Time Bandits

A terrific little fantasy that, not surprisingly, has flavors of Monty Python. My children and I first saw it in the early '80s on a night ferry from Harwich to Zeebrugge. I've seen it a few times since, and marvel at the creativity that went into the film. God's "employees" trying to use a map of the universe to track down treasure is the theme; running around through time trying to find the treasure is the game. The cameos by Cleese, Connery and the rest are some amusing highlights, but the Time Bandits themselves really make the story. The climactic scenes with the Evil Genius made me think more than a little of the Sorcerer's Apprentice.

I think it is a well done bit of fantasy for older children and adults; it helps to know a bit of history going into it. I wouldn't let my six-year old granddaughter see it -- at least not yet -- but she and her sister probably will love the adventure in a few years.

Even though the movie is bookended by chaos, and fueled by a sort of demented Terry Gilliam charm (not to mention the dark-but-funny violence) "Time Bandits" is really a kid's movie. And that's what I love about it: it's just a young boy stealing away on an adventure from his mundane existence. Add to that the trappings of a magical cosmic map, the gallop through the Napoleonic Wars, Ancient Greece and Medieval England, and a cadre of greedy dwarfs and it's a lot of fun. Even with that cast of familiar faces, David Warner handily steals the movie as Evil (like Sark from "TRON", only having more fun with it). And I love that the Supreme Being turns out to be a cheeky old British guy.

It also ends with some sort of statement about modern technology, but that's just a last-minute zinger. What this really proves is that there's fun to be had in cult movies, and Sean Connery is awesome.

7/10

I was lucky enough to see this piece of celluloid magic on the big screen when it first came out. I'm glad I did, too, because the shoe-box multiplexes that were being slapped together couldn't do this movie justice. Terry Gilliam hits just the right note when he introduces Kevin, a ten-year old with big appetite for western mythology(you get the impression that in another year, he'll be reading Joseph Campbell and Rider Haggard)and an even bigger imagination. Having parents of the most sterile, materialistic bent(plastic couch covers--ecch)just ensure his receptiveness to the adventures that follow his falling through the time-door in the back of his closet with Randall and his fellow dwarves as they plunder and loot their way through time and history. Gilliam pokes fun at some of history's figures, like Napoleon("That's what I like to see--little things hitting each other!"), Robin Hood("was it really necessary to hit him?""Yes boss.""Ah, I see."),and others. Gilliams' lesson that having lots of stuff will not ensure happiness and that usually, the journey itself is reward enough is artfully told without flogging the audience with it. Something else that stuck with me, but I didn't realize until long afterwards, were the things that Kevin discovered, after a fashion, in his adventures but didn't have in his life back in the 'burbs: a real father figure, played by Sean Connery as Agamemnon, and true love, as presented by Peter Vaughan and Katherine Helmond as Mr. and Mrs. Ogre. Plus the special effects are economically impressive without being too cheesy(my god--the fortress of ultimate darkness WAS made of lego blocks!). In the end, though, it was something that I find far, far too rarely in movies now and before, and it occured to me after I had seen, of all things, "Crouching Tiger, Hidden Dragon". What Ang Lee's film had in common with Gilliam is simply this: they both had the feel of a great big story that you came in the middle of, and you didn't want ever to end, but it didn't matter, because the structure was such that you had enough to digest for now. And I can count on less than two hands the movies where I was left with THAT wonderful feeling.

Terry Gilliam's striking imagery, masterful use of the wide angle lens, distinct camera angles, and his unique sense of humor (finely honed during his days with Monty Python) can all be found in Time Bandits. These elements are why Gilliam is one of my favorite filmmakers. There is no one else like him. I feel he vastly improved with his later films, but Time Bandits is still a spectacular experience.

A particular thing about Time Bandits that impresses me is the toys and pictures seen in Kevin's room at the beginning of the film are all represented with their real-life counterparts in later scenes. It's a brilliant touch. It's part of the movie's over-all theme of an imaginative boy, starved for attention due to his loveless, neglectful parents, who goes on an adventure through time. Did it really happen, or was it all just inventions of his imagination? The answer is not needed, but the question it raises is a touch of great filmmaking.

Also, Time Bandits should be commended for being the first, and one of the only, films to show little people as real people. They are historically exploited or stuck in silly costumes throughout entire movies, but here, they are given the chance to really act, and not be treated as glorified props. I hope Peter Dinklage of Game of Thrones fame holds great respect to Time Bandits, and acknowledges the doors this movie opened for little people in the entertainment industry.

I give Time Bandits a 7 out of 10. It's a good movie, but it doesn't reach the greatness that he later achieved with Brazil, Munchhausen, the Fisher King, and Twelve Monkeys. Still, for those who haven't seen it, it's definitely worth a watch.

One final note: most of the camera angles in Time Bandits are low. A perfect touch, considering the small stature of all the lead characters. Many filmmakers forget this with movies told from a child's perspective.

For my money, Terry Gilliam is one of the more innovative, creative, and fantastical directors of the last two decades. His films easily bear his stamp of absurdist humour, witty dialogue, sheer fantasy, dream-like sequences, and always a generous dose of black comedy. Time Bandits is certainly no exception, but rather a stepping stone for greater works such as The Fisher King and the wonderful Brazil. The film tells the story of a group of dwarf-like "crooks" who leave their jobs with God(the Supreme Being) for a life of crime via a map they have "stolen" from their job place. This map holds all the secrets to time holes in the fabric of creation. Thus the bearers of the map can go forward and back in time as they please. They use the map to steal, at which they have little skill, and become rich, at which they miserably fail. Gilliam transports them and us through time to meet such interesting notables as Robin Hood, Napoleon, Agammenon, and the Evil Genius(devil-like entity). The film is grand in its scope and still wanting, for it is tackling a story of epic proportions. Still, Gilliam delivers a pretty good film both visually stunning in certain sequences and brimming with philosophical questions such as the necessity of evil and the election of choice in life. The film is also very funny in many parts, due in large part to a great cast. The protagonists are all quite good. John Cleese plays as likable a Robin Hood to be seen with his almost overly polite manner. The best performances go to Ian Holm, playing a drunken Napoleon obsessed with his size, David Warner, playing the malevolent Evil Genius with relish, and lastly to Sir Ralph Richardson, playing the Supreme Being like a bureaucrat concerned with balancing payroll and the like. Gilliam explores the bureaucratic mentality with even more scope in his Brazil. All in all, Time Bandits is a fun and entertaining picture.