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This was America’s first big-screen scrutinize at the Pythons — not a film, per se, but some of the troupe’s best sketches from the early years of the TV reveal, reshot for the cover. As such, yeah, if you’ve seen the TV shows, you’ll know all the words, but isn’t that fragment of the fun?
Actually, some of the sketches DO work better in this film — the Restaurant Sketch, for example (where every member of a restaurant staff comes to one diner’s table to apologize for a dirty fork) comes together better here, if only because it doesn’t have the panicked close-ups of John Cleese (“You bastards!”) that atomize the rhythm of the unusual TV sketch. Others, such as Uninteresting Parrot and The Lumberjack Song, will work, no matter HOW you do them, and they’re honest as comic here as they are on TV or live. And the Upperclass Twit of the Year remains a highlight of this film, and of the early TV years as well.
If you’re collecting the complete TV series that A&E is presently releasing, then you’ve already got all the sketches shown here. But that’s no reason to finish away from ANFSCD — it’s a vast plot to introduce the uninitiated to the Pythons. And for those who are already fans and may believe the TV sketches, it’s Calm gripping to compare the filmed sketches with their TV counterparts.
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Ultimately, ANFSCD unexcited holds up, even three decades later. Check it out.
“And now, a man with a tape recorder up his brother’s nose…”
This movie introduces no unique material to Monty Python’s body of work. It selects several key routines from the first two series of Monty Python’s Flying Circus and reshoots them. So why bother?
Because this is easier to explore.
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This film was shot as section of an abortive attempt to introduce Monty Python to an American audience (which wouldn’t actually be accopmlished for another three years) . Where the novel series suffered from a vulgar budget and spotty production values, this film has high-end production quality, including spruce sound, a single variable-angle 35mm camera, and the exclusion of the laugh track that muddied the sound on the TV series. There was obviously money for retakes, allowing the boys to edit out minor line muffs and giving them permission to experiment with their character delivery.
The record is obvious and organic. The sound is elegant and audible. The characters are fun and believable. Unbiased what we’ve always loved about Monty Python, isn’t it?
But be warned, except for one or two linking jokes, this is material that you’ve already seen. Don’t demand anything that will retract your beloved boys in recent directions, and don’t deem you’ll acquire anything modern. Objective sit encourage, hear the jokes you’ve never heard clearly before, and laugh out loud. That’s what they wanted, isn’t it?
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