The Fisher King (1991) User Reviews

Wow! Sooooooooo overlooked. A mini-masterpiece

[mtnhi · 8/10 · 6 May 2005]

I've watched Robin Williams/Jeff Bridges in this "fairytale" more times than I count. Finally bought it. You have to watch it at least twice , in my opinion,because the first time all I could do was try to let it "settle in".

I love movies that hit me broadsided and then blind me! I keep trying to watch it with my daughter, who only likes love stories, but if I can keep her still long enough she'll find out that this IS a love story, of the most incredible kind. A love story for all mankind.

I hate to gush, but if it's ever called for, it's called for here.

The first time I saw it, I was soooooooo impressed with Mercedes Rhuel's performance and actually said to my friend in the theatre, "That woman's gonna get nominated for the Oscar for this performance", which of course she won for her performance. So, I'm not so unsophisticated after all.

This movie should be on everyone's "must-see" list

[LJMTitle · 10/10 · 23 July 2004]

A touching yet humorous tale, THE FISHER KING brings together amongst the best performances given by Robin Williams and Jeff Bridges, as well as Terry Gilliam's finest directorial effort. Solid supporting performances by Amanda Plummer and Mercedes Ruehl round out a great film that ranks among my personal favorites.

Bridges portrays an arrogant radio shock-jock, who's big mouth and flippant comments send a disturbed listener on a murderous rampage, thus ending his career. Enter Ruehl as his new enabler girlfriend, waiting patiently for him to drag himself up from the dregs, hoping to catch a ride to the top. Just when Bridges seems to have hit rock bottom, he encounters Williams, a crazed vagrant who thinks he is a knight in shining armor.

What ensues is a tale of remorse, redemption and rebirth which is made all the more magical by Gilliam's magnificent vision. Most notable is a scene which takes place in Grand Central Station where the hustle and bustle of the busy commuters dissolves into a spectacular waltz as Williams follows Plummer, the woman of his dreams. Gilliam's style makes Williams delusions come alive as the character makes the slow journey from trauma-induced insanity to stark, yet hopeful, reality.

Every character in this film undergoes a metamorphosis, each learning from the others along the transformation. It is a beautiful film to watch, and an achievement to all involved that subject matter of such depth can come across with such humor and with such beauty.

Coming From A Completely Different Direction Than Any Film Remotely Like It

[jzappa · 10/10 · 7 June 2007]

The Fisher King can be viewed as an oddball dramedy like several others during one's initial viewing, but then suddenly you're struck by the hallucinations of Robin Williams's character, namely the sight of the large, outlandish, scorching red figure of a demonic knight coming to kill him. Things like this seem at once to throw the film out of balance a little bit, like the film is making a straight line and suddenly makes a sharp and brief stab upward, and then back down to continue the line in the straight way it was before. One has to think about The Fisher King and realize just how largely, outlandishly, scorchingly different it is. Think about this plot when you're watching the film. You'll realize how well it modestly unravels instead of contriving itself to mystify us. The filmmakers show no ego and are not interested in impressing themselves. They are telling their vivid, dynamic story the way good films are made. The story is just completely fresh and new. And with that in mind, thinking outside the box along with Terry Gilliam and Richard LaGravanese, one shouldn't even think of the brief sporadic fantasies the film splashes at us here and there as anything so jolting.

Jeff Bridges turns in a fantastic, despicably likable performance. I say this not so much because I believe he has a universal effect on anyone who understands or enjoys the movie. I say this more because I related to him greatly. I felt like his character was very familiar with his self-centered angst, bitterness lathered on top, an emotional and sexual nature quite like mine, and frankly the performance in a serious relationship quite like mine. Bridges, who I have always thought of as a very good actor, has my kudos for understanding to the point of successful portrayal a type of person who is rarely completely understood.

Robin Williams, constantly underrated at this point for his self-indulgent bombast and personally difficult, nonstop communication of his sense of humor, is proved in this, as well as several other films I could mention, that he has true talent and feels his characters to the very core and projects as such. It is not and never has been right to reduce judgment upon him to surprisingly shameless look-at-me-fests like Mrs. Doubtfire, Patch Adams, and Good Morning, Vietnam, because he has always been tremendously capable. Above all, I think he is an actor whose work is founded upon intuition. He communicates his physical and psychological portrayal by emotional understanding and deep feeling. When you watch this film, do you not have that clutching grip upon his character's pain? Are you not taking that journey face to face with him?

