Lost in La Mancha

"Lost in LaMancha" is a fascinatingly brilliant documentary about the aborted film project "The Man Who Killed Don Quixote" and the problems faced by its writer/director Terry Gilliam. The two documentarians who followed Gilliam's "Twelve Monkeys" to produce "The Hamster Factor And Other Tales Of Twelve Monkeys" have done the same again here only this time there is no film to complement the documentary.

Gilliam is no stranger to controversy. Books, made for dvd documentaries and now this feature have been produced about his troubles in the tv and film industry. He has been labeled as a director who goes over budget though in this case the weather, the noise of overhead fighter planes and an ailing lead actor all come together to halt filming.

Gilliam's "The Fisher King" co-star Jeff Bridges narrates the doco which details pre-production through to its troubled shoot. "The Man Who Killed Don Quixote" was to be the most expensive independently produced film in Europe with an international cast including Johnny Depp. Filming only lasted about a week before the insurance company closed down production. The insurance company now own Gilliam and Tony Grisoni's screenplay plus the surviving footage from the shoot.

People believe that the story of "The Man Of LaMancha" is cursed and the documentary mentions in minor detail another troubled genius, Orson Welles, and his unfinished Don Quixote project.

There has been other documentaries of this type such as "Hearts Of Darkness: A Filmmaker's Apocalypse" about the lengthy production of Francis Ford Coppola's "Apocalypse Now" but in the case of this film there is no happy ending. No cultural masterpiece that rises from a problematic shoot. This film is the cinematic equivalent of a train wreak. You know things are going to get ugly but you can't take your eyes off it. You have to admire Gilliam for signing off on this doco. It's a constant reminder of a time in his life wasted with nothing to show for it. It's terribly depressing but the crew's sense of humor and commitment to the project shine through.

If you're a fan of Gilliam's or interested in film production then this entertaining documentary is for you.

Terry Gilliam's had a controversial career. His "Brazil" in 1985 upset Universal because it had a "sad" ending, so they cut it apart and replaced the finale with a "happier" version. Gilliam hated their hack job of his work, and illegally screened his original version for a critics' circle -- they voted it one of the best films of the year. Soon Gilliam got his way and the film was released as he had originally intended, and it's now considered a classic.

A few years later he released "The Adventures of Baron Manchusen," a fantasy flop that went some $20 million over budget and collapsed at the box office. He quit directing for a while and, when he returned, started work on "Twelve Monkeys." It wasn't the best of shoots and his perfectionism resulted in eccentric, intolerable shooting schedules.

In 1998 "Fear and Loathing in Las Vegas" was released and the MPAA hated it, threatening to give it an X rating for its drug content. Released alongside "Godzilla," it flopped, but to this day remains a cult classic.

So it's reasonable to say Gilliam is quite an eccentric personality and has had a tumultuous career.

"The Man Who Killed Don Quixote" was going to be his new film until it crashed. The production was halted because Gilliam couldn't find an actor to play Quixote, flash floods destroyed equipment and one of his shooting locations was in fact a NATO airfield which created quite a problem for the filmmakers.

Gilliam's film probably would have been a great twist on the classic tale and I'm sure his eccentric vision would have suited it well. He also had a cameo by Johnny Depp in the movie and it's quite funny as shown in this documentary detailing the events of the production.

Gilliam recently said he's going to start production on this again and finish it up. I hope so, it really does look like a promising film.

In terms of this documentary itself, it's very insightful and a must-see for any Gilliam fan or aspiring director -- it's entertaining and important, and a great guide on how NOT to make a movie.

"The Man Who Killed Don Quixote" has the makings of a brilliant film. It's a twisted take on Cervantes from the mind of director Terry Gilliam, starring Jean Rochefort, Johnny Depp, and Vanessa Paradis. The only problem is that the film has not been made. It REFUSES to be made.

