As the Monty Python troupe was finishing up their final movie together, it seems Terry Gilliam got his hands on some of the budget and went haywire creating his own little "supporting feature" to the show, a production that most certainly looks forward to his later work with Time Bandits and Brazil, et al, and gained him some control of the surrealist adventure escapades in Gilliam's fantasy land.
Starting out almost something of a send-up of Ben-Hur, some elderly accountants under the whips and shackles of corporate England revolt and turn their office building into a sailing pirate ship of corporate pillaging, heading to America and converting the everyday mundane office supplies of filing cabinets and coat hangers into weapons. This movie seems like a bridge between Monty Python's surrealist send-up sensibilities and Gilliam's own desire to stretch his fantasies to their limits, a mode he's followed ever since, sometimes to his own detriment (I guess he's finally getting Don Quixote together for a second try?).
Except for one interjection into the mad antics of The Meaning of Life proper, this movie really does stand alone and fills out a different role than the larger feature.
--PolarisDiB
Starting out almost something of a send-up of Ben-Hur, some elderly accountants under the whips and shackles of corporate England revolt and turn their office building into a sailing pirate ship of corporate pillaging, heading to America and converting the everyday mundane office supplies of filing cabinets and coat hangers into weapons. This movie seems like a bridge between Monty Python's surrealist send-up sensibilities and Gilliam's own desire to stretch his fantasies to their limits, a mode he's followed ever since, sometimes to his own detriment (I guess he's finally getting Don Quixote together for a second try?).
Except for one interjection into the mad antics of The Meaning of Life proper, this movie really does stand alone and fills out a different role than the larger feature.
--PolarisDiB