Mercedes Ruehl is not a token here. She is not just the voluptuous Brooklyn Jew girlfriend who nags, criticizes men, and makes dinner the whole time. That is the way her character lays out, because that is the path the emotional position of her presence in the story leads. She is perhaps the strongest, most decisive, and understanding person of all four main characters, and believably so. She is also very sexy and very natural. Take the scene with her and Bridges stumbling with laughter down the street after the dinner scene. She is quite real in a scene that with many other players would've been annoyingly not so.

Amanda Plummer is a sad portrait of a very realistic person, ironically enough in a film that is greatly surreal. She is the lone wolf that drifts through life, crippled by a complete lack of self-assurance and with age has become extremely used to it. Plummer's rich, seldom screen time is great, very wise acting. When she is suddenly accosted by the attention and adoration of these other three people, she reacts, and I feel like I know many people who would react the same way.

The Fisher King is in my opinion the first great film Terry Gilliam ever made. He had never made a bad film before this one, but this is the film that really made me connect. It's filled with emotional understanding of the human condition and a parallel story and cinematic style that are so acutely unique and naturally offbeat. It is among the definitive Gilliam films. Perhaps the click that sounded off for a truly effective film came with the connection of very similar, very compatible perspectives between the writer and the director. It's a determined, forceful, emotional, passionate, and secretive movie.

crazy acting from Robin Williams

[SnoopyStyle · 6/10 · 1 March 2015]

Jack Lucas (Jeff Bridges) is an arrogant selfish call-in radio DJ. His rant against yuppies causes a madman to commit a mass shooting in a hip NYC bar. Three years later, he's a drunken mess working at a video store with his girlfriend Anne Napolitano (Mercedes Ruehl). Jack is attacked by a couple of young punks and he's rescued by Parry (Robin Williams) and his group. Parry sees himself as a knight on a quest for the Holy Grail and hounded by an imaginary Red Knight. He thinks that Jack is the one to find the Grail so that he could win the heart of Lydia Sinclair (Amanda Plummer). Jack finds out that Parry is actually college Professor Henry Sagan and his wife was killed in the bar by that madman. There is a lot of crazy acting from everybody especially from Robin Williams. It's a little touching. It's a little surreal. It's a stumbling affair with fits and starts. It meanders a bit and I wish it's more of a quest movie. It's cute sometimes like the date. At other times, I can't wait for the movie to pick up the pace.

Still amazing on a 4 inch screen

[radseresht · 10/10 · 7 May 2006]

When i first rented this movie out, it was like an enchantment, even on a 4 inch screen. It was a tape but still, i felt the magic in the movie its self. But the Fisher King is more than a movie, it is a story of redemption, madness, guilt, sanity, poverty and love. In the movie, all these things come together. Jeff Bridges was always a well respected Hollywood actor. In the Fisher King, he plays a role a lot more different than the star man. He plays a radio talk show host Jack Lucas, a wild, arrogant radio DJ who's advice causes a man to assassinate seven people in a restaurant. Jack Lucas did this unintentionally, but as a result to that, he is now down and out in poverty. When almost killed by thugs, a insane homeless man (Robin Williams), saves Jack, and in the end turns out to be the husband of one of the restaurant victims. Parry (Robin Williams) has lost his sanity because of that. Jack feels so muck guilt that he wishes to help Parry meet with Lydia Sinclair ( the girl that Parry likes, played by Amanda Plummer), and help him find the one thing Parry treasures, the Holy Grail. The performances are incredible. Particualary Mercedes Rhuel, Robin Williams, Amanda Plummer, andJeff Bridges, they stole the show. This should be in the library of the top five fantasy dramas in Hollywood.

a modern romance

[symbolt · 10/10 · 7 February 2006]

