things. Technically, he took puppetry into a whole different level. A 'creature workshop' was created, and along with other great performers and skilled artists, which developed some amazing effects for such astonishingly elaborate films as The Dark Crystal (1982) and Labyrinth (1986). The workshop is still, to this day, a fully functioning company, that recently worked on Spike Jonze's Where the Wild Things Are (2009). Aside from Henson's more forward thinking for the development of his craft, he has endowed the collective consciousness with a collection of enduring, lovable characters. Jim Henson had been developing a puppetry style for television since the 1950's. However, after the success of the Children's Television Workshop's Sesame Street (1969 - present), he wanted to be able to take creative control over a show featuring his Muppet puppets.

The cultural phenomenon that was The Muppet Show, began in 1976 and ran until 1981. The show was set in a theatre, which was harking back to the days of vaudeville. This element of variety was carried over into the first film, The Muppet Movie (1979), and has also been developed in their second feature, The Great Muppet Caper. Kermit the Frog and Fozzie Bear are twin brothers who, along with Gonzo, are playing investigative journalists. After being fired from their newspaper, they decide to pursue a story about jewel thieves in England. There they meet a whole host of other Muppet characters, and become embroiled in a mystery involving brother and sister, Nicky and Lady Holiday (Charles Grodin and Diana Rigg). There are some catchy musical numbers, and a Busby Berkley inspired synchronised swimming sequence with Miss Piggy and its centre.

It is testament to the characters that Henson created here. They still endure today. I have many fond memories of the Muppets. This was unfortunately the last great Muppet film. (Here's hoping that this years The Muppets will reinvigorate the franchise.) Caper is a fun film. The characters constantly refer to themselves being in a film (this is a device that Henson used also in The Muppet Movie). There are some decent cameos from John Cleese, Peter Falk and Peter Ustinov (who plays alongside Grouch from Sesame Street):

Ustinov "What are you doing here?".

Grouch "A very short cameo".

Ustinov "Me Too".


Directed by: Jim Henson
Starring: Jim Henson, Frank Oz, Dave Goelz, Jerry Nelson, Richard Hunt, Charles Grodin, Diana Rigg, John Cleese, Peter Ustinov
Country: UK

Rating: ****

Marc Ivamy