This series is dedicated to matching memorable movies with the signature day each year upon which I could watch them forever. Despite the fact that this next movie came out in the spring, it had a largely summer run and was likely dipping at the box office around this time of summer that year, and my kids and I have been on a kick of rewatching it since first introducing them to it earlier this summer, the seventh of August now belongs to:
Monty Python and the Holy Grail (1975, Python Pictures/EMI Films, Terry Gilliam and Terry Jones)
This movie begins as it ends: unexpectedly and confusingly. Summed up, it would seem a disappointing outing for the Pythons if this were all, but I think it hints at the greatly acerbic and "disappointed" view they generally held of "Western culture and mythology" writ large and the sort of Christian mores that often go along with it in the late 20th century. It's post-modern and thus irreverent, but actually manages to be so without insulting or denigrating its audience and fans, the vast majority of which are Christian. And the most recognized part of the Christian canon, outside of Christ, is that of King Arthur and his noble knights.
I had the great joy of reviving the coconut-horse-hooves gag during this year's summer church camp theater performances that I helped write and act in. It's effective foley and was purely for the adults in the room, as I'm sure the kids understood the nature of the gag but nothing at all of where it came from. This is somewhat to Holy Grail's detriment, I suppose, given that many of the comedic gags that this and other Python performances have spawned may be well known today, but their original whereabouts don't often point back to this film. At least, probably not until you're a teenager or in high school.
Fortunately, my world history teacher in high school used the scene of the anarcho-syndicalists jawing with "their king" about the virtues and pitfalls of differing governments as a lesson reinforcer, and it has stuck with me ever since. The action in Holy Grail is very cartoony, and rightly so, but its content and context are largely adult in nature. (In light of this, I'm pleasantly surprised my kids like it as much as they do before either one of them reaches double digits.)
The "bring out your dead" scene preceding this is probably pretty accurate when plague swept through in Europe. The boys darkly poke fun when an old man who is not quite dead (a gag that returns several times later) is carried out and protests only to be clubbed over the head and laid atop the heap.
The Black Knight fight(s) are the most sophomoric parts in the film, but they always demand watching. The choreography, while not sexy, does a good job of illustrating the average man's ease at fighting in full armor. The violence and blood is over-the-top and yields some of the most memorable lines from the film: "Tis but a scratch!" and "It's just a flesh wound!" and "I'll bite your legs off!" all delivered by John Cleese.
The witch trial is the second great scene in the film. It neatly lampoons the oft-ridiculed nature of witch hunts and the illogic of those who perpetuate such sham judgments on minority or outcast peoples, but it's also just darn funny without being obnoxious. The faces and words in this scene all serve the funny from an absurdist standpoint, but they also help to move the plot along and give Arthur his first real compatriot in Sir Bedevere. John Cleese's, "I got better," after saying the witch turned him into a newt lives long in the memory.
The "Camelot" song is one of the funniest parts of the whole thing. The careless dance moves that send things flying left and right. The lyrics, which you have to read to understand, mine some decent depths in terms of rhyming "-able" for laughs. The hapless chained prisoner in the dungeon clapping his hands to the beat. It's all madcap silliness and again serves the plot by keeping the characters on the move when they deem it too silly also. The movie kind of peaks here other than the Trojan Rabbit scene and Sir Lancelot's attack on Swamp Castle until about the time you meet Tim the Enchanter.
The Knights Who Say "Ni!" bit is one of those instances where you find it funnier in your head afterward than when you're watching it. It's not a scene that really grabs you necessarily, at first, but the callback later on really helps to pay them off and is unique in that this is the first supporting character to make a return appearance. It effectively pokes fun at the secret, forbidden word, Rumpelstiltskin-type stuff embedded in so much of fantasy lore.
The knights' misadventure with Tim and the Rabbit of Caerbannog is another peak moment. You can tell that a lot of the acting in the movie was probably just the Python mates screwing around and trying to make the others break while filming. I find the whole holy hand grenade instructions and counting bit of this scene quite effectively funny even upon repeat viewings. This again demonstrates the Pythons' sardonic sense when it comes to "the church" and its seeming ridiculous or even unnecessary procedures on the right and wrong way of doing things.
Nice absurdist breaking of the fourth wall when the animator dies of a heart attack to save the knights from the legendary black beast, a scene all done in animation.
The bridge of death sequence is the last peak moment of the movie, but it's well worth it. The strange old man returns, like the Knights Who Until Recently Said "Ni!" previously, and he asks three questions: What is your name? What is your quest? and What's your favorite color? But not always these three. Two of the knights fail this seeming easy task after Sir Lancelot gets across. King Arthur gets the old man instead when he turns the tables in a callback to the swallows and coconuts scene from the beginning, to which the old man doesn't have the answer and perishes. Dumb, but funny.
The only other repeating gag we get is at the end when now only Arthur and Bedevere reach the Castle Arrgh and find it again in the possession of French forces. Their taunts of Arthur and company follow rather typical lines such as: "I unclog my nose in your direction, sons of a window dresser! So, you think you could outclever us French folk with your silly knees bent running about advancing behavior. I wave my private parts at your aunties, you cheesy lot of secondhand electric donkey-bottom biters!" This feels more like stream-of-consciousness ad-libbing rather than script writing, but, either way, it's funny stuff.
And, as mentioned, the movie ends abruptly with something like two minutes of black screen with "carny music" playing behind it. King Arthur never finds the grail but is instead arrested on suspicion of murder, given an earlier scene where a historian relating details on the Arthur legend to the audience is unceremoniously killed by a mounted knight. Perfectly in keeping with all else that's happened thus far, eh?
Go to next! Go to last!
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