This is one of the best movies I've ever seen. I kept returning to it over they years and I always found it a great and enriching experience to watch. I especially like the shifting incarnations of the legendary Fisher King in this film (the wounded hero, kind of the wasteland, keeper of the holy grail. The archetype of the knight and of the wounded warrior can be seen as one of the prominent archetypes of masculinity we have. By this view, this movie can be seen as a research into masculinity as such. The performances by Bridges, Williams and Ruehl are exquisite. The eighties' New York is a great setting for this ethereal, symbolic quest, and the surreal theatricalness of some of the scenes (a la "Brazil") only adds to the overall artistic congruence of the film. The visuals are great. The movie works on many levels, so apart from this very abstract layer, we get a funny and intelligent comedy about modern misfits - with a great love story, or two. Also, I especially recommend this movie to anyone who loves New York City.

Possibly Robin Williams Best Performance Ever

[sddavis63 · 7/10 · 10 March 2013]

What really struck me in "The Fisher King" were the visuals. It was the way in which director Terry Gilliam managed to give us a picture of Parry's insanity. Robin Williams was excellent in the part. It was a perfect character for him - a combination of laughably crazy and tragically insane - and he pulled it off brilliantly, but it's still the imagery that stayed with me. The pictures of the "red knight" that stalked Parry in his mind at least and that wouldn't let him go, even when he thought he had finally escaped and started to return his life to normal with his budding relationship with Lydia (Amanda Plummer.) Those images have a haunting quality to them; they don't easily leave you after the movie's over.

After the imagery, it's the performances that stand out in this. As I mentioned, Robin Williams was brilliant as Parry, and Jeff Bridges was almost his equal as Jack - the former radio shock jock whose off the cuff comments led an insane man to shoot up a bar , which led to Parry's wife being killed in front of him and resulted in his insanity. Obviously, Parry's life is devastated. Jack's life is devastated. The story picks up three years later, when Parry and Jack inadvertently meet, and Jack sees his opportunity for redemption - can he help Parry get his life back?

Gilliam did a good job directing this. It starts out tentatively, perhaps a bit slow paced, but it builds brilliantly to what I thought was the real climax - the return of Parry's demons after he walks Lydia to her apartment and says good bye. As he ran screaming through the streets, and ended up beaten and bloodied, it was one of the most powerful scenes I've seen. Well done by Robin Williams. For all the strength of the performances by Wiliams and Bridges, it's surprising to me that the only acting Oscar this won was Best Supporting Actress for Mercedes Ruehl, as Jack's girlfriend Anne. Williams was nominated for Best Actor, but lost to Anthony Hopkins for "Silence of the Lambs." I can't argue with the choice of Hopkins, but Williams was superb. It may be the best performance I've ever seen from him.

For me, the biggest weakness to this was the ending. I'd have left it with that climactic scene, and cut out much of what came after. Frankly, I wasn't that taken with the whole "Holy Grail" theme, and the extended scenes of Jack trying to get the Grail didn't do anything for me. I was ready for this to come to a close with that aforementioned scene, even if it had meant Parry's fate being left up in the air. I can live with the happy ending, but the Holy Grail material was just distracting. Still, that ending aside, I enjoyed this immensely. It's a very impressive movie. (7/10)

Underwhelming and Overrated

[jackbecker007 · 4/10 · 16 March 2019]

I love Robin Williams and Jeff Bridges. They are phenomenal actors and I was excited to watch them in this movie. But they nor this movie were really that good.

The Fisher King was a slog to get through. It really was. Jack Lucas' character arc was not really believable, I found him as insufferable at the end of the movie as I did from the opening scene. I was surprised by Jeff Bridges inability to do more with the character, though the script deserves a lot of the blame. Robin Williams was just kind of generic (for him). His performance here wasn't transcendent like other roles of his in Good Morning Vietnam or Good Will Hunting or even admirable like in Dead Poets' Society or Insomnia. It was fine, but nothing special.

I will concede the movie grows increasingly endearing during the time when Jack and Anne are trying to help Parry woo Lydia. But this does not make up for the movie as a whole, and I truly do not understand the widespread acclaim this picture received. Merecedes Ruehl was a lone bright spot, she made every scene better.

At the end of the day, I feel like The Fisher King thought it was about something really really important but ended up being really trivial and ordinary.

