The Fisher King.
Gilliam uses a variety of film techniques in order to create a fantastical effect within scenes, specifically Parry’s hallucinations as well as Jack’s drunken induced stupors. The use of design in the smoke effect of bright red and white lights illuminate the horse as it strides down the alleyways and through central park. This use of a reoccurring motif allows the director to portray Parry as a man haunted by a past he is unwilling to confront. Hence his uncontrolled, self-generated, delusions of the grail and knighthood. By creating such a powerful and intimidating visual representation ‘such as a fire breathe horse, which a red knight rides, allows us to understand the depths of pain Parry is experiencing, or has experienced. Robin Williams, in the scene after his first kiss from his new muse, displays stirring acting ability. His desperation and horror are enhances by the direction of a high angle shot looking down on him. The whole shot is rising above him as well as tightening towards his sweaty face. This transition allows for a greater sense of helplessness to be conveyed to the audience. All of a sudden, the quiet New York streets become a place in which Parry is trapped. The mise-en scene used within his escape from the red knight is thrilling. As it progresses, we see a more delirious and exhausted Parry. Unable to seek help from passing by strangers, who disappear, like wisps of smoke, as he tears through New York. The dolly shots follow from a medium shot distance. The streets appear cluttered, the soundtrack violent and intense. All features are designed to reinforce the chase occurring between Parry and his demon. Gilliam is unable to use either clutter or the presence of public crowds, creates a platform that is both constricting and chaotic to base such chase and hallucinatory scenes against. This is also applicable to the scenes concerning Jack’s drunken escapades. As we see during his internal discussions with the wooden play...
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