The Fisher King (1991)

Director: Terry Gilliam

Starring: Jeff Bridges, Robin Williams, Michelle Ruehl, Amanda Plummer

Primary genre: Comedy

Secondary genre: Drama

Nominated for: Best actor, supporting actress, original screenplay, art direction, original score

Won: Best supporting actress

In his Hollywood debut and at the height of his Monty Python and post “Brazil” (1985) fame, Terry Gilliam decided that he will make a film in the US, breaking his own promise. With a stellar cast, “The Fisher King” is a tale between two men, each consumed by their own demons. When various circumstances force a former famous radio host (Bridges) to cross paths with a partly delusional homeless bum (Williams), a tale of redemption ensures.

“The Fisher King” might have the feel of a stereotypical Hollywood dramedy, something quite prevalent in the late 80’s and early 90’s but the uncompromising script throws a few shades of fantasy for good measure bending of what is reality and what is not; a typical Gilliam characteristic that allows the film to expand its inventive production design and extend the world beyond the horrible aesthetic of an 80’s garbage filled NY. Gilliam favors surreal visuals, extreme close ups, fish eye shots and wacky characters directs a meaningful story that finds moments to develop its main characters through several unique segments (half way there is a particularly stand out cinematic moment for the ages) incorporating an appropriate bittersweet tone that complements the proceedings and a vibrant cinematography by Roger Pratt. While there is room for social commentary, some attempts to present a number of themes (e.g., guilt, madness, decayed society, human relationships) feel unearned, (slightly) distract from the main story and extend the running time unnecessarily.

While Williams deserved much praise for his lunatic yet often thoughtful approach of a man with a (tragic) past, Bridges’ Jack Lucas is the true standout between these two, an absolute travesty of a character who slowly begins to attempt salvation. Without risking becoming an hagiography, his progression feels natural and Bridges manages to be on par with a frantic Williams. Gilliam makes sure the audience is exposed to their magical chemistry since even in the quieter moments. However, with these acting behemoths present, it is easy to forget the supporting cast. Amanda Plummer fits like a glove as the would be? romance for Williams but it is Mercedes Reuhl that stratospheres the film’s scenes (and grabbing the Supporting Actress Oscar) as Anne Napolitano (!). What could have been easily an American Italian stereotype who whines, swears and relies on over sexualized clothes, Anne is a smart, likeable and warm individual with only Lucas’ problems holding her back displaying the type of affection, critical thinking and justified anger like a regular human being and showing how much we miss these days cinematic characters that we would like to be part of our lives.

“The Fisher King” has a strong bittersweet tone that might put off traditional purists of romance or comedy and Gilliam’s direction is far from a typical academic approach of NY shots. The incorporation of fantastical elements could cause a bit of cinematic chaos for those who seek ease escapism and cute Williamisms. If you could get pass the anti-mainstream package, there are some truly wonderful messages to be found here packed with incredible acting. See this.

Touching, and heartfelt

+Superb acting

+Especially by Mercedes Ruehl

+Touching story of redemption

+Unconventional direction

+Beautifully shot

-Can be depressing

-Bittersweet tone might alienate some