Terry Gilliam

[mistresswong · 19 September 2002]

Terry Gilliam has made a lot of good films and a couple of great ones(namely Twelve Monkeys and Brazil)this, though could well be his best.

Why ?

For starters there is the cast.Jeff Bridges,officially the most underrated actor of his generation, giving a performance that veers from one end of the spectrum to the other almost imperceptibly.From comedy to tragedy and back again.

Robin Williams- a great comedian and a better actor than he is given credit for.Fair enough he does tend to go through spells of making films primarily for his kids (Mrs.Doubtfire, Hook, Jack) but when he does decide to buckle down and do a serious role he rarely disappoints (Good Will Hunting, Insomnia, Dead Poets Society).It is with this role though that Williams gives what is the best of his career to date,as Parry. He is undoubtedly insane, but it is not yet too late for him, he justs needs someone to take the effort to save him, and if it had not been for Bridges colossal mistake and subsequent search for redemption, no-one would have done it, and he would never have survived, merely another casualty of another one of Gilliams nightmarish cityscapes. Mercedes Ruehl is perfect as Bridges suffering girlfriend.She thinks of herself as hard-bitten a survivor, and yet she continues to stay with Bridges, trying to prove to herself that she has the strength to change him, to redeem him. She wants to be his saviour, and yet he comes in the shape of a homeless madman, prone to dancing naked in Central Park and seeing floating fairies whilst defecating.The Fisher King is a movie about hope, despair and redemption, and all of the human conditions that fit in between.It contains one of the most inspired,beautiful scenes in recent memory,as Grand Central station transforms from a dingy,noisy concrete hole into a luscious, gorgeous ballroom, simply because of Lydia, Parrys love, the one thing that keeps him grounded in any semblance of reality.The chinese restaurant double- date in which Parry connects with her for the first time is both funny and touching, and makes what comes after even more tragic.

It is at times tragic,brutal even but it's heart cannot be doubted,and it remains a wonderful success.

One of Gilliam's best.

[dead47548 · 9/10 · 9 January 2008]

Arguably Gilliam's best film, and certainly his best acted. As usual, Bridges is completely natural and absorbed in his role. This is the only time I've seen Robin Williams combine his best humor with his severe talent for dramatic work. He seamlessly switches from being wildly charismatic to being an empathetic, heart broken man just trying to escape his past. The basic structure is one which has been done many times, but never has it been mastered as Gilliam has done. The parallels in the story are remarkable. Parry's name being short for Parsifal, a knight of the Holy Grail. Parry saves Jack just as Parsifal saved the Fisher King. Also, Parry's flight from the Red Knight is reflected from Parsifal's battle with the Red Knight. Another parallel is seen when Parry's haunted past is brought back to him after kissing Lydia, just as Parsifal is reawakened after kissing Kundry. Gilliam creates all of this beautifully, yet keeps it very subtle and light. The film itself combines outrageous humor, heartwrenching drama and even some thrilling chase scenes. The hallucinations and flashbacks also have a very haunting ambiance to them. The film really is a tour de force on all fronts. As always, Gilliam creates a very haunting yet comfortable ambiance through some of the best cinematography I've ever seen.

Heartbreakingly hysterical dramedy; one of my all-time faves

[george.schmidt · 10/10 · 13 March 2003]

THE FISHER KING (1991) **** Robin Williams, Jeff Bridges, Mercedes Ruehl, Amanda Plummer, Michael Jeter, Tom Waits. Brilliant tragic-farce about a shock jock radio personality (Bridges in top form and criminally overlooked for an Oscar nod!) who goes over the brink into madness when he inadvertently causes a tragedy that he ends up reliving when he comes upon a homeless man (Williams equally brilliant, Best Actor nominee) that has become that way due to his actions. Repercussions and setbacks aside, intriguing character study despite some broad strokes. Daring direction by Terry Gilliam and Ruehl (Oscar winner, Best Supporting Actress) is dead-solid perfect as Bridges' taken for granted lover. Pathos and pathologies aplenty. Astonishing screenplay by Richard La Gravenese (who has a blink-n-miss cameo in the first asylum sequence; he's in a strait-jacket). Look sharp for Kathy Najimi as a video store patron Bridges insults and David Hyde Pierce as Bridges' agent.

short description and the inspirational story

[CuneytPala · 10/10 · 16 October 2007]

one of the best stories about the life in urban jungle and how everything is related. Jeff bridges and robin Williams are perfect. a must must see for anyone who enjoys a good story well told. last but not least the director terry Gilliam adds his most loved extra grim flavor.

