La Première Folie des Monty Python

Their first film 'And Now for Something Completely Different' was intended to introduce the group and their humour to the American market. It was nothing but their best and most silliest skits from their first two seasons of their British TV sketch show Monty Python's Flying Circus from BBC television. By that there's no real systematic narrative here, unlike in their later efforts in 'The Holy Grail' and 'Life of Brian'. It's made up of a selection of individual skits, which were mostly hilarious, even though two or three fall short, but it moves along swiftly that you get caught up in the comically cheeky and downright nonsensical humour that had me mostly in stitches. There appealing ludicrousness bellows stupidity, but its done in a straight face, which makes it more the merrier. A lot of it makes fun at its own expense, but also mocks that of political correctness and Americanism. They were so clever in the way structured it and it stills stands up rather well today. But a quick warning their humour is an acquired taste that's for sure.

Some of these ambitious skits and segments are real ball, ranging from the lumberjack song, The dead parrot, The upper class twit of the year, Killer cars, Blackmail, Hungarian in the cigarette shop, the lion tamer and so much more. My favourite of the lot would be the Mountaineer expedition sign up. Going on throughout the film is Terry Gilliam's stunning and ultimately inventive cartoons which catch the eye and imagination. The animation is that of high standards and adds a whole new dimension to the silliness! You could see this eye for detail when he directed such flicks like 'Brazil' and 'Fear and Loathing in Las Vegas'. The boys involved John Cleese, Terry Jones, Eric Idle, Graham Chapman, Michael Palin and Terry Gilliam are nothing but entertaining in whatever they decide to come up with, by giving us a real good laugh.

This landmark comedy team is always a delight to behold. A must see for any fan, though I doubt they haven't seen it already.

The film itself contains some well written pieces, however it is more like a preview or 'mix tape' of some Monty Python sketches. I feel that the acting (though good),comparatively lacked the energy and feeling of spontaneity given in the original versions of the sketches which were performed on T.V. There were also small changes to the dialogue of the sketches that (though maybe just because I've seen the original sketches so many times), did not fit as well. The whole movie didn't tie together as well as the T.V episodes did. I can remember watching the movie in 2003 when I was seven or eight, it was my first introduction to Monty Python and I found it hilarious, but since watching their other work I have come to see this movie as a lower-quality version. Since this movie is simply strung together classic sketches of Monty Python, I recommend simply watching the episodes or their other movies instead. This was probably their worst work.

This is disappointing.

I recall eagerly watching these skits on TeeVee. The shows were live, and the comedy edgy. These guys had gas and were ready to take risks. Energy.

This is a relatively overproduced version of some of those skits, interlaced with many of Terry Gilliam's comic animations.

Well, I think Gilliam has a hard time finding a niche that fits mine. Not a one of his bits was amusing to me then or now. The idea behind the python humor generally is the ability to take one small comic twist (mean grannies, dead parrot) and elaborate with unbounded silliness, often into a different context. Added is the "fold" that they know they are being silly and actively acknowledge it while turning up the dial. There is added into this movie version, for instance, a military narrator who comments on the silly factor.

Gilliam's approach is more a matter of visual oddity rather than silliness. He attempts visual puns via twisted realities, shaped by his animation technology. This worked for South Park because they were able to weave comic narrative on the cutouts. Gilliam — here and in his later movies — relies on the odd visual first. All else is secondary.

The real Pythonistas are dull here. There is no other way to say it. Skits that in the show are effective (Nudge nudge, Dead parrot, Lumberjack) were so because they had an edge. Here, they are stale leftovers.

The only really good bit was something invented for the film, taking advantage of the larger palette: the "Upper Class Twit of the Year" contest. You can see that this has the energy of a new birth on it, not rote reperformance.

Missing from this collection is their classic bit where someone goes to the argument department.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

To most hardcore Python fans, this film will be irrellevant, as they probably have every single sketch on DVD already, and this is essentially a "greatest hits album."

So I am going to direct this review at those who have never heard of Python before.

The film opens with a sketch called "How not to be seen," during which the narrator shoots several people in cold blood, blows people up, and then finally breaks down into hysterical laughter when he bombs a children's hospital.

This sketch is hillariously, gut bustingly funny. Why? That is the great mystery of Python. Is it the impeccable timing, the wonderful acting, or the peerless gags? Could be. But I think it is more the brilliant sense of anarchy and loony logic that makes them so brilliant. It was, after all, those people's own bloody fault they were shot; they could be seen!

Beyond this, there are the sketches that are so well known they have become cliches: the Dead Parrot sketch ("Listen mate, this parrot is dead! It's a stiff! Bereft of life it rests in peace; if you hadn't nailed it to the perch it would be pushing up the daisies! This is an ex-parrot!") the Lumberjack Song ("I chop down trees, I wear high heels suspenders and a bra!/I wish I'd been a girlie, just like my dear Mama!"), the Dirty Fork sketch ("A dirty, ugly smelly piece of cultlery!!") and so on.

There is still no substitute for watching the show. Indeed many of their best sketches aren't on here; the Cheese sketch, the Adventure Holiday sketch, and my personal favourite, the Eric the Fish sketch ("Why should I be TARRED with the epithet "loony" simply because I have a pet 'alibut?"). Still this is a fairly safe introduction to their unique (That's putting it mildly) brand of humour.

Monty Python used this collection of sketches from their first and second TV series (re-packaged and staged again) to break into the American market. A gamble, but a successful one.

All the greats are here – Parrot Sketch, Dirty Fork, Hell's Grannies, Fresh Fruit Self Defence, Marriage Guidance – and more besides. The animated links, specially created for the movie, are funny and well put-together: and new versions of Killer Cars and the story of the Spot are excellent. In many cases the film versions of the sketches outshine those in the TV series and are more memorable, particularly those which first appeared in series 1.

This is a very good introduction to the team and a strong reminder of their early work for the BBC.