Filmmakers Keith Fulton and Louis Pepe initially set out to chronicle Gilliam as he made his quixotic dream come true. Instead they captured the floods, bombings, and various "acts of God" that shut the movie down. The result is "Lost in La Mancha", a documentary about a courageous but capsizing production. It works because by presenting Gilliam's story, Fulton and Pepe also illustrate the joy and pain that all filmmakers experience to some degree. We often witness Gilliam's frustration, but we also see his delight when his vision briefly comes to life.

One is left with a new appreciation for the daring movies that do make it through production, as well as some hope for the completion of "The Man Who Killed Don Quixote". Gilliam is depicted as a dreamer, not a failure. "Lost in La Mancha" is an enjoyable celebration of those who tilt at windmills.

J.K. Rowling said that Director Terry Gilliam's `Time Bandits' was the inspiration for the Harry Potter series. Then who is better to fail than such a visionary-he already did with ` Adventures of Baron Munchausen.' But wait, he fails again with his incomplete `The Man Who Killed Don Quixote.'

In grand dramatic style, the mighty one falls, and in the process instructs us all about the difficulties of working outside Hollywood with shaky European financing and following a dream against all odds-and along the way endearing himself to us all.

Movies on movies abound by the hundreds, from the elegant `Day for Night' to the seedy `Boogie Nights.' None has shown, however, a filmmaker's pain and frustration the way this documentary, `Lost in La Mancha,' does. Directors Keith Fulton and Louis Pepe, at Gilliam's request, document his failed attempt to screen the Quixote story. They create a cautionary tale about moviemaking, especially vain attempts at adapting great literature. In this case, Orson Welles spent 20 years grubbing for funding for `Quixote' and died without the picture; in 1972 Arthur Hiller directed Peter O'Toole in a tepid `Man of La Mancha.'

Gilliam's previous successes (`The Fisher King,' `12 Monkeys') were good enough for him to round up $30 million for this film (half of what was really needed), yet the ghost of `Munchausen' seems to visit every scene: If Gilliam is not talking about its flaws, everyone else seems to be referencing it as the disasters pile up in pre-production and mount during the first week of production.

Of Biblical proportions are the extraordinary desert rains and the NATO jets over the Spanish desert. Of human dimension are Jean Rochefort (Quixote) and his ailing 70-year old prostate. To spice it all further is the difficulty of getting Vanessa Paradis to the set. In the end, Rochefort's illness damns the project, but Gilliam, we are told in the end, will try to buy back the script from the insurance company!

No one who loves film should miss this inside story of a gifted director pursuing a losing cause just as his fictional subject fought windmills 400 years ago (or Welles a quarter a century ago). Although Cervantes regularly ridiculed Quixote, readers became fonder of him with each insult. The more idealistic Gilliam becomes in the face of failure, the more the audience will love the creative 61-year-old director, who believes enough in his vision to continue shooting `images' after everyone else has forsaken the project: `The movie already exists in here [his head]. I have visualized it so many times . . . .' As `Black Hawk Down' should make recruits think more carefully about the glory of war, aspiring filmmakers should see `Lost in La Mancha' before devoting a life to the windmills of Hollywood. However, the romance of the most influential art form in all of civilization will convert the Orson Welleses and Terry Gilliams regardless of the pain.

Even T.S. Eliot knew there was life in the images: `But as if a magic lantern threw the nerves in patterns on a screen . . ..'

I thought I had it bad on the set of my little student film in college.

Whew!

Watching this documentary was very difficult and very interesting at the same time. I enjoyed it, despite the tragedy that played out on the screen.

What makes the film so heartbreaking is that you know that the film will inevitably fail. So the entire movie-watching experience is steeped in dramatic irony. We, the viewers, know the outcome of this ill-fated film project known as "The Man Who Killed Don Quixote." But the filmmakers themselves, at the time of the filming, obviously do not know that all their actions are essentially in vain.

A great film, and a powerful warning to those who thinking making movies is easy.