Way Too Late at the Movies: The Adventures of Baron Munchausen

I tell a little lie here. I have seen this film before. But it has been forever, so when I saw it was available on YouTube, I had to jump on it.

It's an absolute mess of a film, meaning for a Terry Gilliam procuction, it's right where it should be.

I read today that it's the third installment of an unofficial "trilogy" of films by Gilliam, meant to show the world from the point of view of a young child (Time Bandits), a middle-aged man (Brazil) and an old man (Munchausen). I believe there's some credence to the theory, as the films have common threads that tell a wonderful story of their own.

First, they're all anti-authoritarian. Time Bandits battles the tyranny of parents too set in their ways to really pay attention to their children. Brazil battles the tyranny of societal norms (it's too easy to say it's anti-government). Munchausen battled the tyranny of so-called irrelevancy.

Second, they demonstrate the ability of the individual, even those imagined as powerless, such as a child or an old man or a middling government functionary, to battle against their tyrannies and win (though it's arguable that Sam Lowry doesn't "win" against the forces mounting against him, but then again maybe he does).

Third, they preach against complacency and accepting one's fate. These films' protagonists clearly see what's wrong with their current situation, and either on purpose or by accident fight against what's holding them back.

One can make all sorts of allegorical comparisons to Gilliam's work. Being a Christian, I clearly see Christian themes throughout the movies as they battle foes we recognize easily today. Being a human, I clearly see human themes throughout the movies, as they prove time and again that who they are counts, that they are relevant, and that they can effect change in society.

That's no more clear to me than in Munchausen, where the people are held under the dual thumbs of an invading Turkish army and Johnathan Pryce's delightful sellout city official who seems quite happy to remain in power at a time of crisis because he's fooling his subjects by dealing with the Turks in secret. Munchausen demonstrates his power by physically appearing younger as he has adventures meant to save the town.

The closing scene really spoke to me.

First, we hear Polly make the statement "It wasn't just a story, was it." She's not asking this as she sees in wonder the routed, absent Turkish encampments in front of the town, after they defy the town leaders and open the gates.

And again as Munchausen declares, right after we see him (spoilers) lowered into the grave:

"That was only one of the many occasions on which I met my death. An experience which I don't hesitate -- strongly -- to recommend. And so with the help of my inestimable servants, I defeated the Turks and saved the day. And from that time forth, everyone who had a talent for it, lived happily ever after."

This turns something on its head for me: The coward, they say, dies a thousand deaths, while the brave die once. Munchausen subverts that tyranny as well. Only through action looking past the fear of death, physical or metaphorical, is what leads us to victory, and can lead us to victory time and again.

Artistically, it's a wonder; a mix of real sets and those that appear to be cheap lath and canvas ones you'd expect to see on the stage, and they're chosen purposefully to help push the "is this real or it it a story" theme Polly points out.

So in short, I loved this film.

And it's a pity that Gilliam never got to do his Don Quixote, which would have added a fourth film, and other delightful allegory, to his trilogy of fighting against the man.

Munchausen's hero shot, with dog Argos and horse Beaucephalus, at the end of the film.