h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

Graham Chapman?

Flowery T---s was good. But Cleese has developed into a bit of a pompous arse, has he not.

Idle - not really done much of note.

Palin - the scenery's good - but don't you just hate his endearing Englishman abroad schtick? (Heresy!)

Jones - now! Recently he *has* been doing some rather good newspaper writing.

But step forward Gilliam, who is a pretty decent film director and doesn't have to trade on his Python credentials.

Oh...and Fish Called Wanda and (what were the otger Cleese/Palin films?) were puzzlingly popular garbage.

Ged:
Do you really think Della is going to answer, when she knows that she's going to get a torrent of abuse from you, Blicky and Hoo.

Well she normally does.


I love terry whats it films and Im trying to be deliberately vague so as not to look like some sort of anorak. They are complex, funny, visually stuninning and engage me on just about every emotional way I think it is posible for any film to do.

Iam a bit sad and Ive been watching Twelve Monkeys a lot trying to work out if the woman on the plane at the end who is sitting next to pony tail bloke with the virus is one of the women who sits on the chairs and questions the time travellers. I wonder because the two women look similar and she tells him that "Im in insurance"

Ive watched it loads of times and IM not sure yet. Maybe I should not have so many festival cigarettes next time I watch it.

<>

Noggin is telling me that is Eric Idle - didn't know what you were talking about previously, Kelli. I think Eric Idle has done quite well with his songs (must look up one someone posted to me awhile ago).

Meanwhile, I do enjoy Terry Jones's columns in the Grauniad.

Perhaps I should get my tin hat on before saying that I never found Fawlty Towers particularly funny? For me the best thing about FT was Prunella Scales.

And I have yet to see Twelve Monkeys, which apparently is Terry Gilliam's best film.



az

I've always found Palin's 'Englishman abroad sctick' rather entertaining. He manages to be interesting and witty without overdoing it. More to the point he seems to be genuinely interested in the people around him and how things are done in other places.

Found it! Eric Idle song.

http://www.pythonline.com/plugs/idle/FCCSong.mp3





az

" Ive been watching Twelve Monkeys a lot trying to work out if the woman on the plane at the end who is sitting next to pony tail bloke with the virus is one of the women who sits on the chairs and questions the time travellers."

Yes. It's the same woman. She's "in insurance". She's there in case Bruce Willis failed...

H.

Stunned and shocked...shocked and stunned the Hoo admits not picking up a plot point on first viewing

Nice touch I thought that.

Speaking of 12 Monkeys, i think its on tomorrow (sunday) in the UK.





Heres the site for the film that Gilliam is currently working on: Tideland

http://www.tidelandthemovie.com/

The shots in the image gallery look stunning.

WARNING: the 'Directors Welcome' contains references to underage Donkey shows.

Eric Idle became a character on an American sitcom, 'Suddenly Susan', where he seemed distinctly uncomfortable, and it didn't last long after that.

Thanks to azahar's links, I've had the opportunity to read some of Terry Jones' newspaper columns, they're brilliant!

I should say he *played* a character on Suddenly Susan, not *became* one!

12 Monkeys is Gilliam's best film? Brazil

RF

Edward wrote: "Graham Chapman?"

Actually Chapman did do *some* stuff post-Python, but it was obviously affected badly by his alcoholism. Specifically, and possibly of most interest to H2G2 fans, he worked with Douglas Adams on "Goodnight Vienna", for Ringo Starr. He also worked as an advisor on "Shock Treatment", the sequel to the Rocky Horror Picture Show, wrote the 1972 movie "Rentadick" with Cleese, and appeared in the movie "Doctor in Trouble".

All of this pales next to his masterwork "A Liar's Autobiography, Volume VI", which is also available in audio form unabridged read by Chapman himself. If you have ANY interest in Python, this book is absolutely vital stuff.

H.

Brazil is always the obvious choice for Gilliam's best movie, but honestly, in terms of film-making it pales next to Twelve Monkeys. I actually prefer the highly personal, if deeply flawed, Baron Munchausen to Brazil as well.

Different strokes...

There's a great reaction shot in The Fisher King, where a coked-up Jeff Bridges hears the news about the shootings and sits down and says 'F---'. In fact, the movie's only *major* flaw was the casting of Robin Williams

"Sopranos clean up their act for $200m syndication deal"

http://www.guardian.co.uk/usa/story/0,12271,1403788,00.html

"In a year in which the big networks have been fined for showing Janet Jackson's breast, the violence-filled programme is bound to be scrutinised closely.

A&E's president, Abbe Raven, told yesterday's New York Times the network would work with HBO to edit "tailormade" episodes of the show to "meet our broadcast standards"."




The Moral Majority strikes again . . .


az

I'm sure that greed has something to do with it as well.

Why didn't they just put it on later at night? Or does it not work like that in the US?

At least the article said that the censored version would be in addition to the HBO one. Much like the UK versions of porn flicks which include separate shots in which the genitalia remain hidden.

It's still shocking in artistic terms. The whole point of The Sopranos is the contrast between the domestic and the violent or sexual. Tony will go straight from viciously beating someone to discussing Anthony Jr's college prospects, or straight from humping a Russian prostitute in the back room at Badda Bing to dinner with his wife.

Of on a tangent....Helen Mirren was once asked whether she felt comfortable taking so many roles that demanded nudity. She replied 'The role never demands nudity. The box office does'.

>>The whole point of The Sopranos is the contrast between the domestic and the violent or sexual. <<

If that is so, why keep making the point over so many series? And so grahpically?


>>It's still shocking in artistic terms.<<

Yes. But isn't that the hypocracy of North American culture, and isn't that what the Sopranos represents?


az, I've now watched the first 4 episodes. My opinion hasn't changed that much. It's obviously well made television on many levels, and I can see it would be addictive if it was on every week.

I found the violence too graphic for me. I also found it disturbing because the effect of the violence on the victims was almost entirely invisible apart from the actual beating, shooting etc. (although I can see that this might be a theme that the programme explores, that one would have to watch a whole series to see develop).

It's a shame the violence is so graphic as I would have enjoyed watching more of the series.

>>The whole point of The Sopranos is the contrast between the domestic and the violent or sexual. <<

>>If that is so, why keep making the point over so many series? And so grahpically?

Good point. Bad choice of words by me. It's not the *whole* point - but it's a point that keeps needing to be reinforced. Just as one gets wrapped up in the domestic situation, or in the Machiavellian twists and turns of mafia business practices, it's - 'But remember....BANG! this is what we're really talking about.' (Hmm. Analogies with global capitalism?)

Arguably as a culture we *have* become inured to violence (but equally arguably - we always have been). I suppose it comes down to a matter of one's personal intestinal fortitude. Some people can take the violence. Others have to look away. I'm in the former category, but still find it shocking. (but, hey, I can watch televised dissections without flincing too).

That's interesting. I don't mind dissections either, which while graphic aren't particularly violent.

I'd say that violence is about intent and consciousness of the agressor, and equally important, impact on the victim.

I suppose I can't really comment on the point of The Sopranos as I've only watched those first 4 episodes and I'm assuming that the point developped over time as the show became more and more successful.

I guess I just can't get past the fact that I find a TV drama portraying the Mafia as normal family people reprehensible. If teh point were to show the dichotomy between the family and the violence then showing the impact on the victims and their families would have been the natural way to go.

I'd be interested to know if the series does explore that issue (how disconnected from the violence the aggressors are). Apart from just showing it I mean.