Copyright 2012 by Zack Handlen
All rights reserved. No part of this book may be reproduced in any form, without written permission, except by a newspaper or magazine reviewer who wishes to quote brief passages in connection with a review.
Published in 2012 by Limelight Editions
An Imprint of Hal Leonard Corporation
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Book design by Michael Kellner
Library of Congress Cataloging-in-Publication Data
Handlen, Zack.
If you like Monty Python: here are over 200 movies, tv shows, and other oddities that you will love / Zack Handlen. 1st paperback ed.
p. cm.
ISBN 978-0-87910-393-4
1. Monty Python (Comedy troupe) 2. Monty Pythons flying circus (Television program) 3. Comedy films--Miscellanea. 4. Television comedies--Miscellanea. I. Title.
PN2599.5.T54H36 2012
791.43617--dc23
2011047192
www.limelighteditions.com
For Ally
Contents
Its simple: theres a finite supply of Monty Python in the world. And once youve finished going through that supplyonce youve watched the entire run of Monty Pythons Flying Circus, seen each of the four movies a dozen times over, wasted hours reciting dialogue and gags to your like-minded friends, played the computer games, even played the short-lived collectible card gamewell, what happens next? Great art of any kind should be satisfying, but it rarely feels like enough, especially not when the art in question is some of the greatest comedy ever put to screen.
So, once youve exhausted the work of Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin, its time to try something new. To that end, weve constructed the book you now hold in your hands. If You Like Monty Python aims to give the erstwhile Pythonite a map forward through the confusing territory. In the following chapters (separated by general subject and/or medium), youll find suggested additional material that should keep you busy watching, listening, reading, and laughing for however long it takes science to write a program that will give us more Python sketches.
This is not intended as a definitive list of, well, anything. Nor is it a history of the troupe, nor a precisely calculated lineup of every comedian, writer, or lunatic who ever claimed to be influenced by the Superlative Six. Think of it, instead, as a collection of new directions, with the hope that some few may lead you, the reader, to other, equally fervent fandoms. Who knowsmaybe buried here is the name of an artist who will affect you so powerfully that in some not-so-distant future, youll find yourself writing about them in a book much like this one. And then youll show us. Youll show us all!
Anyway. Video stores are scarce these days, and condescending-yet-instructive video store clerks are still scarcer, so consider us your assistant in the process of selecting an evenings entertainment. The only drawback being, there are 200 or so items mentioned in this volume, and youll probably work through all of those eventually, much as you did with Pythons oeuvre, given your apparently insatiable lust for killing time. But if that does happen, well, youll be dead anyway soon enough, so maybe you should consider going outside for a walk or something, before someone nails you to a tree. Always look on the bright side, thats what we say.
NOTE: In America, different years of a television show are called seasons. In Britain, different years of a television show are called series. Throughout this book, Ive endeavored to refer to each show by the nomenclature of its homeland.
Authors Note: Throughout this book, certain names and titles have been listed in boldface. This occurs only at the first, or primary, reference to each item, and this is done to indicate that the name or title is considered essential.
Chico, Groucho, and Harpo of the Marx Brothers. (Photofest)
Monty Python didnt come into this world without some precedent. The troupe is as much a summation of what came before it as it is a statement of purpose for the future. In the following chapter are a number of movies, shows, and other potential Python influences. These have been arranged in rough chronology.
The art of Charlie Chaplin is undoubtedly a key piece in the history of comedy and the history of cinema. His best films are required viewing for any student of the medium, but Chaplin isnt necessarily suited to the Python sensibility. The actor/director/writers innovative approach to story-telling, his brilliant composed comic set pieces, and his strong visual style have all aged well, but his sentimentality is a trickier case, effective for some, distracting for others. Pythonites in particular may not take to it, as any sweetness in the Monty Python canon is difficult to find and nearly always quickly undercut.
Which isnt to say that appreciation of one contradicts the potential for appreciation of the other. A devoted fan of Monty Python should be a devoted fan of the art of comedy in general, and that means cultivating an appreciation for the best of the genre. Those Pythonites looking for a good entry point into Chaplin would do well to check out Modern Times (1936), Chaplins goofy satire of the perils and potential of living in the modern world. The Little Tramp suffers the indignity of life on the factory assembly line, loses his job due to his unfortunate predilection for destructive slapstick, and finds true love with a young woman played by Paulette Goddard. Less a plotted movie than a series of vignettes strung together by character, Times has some of Chaplins most famous set pieces, including his trip through oversized gears in the bowels of a machine, and the Tramps only spoken words, a nonsense song sung in pseudo-French. Goddard is remarkable, and while Chaplins shtick may not work for everyone, his physical grace and talent for slapstick are still a marvel.
Any Pythonite interested in the height of silent comedy without all the heart would do well to check out the films of Buster Keaton. Working in roughly the same era as Chaplin, Keaton also wrote, directed, and starred in his own best pictures. Where Chaplins best known character, the Tramp, could be readily identified by a buoyant spirit and boundless optimism, Keatons on-screen persona is far more pragmatic, a stoic, ever-patient victim of the worlds absurdities. Where the Tramp would smile, a Keaton hero stares, stone-faced, at the challenges before him, but that unsmiling visage never reads as uncaring or cold. Rather, its humanism shines through: resignation, and a refusal to surrender to chance.
Keatons two best films, The General (1927) and Sherlock, Jr. (1924), test that refusal considerably. In The General, Keaton plays a railway engineer in the South at the start of the Civil War. When Keatons attempts to enlist are refused due to his value as a railroad worker, hes branded a coward by the family of the girl he loves. He gets a chance to prove himself a year later, when Union spies steal his beloved train, and his beloved, and he embarks on an epic quest to win her back. The scope and scale of the stunt gags in The General