The Imaginarium Of Doctor Parnassus arrived amidst a storm of production challenges, not least being helmed by Terry Gilliam, a director synonymous with on-set chaos, and overshadowed by the tragic, untimely death of its leading man, Heath Ledger, during filming. This confluence of circumstances elevated what might have been a minor entry in the 2009 cinematic landscape into Ledger’s posthumous and final film, a distinction that unfairly inflated expectations for it to be a masterpiece.
While not a flawless masterwork, The Imaginarium of Doctor Parnassus is undeniably a compelling and good film, arguably Terry Gilliam’s most engaging work in over a decade. The poignant shadow of Heath Ledger’s passing, however, inadvertently contributed to one of the film’s most ingenious aspects. Faced with the impossible task of replacing their lead, Gilliam and his team conceived a remarkably inventive solution to Ledger’s unfinished role as the enigmatic Tony. The character’s transitions into different “imaginarium” worlds are marked by changes in physical form, allowing Johnny Depp, Jude Law, and Colin Farrell to step in as alternate versions of Tony. This narrative pivot, born of necessity, arguably enriches the film, offering multifaceted perspectives on Tony’s character within the fantastical realm of the Imaginarium. Gilliam deserves immense credit for this creative improvisation, executed so seamlessly that the film never betrays its hurried origins. Depp, Law, and Farrell, all donating their salaries to Ledger’s daughter Matilda, deliver heartfelt performances, more than mere imitations, but genuine tributes to their departed friend. While Farrell’s pronounced Irish accent occasionally jars, Depp perhaps shines brightest in his portrayal, yet it remains clear that Ledger laid the foundation. His Tony, delivered with a pitch-perfect English accent, is a quintessential Ledger role – charismatic, wry, and physically dynamic. While not reaching the dramatic heights of his performances in Brokeback Mountain or The Dark Knight, the sheer enjoyment Ledger exudes in the role, that familiar mischievous smile, makes it a bittersweet and fitting cinematic adieu.
The concept of multiple personas, initially sounding like a typical Gilliam extravagance, surprisingly becomes the most grounded and believable element of the film. These shifting identities within the Imaginarium of Doctor Parnassus serve as compelling explorations of reality, a recurring and potent theme in Gilliam’s filmography. It is when grappling with the nature of reality that Gilliam’s directorial prowess truly shines, and this film is no exception. The different iterations of Tony, shaped by the desires and fears of those who enter the Imaginarium, become thought-provoking reflections on the complexities of the human psyche and the malleable nature of identity. However, the film outside these dreamlike sequences is more of a mixed bag; ambitious and visually arresting, yet occasionally burdened by its own elaborate design. True to form for the director of Brazil, Gilliam’s ambition is undeniable, but his struggle to seamlessly integrate his myriad ideas into a cohesive and satisfying narrative persists.
One of the film’s missteps lies in its attempts at contemporary relevance. Gilliam’s humor, rooted in his Monty Python lineage, has always thrived on theatricality and a distinctly British brand of absurdity. However, in The Imaginarium of Doctor Parnassus, the insertion of modern social satire, particularly in Tony’s revamped, commercially-minded version of Parnassus’s traveling show, feels tonally dissonant. Similarly, moments of forced conversational humor, such as those involving Verne Troyer’s character, feel out of place and detract from the film’s overall whimsical atmosphere. More successful are instances where Gilliam leans into his signature outlandishness, like the sight of “violence-loving” policemen dancing in skirts or Doctor Parnassus’s delightfully inebriated ramblings.
Gilliam’s decision to incorporate contemporary satire feels like a missed opportunity, especially considering the wealth of comedic talent within his British cast, led by the venerable Christopher Plummer as the titular Doctor Parnassus. Plummer stands out as the actor who most effectively embodies the spirit of the material. Portraying a man over a thousand years old, he convincingly conveys the immense weight of time, his gaunt face, melancholic eyes, and perpetually weary expression lending an air of haunting realism to the fantastical premise. He imbues Parnassus with a profound sense of heartbreak, making him an undeniably compelling and poignant figure at the film’s core.
Adding to the film’s strengths are the performances of newcomers Andrew Garfield and Lily Cole, and the inspired casting of Tom Waits as Mr. Nick, the Devil himself. While Waits’ acting career has been somewhat uneven, often lacking roles that truly showcase his unique talents, he is perfectly cast here. His gravelly voice and natural charisma lend themselves perfectly to the role of a smooth-talking, Machiavellian Devil. Mr. Nick, while perhaps a somewhat archetypal charming villain, is elevated by Waits’ magnetic screen presence and scene-stealing performance. He is undeniably one of the film’s highlights and almost worth the price of admission alone.
Alongside the stellar cast, the visuals of The Imaginarium of Doctor Parnassus are a significant saving grace, as one would expect from a Terry Gilliam film. The special effects within the Imaginarium are not about photorealistic CGI; instead, they create an intentionally heightened, almost animated reality. The film understands that the landscapes of dreams and nightmares should not strive for realism but for evocative surrealism. Few images from that cinematic year are as resonant as the sight of a weary Doctor Parnassus wandering through a vast, snow-covered plain, his struggle seemingly culminating at a crossroads signpost offering paths to the “High Road” or the “Low Road.”
Ultimately, The Imaginarium of Doctor Parnassus is a highly entertaining film, thematically rich, exploring existentialism and solipsism in an accessible manner, and infused with a whimsical tone and visual style that is uniquely Gilliam. Its narrative occasionally meanders, and the sheer volume of ideas it juggles can lead to moments of incoherence. However, after a somewhat sluggish middle section, the film regains momentum, and the captivating Imaginarium sequences deliver on the promise of fantastical visual storytelling. In the end, the fact that The Imaginarium of Doctor Parnassus exists at all is a testament to Gilliam’s perseverance. His unwavering commitment in the face of immense production challenges, including the tragic loss of Heath Ledger, is truly remarkable. He not only completed the film but also crafted a poignant swansong for Ledger. It is for this reason, as much as for its artistic merits, that The Imaginarium of Doctor Parnassus will endure in cinematic memory.