The Fisher King (by: Richard LaGravenese)

It begins with the king as a boy, having to spend the night alone in the forest to prove his courage so he can become king.

Now while he is spending the night alone he's visited by a sacred vision. Out of the fire appears the holy grail, symbol of God's divine grace. And a voice said to the boy,

"You shall be keeper of the grail so that it may heal the hearts of men."

But the boy was blinded by greater visions of a life filled with power and glory and beauty.

And in this state of radical amazement he felt for a brief moment not like a boy, but invincible, like God, ... so he reached into the fire to take the grail, ... and the grail vanished, ... leaving him with his hand in the fire to be terribly wounded.

Now as this boy grew older, his wound grew deeper.

Until one day, life for him lost its reason. ... He had no faith in any man, not even himself. ... He couldn't love or feel loved. ... He was sick with experience. He began to die.

One day a fool wandered into the castle and found the king alone. And being a fool, he was simple minded, he didn't see a king. He only saw a man alone and in pain. And he asked the king,

"What ails you friend?"

The king replied,

"I'm thirsty. I need some water to cool my throat".

So the fool took a cup from beside his bed, filled it with water and handed it to the king.

As the king began to drink, he realized his wound was healed. He looked in his hands and there was the holy grail, that which he sought all of his life. And he turned to the fool and said with amazement,

"How can you find that which my brightest and bravest could not?"

And the fool replied,

"I don't know. I only knew that you were thirsty."

Emotional and sensitive tale about two deranged characters driven into deep craziness by an unexpected distress

[ma-cortes · 7/10 · 8 October 2011]

This is a Modern Day Tale dealing with The Search For Love, Sanity, Craziness and The Holy Grail . A former self-absorbed radio personality ,the popular DJ Jack Lucas (Jeff Bridges), suicidally despondent because of a terrible mistake he made, when a nutty man carries out a slaughter that takes place in a popular New York bar after hearing the radioman speak against Yuppies. He then finds redemption of the unexpected tragedy in helping a deranged homeless named Perry (Robin Williams) , a former professor who turned unhinged and who was an unwitting victim of that mistake and also in desperate need of rescue himself . The ex-DJ strikes up a friendship with the vagabond and both of whom join forces to steal the Holy Grail from the private Library of a New York Socialite . While it is not quoted in the story , Parry's name is short for Parsifal, the "pure fool" and legendary knight of the Holy Grail. Perry brings redemption to Jack Lucas just as Parsifal brings redemption to the Fisher King Amfortas .

This is an imaginative , glamorous , chaotic fantasy based on the relations among four characters , though a little bit tedium too and paced in fits and starts . This touching and stirring film contains nice performances from Jeff Bridges as a radio man dejected by remorse and Robin Williams as a homeless become crazy after witnessing his wife's violent death in the bar shooting . Absorbing and overlong tale , both funny and tender, and full of good feeling , emotion , intrigue and human relations . The film cast includes three Oscar winners: Robin Williams, Jeff Bridges and Mercedes Ruehl; and three Oscar nominees: Tom Waits, Dan Futterman and Richard LaGravenese. It's a good picture but relies heavily on the lovely romance between Robin Williams and Amanda Plummer , and the relationship between Jeff Bridges and Mercedes Ruehl ; lacking adventures and action . Nice secondary cast cast as Michael Jeter and David Hyde Pierce and brief appearance of Kathy Najimy , look fast for John de Lancie and Richard LaGrevanese , film's screenwriter, as strait jacket yuppie . Special mention to Mercedes Ruehl who won best supporting actress . Nice scenarios from N.Y. as the "castle" , it is the facade of the Squadron Armory, now part of the Hunter College Campus Schools building, located at 94th and Madison Avenue. This medium-budgeted , under-appreciated film was a flop in the premiere and at the box office , being panned by the critics ; however , today is very well considered . Colorful and glimmer cinematography by Roger Pratt, and evocative musical score by George Fenton . This is the first film directed by Terry Gilliam to not feature any other members of Monty Python. The motion picture is imaginatively directed by Terry Gilliam , an expert on wonderful , surreal atmospheres ( Time bandits , Brazil , Baron Munchausen, Doctor Parnasus). The film might be described as an extraordinary human drama full of imagination and color . Rating : Good , better than average . Worthwhile watching .

