Twenty-six years in the making


For those who are attentive to these things, the former Don Quixote project, a member of the Monty Python Group, Terry Gilliam, has been a long time.

How long? Three decades.

Film that eventually became The man who killed Don Quixote is known for having been in hell since 1989 at various stages of the development of hell.

The players who were tied to it in the past years were turning in and out (for a long time, some are now dead), including John Cleese, Robin Williams, Danny de Vito, Jean Rochefort, Johnny Depp, Vanesso Paradis , Robert Duvall and Ewan McGregor.

Gilliam actually started recording it in one place in 2000 before production was burdened with Rochefort's health, NATO airplane and flash floods.

According to Gilliam's number, 11 producers participated in decades – one of them sued him, while the other tried to obtain funds in the form of controversial gold bars.

At some point, Gilliam lost his rights to his own script.

So many accidents brought Gilliams Don Quixote It was considered to be cursed – you know, if you believed in such things. Gilliam even documented it Lost in La Manchi.

And now this is finally installed, it is difficult to separate the preamble from the final movie.

With so many interruptions of experiments and story changes – first it was an adaptation from the 17th century, and then it was a story that travels in time Yankee in Connecticut at the court of King Arthurbefore we are transformed into our current repetition – expectations around The man who killed Don Quixote has overtaken what is on the screen.

Was it worth 29 years of anxiety and conflict? Maybe. Gilliam certainly felt like it was something he had to take from himself.

One of the great advantages of the time elapsed is Adam Driver (who was in 1989 six years old when Gilliam first started with this).

It might seem that the driver does not appear to be rightly suited for the imaginative worlds created by Gilliam's production with its restrained creative energy, but if you saw it in I'm leaving you here or While we are young, you know it can be as socially as Gilliam (Brazil, 12 Monkeys, King Fisher) requirements.

The driver is a really great player. In Spain, modern director Toby plays a commercial with borrowed creative concepts Don Quixote.

During the break he is aware that he is near a small village where he made a film about a student on the basis of the story of Cervantes 10 years earlier.

When he returned there, he uncovered Javier (Jonathan Pryce), a shoemaker who introduced him three years ago as Quixote, but now he is convinced that he is a legendary adventurer, and Toby is Sancho Panza.

Through the confluence of a few probable events, Toby ends up in the ass near Javier / Don Quixote and end up on a strange adventure involving people from the past and present of Toby, who unite at the old castle, which was set up for the Russian vodka extravagant costume party.

It's just a weird fantasy that you expect from imaginative Gilliam.

The man who killed Don Quixote is a perfectly beautiful film with the themes of creative corruption and the corrosive effect of inclusion in films (Gilliam is clearly projecting here).

Everyone who is interested in Gilliam's work will be pleased enough, and Driver and Pryce are very noticeable.

But is it more than that? It's so hard to tell when the movie comes with this huge luggage.

Rating: ★★★

The man who killed Don Quixote is now in the cinema

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