PLOT: A 1000 year-old mystic enlists the help of a seedy amnesiac to save his daughter, whose life he exchanged for eternal youth, from the clutches of the Devil.
WHY IT SHOULD MAKE THE LIST:The Imaginarium of Doctor Parnassus is a return to extreme fantasy for Terry Gilliam, who hasn’t delved so deep into the realm of untethered imagination since The Adventures of Baron Muchausen. It is a madcap vaudevillian escapade that is anything but ordinary, a rekindling of the fires of whimsy in modern cinema that has not been lit in some time. Gilliam conjures a tale that comes from the divine and the pedestrian, fills it with colorful, albeit thin, characters, and lets the magic happen as the elements coalesce into a Victorian sideshow of epic proportions.
COMMENTS: Set over a thousand years of the titular character’s life (although it’s mostly set in modern day England), The Imaginarium of Doctor Parnassus is a fantastical meditation on choices: good ones, bad ones, the weight-laden overabundance of decisions we all face at some point, and the demeaning lack of options we also experience. From literal metaphors involving people choosing their destinies in a realm of imagination to the figurative posturings of the opposition between that which is right and that which is merely easy, director Terry Gilliam muses in this film on the ages-old dilemma of free will and how these characters will go about using it.
But forget about that! What everyone wants to know is how well they shoe-horned in all of Heath Ledger’s stand-ins during post-production! As you’re well aware, I’m sure, this is the final performance of the late, great Heath Ledger. Mr. Ledger died during the production of this feature, leaving his role, that of the amnesiac Tony, woefully incomplete. Gilliam, being ever the professional, and no stranger to ill circumstances Continue reading RECOMMENDED AS WEIRD: THE IMAGINARIUM OF DOCTOR PARNASSUS (2009)→
PLOT: Nine robotic ragdolls fight killer machines in a post-human, post-apocalyptic world.
WHY IT WON’T MAKE THE LIST: 9 is a visually thrilling movie set in a unique, humanless universe; with a more careful and detailed exploration of that world, the flick could have struck a mildly weird chord. As it is, the movie is mostly concerned with looking gorgeous (which it does) and providing the kiddies with rambunctious action sequences than it is in digging deep into the mysteries of its fascinating milieu.
COMMENTS: People constantly, and rightfully, complain about Hollywood’s lack of originality in plots; by the time a screenwriter’s fresh idea makes its way through the suit mill, strong and unique flavors have been ground out of it, replaced with formula salt. Sloppy, rote plotting, climaxing in a well-worn and obvious moral, is so omnipresent in Hollywood product that it seldom raises a critical eyebrow. That is, until something as visually inventive as 9 appears on the screen, when suddenly the relative poverty of imagination of the typical adventure script is thrown into stark relief. 9 is set in a brilliantly realized earth-tone post-apocalypse dominated by bombed-out buildings littered with ruined bric-a-brack. The animation is obviously influenced by Tim Burton disciple Henry Selick (The Nightmare Before Christmas, Coraline), but in its brooding darkness and danger it brings to mind a more fluid and rational-minded version of Jan Svankmajer or the Brothers Quay. Flashbacks of the man vs. machine war that wiped out humanity look like a 1940s propaganda film attacked by H.G. Wells’ Martians (they’re even in glorious black and white).
Such a visually inventive world promises, and deserves, to be the backdrop for an equally imaginative story, and here is where 9 falls apart. The characters (known only by number) are quickly and archetypically sketched, but that’s not a major problem; it’s satisfying enough to know that 1 is a fatally conservative leader, 6 is a visionary artist, 7 is a brash warrior, and so on down the line. The major problem is that there is little sense to the burlap doll’s very existence; they fight nightmarish robotic cats and an all-seeing globe which is capable (for some reason) of sucking out their little souls, but it seems like they should be solving the riddle of their existence. They do so, but when they get the answer, it’s a major letdown. The biggest plot problem isn’t that the Scientist created both the nine ragdolls and the beast that dogs them; it’s that, in an epic fit of absentmindedness, he imbued the same gizmo with the power both to activate the apocalypse and provide the last hope of humanity. It’s a bizarre and confusing plan (and for once, I don’t mean that as a compliment), and it’s based on some awfully hokey metaphysics that invokes the idea that if you create a device that shoots souls into the sky, it will eventually rain life-giving amoebas. The truth is, the nine exist in a script that needs menacing robots for them to fight with broken pocketknife blades as big as broadswords; therefore, these evil machines exist, and for no other convincing reason. The script isn’t interested in fleshing out this world or resolving these paradoxes, but only in getting us to the next action sequence or comforting cliche as quickly as possible. In the end, that leaves us with a film that, perhaps unfairly, disappoints us, because it has so much imaginative potential. We may be more forgiving towards Hollywood fare that aims no higher than to provide us with eighty minutes of eye candy and an injection of vicarious adrenaline, and squarely hits its mark.
Acker’s film is an Internet success story. Birthed as an eleven minute short film, 9 was nominated for an Academy Award for Best Animated Short Film in 2005, but it was YouTube viewings that created the huge advance buzz for the feature version. The short contained no dialogue—only electronica, metallic battle sounds, and weird ambient noise—and also reveals none of the unsatisfactory backstory. It was far more mysterious, and a more impressive artistic achievement. When Tim Burton decided to adopt the film and serve as producer (by slapping his ticket-selling name on it), the project’s Hollywood credibility went through the roof—and the story was ground into the Hollywood scriptwriting gears.