An Unconventional Romance

[gavin6942 · 7/10 · 9 July 2015]

A former radio DJ named Jack (Jeff Bridges), suicidally despondent because of a terrible mistake he made, finds redemption in helping a deranged homeless man (Robin Williams) who was an unwitting victim of that mistake.

I have been aware of this film a long time, though I never really knew what it was about. With Jeff Bridges and Terry Gilliam, it was more or less guaranteed to be good. And sure enough, it takes what could be a sappy romance and makes it something much, much more.

One has to talk about the Red Knight. Although he does not show until two-thirds of the way into the film, this is when you know it is a Gilliam movie. The imagery and oddness really fit the man's vision.

Exquisite, perfection

[deickos · 10/10 · 14 April 2022]

I will only do justice to this gem if I compare it to some of my favorite films of all time: Death in Venice (1971), The Chase (1966), The Fugitive Kind (1959), Nostalghia (1983), Solaris (2002), Ran (1985)... This movie is proof great art's shortest way is through modesty and true humility.

My sincere congratulations to all the people that made this masterpiece possible.

seeking salvation... and one's sanity

[echolilial · 7/10 · 12 January 2002]

Robin Williams (Good Will Hunting) plays a deranged tramp named Parry 'on a mission from God to retrieve The Holy Grail'. Jeff Bridges (The Contender) plays popular radio disc jockey Jack, whose advice inspires a madman to commit a shooting at a restaurant. Mercedes Ruehl (Oscar-winning) plays Anne, the patient yet suffering girlfriend of Jack (and owner of a video store). And finally, Amanda Plummer who plays Lydia, whom Parry falls in love with.

One night under terrible circumstances, Jack and Parry meet. Later, Jack finds out Parry's former wife was killed in the restaurant shooting and has been living on the streets ever since. To show his guilt, (not known to Parry), Jack helps Parry in the quest for the Holy Grail and in meeting Lydia.

Sounds simple but there's wa-a-a-a-a-a-y more to the story than just what I've mentioned. Although uniquely original, the script seems a little too unrealistic but the fine performances from all involved, (particularly Ruehl and Plummer) makes this 1991 fairytale -- both funny and sad and sometimes even scary -- a watchable film that is sure to put a smile or two on your face.

AA: Mercedes Ruehl AAN: best actor (Robin Williams), art direction, score, screenplay

Commercial perhaps, but with more vitriolic cant than genuine heart...

[moonspinner55 · 3/10 · 25 January 2008]

Terry Gilliam's typically overreaching style does nothing for this underwhelming material about an unfulfilled radio shock-jock in New York who goes into hiding after suffering career misfortune, learning to live again after meeting an ex-professor who is now some kind of guru among the homeless. Literate perhaps but meandering, self-important comedy-drama, with Jeff Bridges visibly struggling on-screen alongside Robin Williams. Mercedes Ruehl won a Supporting Actress Oscar for showy, one-note role as Bridges' girlfriend. Williams, in free-association mode, attempts to steal the picture with his ranting, but he's mostly a nuisance. Overbaked folk lore and fairy tale symbolism detract from the narrative, and Gilliam is never able to move the audience emotionally with his heavy handedness. *1/2 from ****

Movie with depth

[Schlockmeister · 14 June 2001]

The movie's plot has been discussed enough, no need to rehash it here. I just wanted to add a few observations. In my opinion this is one of Robin Williams' best performances. I know that at the time he was heavily involved in Comic Releif and this story about mentally ill homeless men and acceptance of all types of people really fits the PC Comic Releif mentality, but he really did a great job here, portraying Parry, a man lost in fantasies of knights and ladies.

Jeff Bridges is very Howard Stern-like as Jack Lucas, the insulated, rude talk show host. In 1991 Stern was still a New York thing, but being that his "fame" has since spread, we see who the character was based on with a little more clarity now.

Michael Jeter as the homeless, depressed former cabaret singer was a delight in every scene he was featured in. His "singing telegram" scene to Lydia in her office was a classic.

Mercedes Ruehl also stood out as sort of living outside this crazy world that Jack Lucas finds himself thrust into. Her home is a haven and scenes shot there are usually scenes of a return to normalcy in the story, a grounding.

David Hyde Pierce has pretty much found his niche as the asexual, slightly fey character. This was basically a toned-down Niles Crane in a hat here.

Amazing movie. Like other Terry Gilliam movies, they unwind like dreams and have the look of otherworldliness. I am sorry that the homeless people arent giddy and uplifting enough for some viewers, but in reality it is a pretty stark existance.

Recommended highly.

Grand Central Station scene is one of cinema's greatest

[erwinjones · 7/10 · 22 September 2022]

Family film night and Sarah Erwin Jones. Choice but she was cajoled a bit by me to pick this over The Piano (which will be viewed shortly). The Grand Central scene alone makes this essential viewing. A fantastical exploration of Arthurian legend, Ethel Merman and the fragility of mental health. Jeff Bridges and Robin Williams are stunning with William's performance all the more poignant in light of his own personal demons. Mercedes Ruehl deservedly took the best supporting actress Oscar but Amanda Plummer also excels. Despite the fantasy world Terry Gilliam has never directed such vivid relationships on screen. A gem.

"You find some pretty wonderful things in the trash"

[Steffi_P · 10/10 · 14 December 2007]

This was Terry Gilliam's first film produced back home in his native USA, perhaps a deliberate move to help further establish himself as a serious film director in his own right, and get away from his image as an interesting offshoot of Monty Python. Gilliam had certainly created his own distinct style with the four films he made in the UK, and they are by no means bad – Brazil is an outright masterpiece – but with their British-made look, quirky humour, not to mention the odd ex-Python among the cast it was understandable that he would want to move on to a different setting and get out of the Python shadow.

So here we have a Gilliam film written by an American (Richard LaGravenese), set in New York and with a Hollywood cast, but in style and content the same Gilliam touch is very much in evidence. Like Brazil this is a complex story and, like all his previous features (with the exception of the inferior Jabberwocky) it deals with the conflict between imagination and the real world. The screenplay thus puts Gilliam on familiar ground, and gives him free reign to create something weird and wonderful – enter homeless vigilantes, a moustachioed cabaret singer and a fire breathing red knight. In spite of all this the bizarreness is just a little more restrained than in previous Gilliam efforts. All for the best perhaps as it allows him to give more weight to story and character.

The plot of The Fisher King is multi-layered and highly original, the best study of guilt and redemption I have seen. While keeping the setting and concerns of present-day America it references Arthurian legend for its story, and any number of classic romance movies for its tone. Gilliam handles this poignant side confidently, as well as introducing that same light, lyrical touch that cropped up in Brazil – one scene, in which hundreds of commuters in a station concourse suddenly break into ballroom dancing, is done so smoothly it could almost have been something out of a Vincente Minelli musical.

What really brings The Fisher King to life though is the top-notch cast. Jeff Bridges plays a character clearly based on shock-jock Howard Stern, and brings him through a radical and very moving development. Mercedes Ruehl plays his girlfriend, creating a character who is at once over-the-top and utterly believable, and she deservedly one an Oscar for the part. And then there is the unique Robin Williams as Parry, in one of the best performances of his career, no doubt supplying much of his own dialogue.

The Fisher King is Gilliam's second masterpiece. It may lack the constant creativeness of his earlier works, but there is now a greater emotional depth on display. It's a great balance of tragedy and comedy, with a life-affirming resolution that is a counterpoint to the despair of Brazil.

An offbeat treat

[MovieReporter · 7/10 · 2 May 2005]

Jeff Bridges is the disgraced radio DJ whose downward slide leads him to meet Robin Williams' loopy street crawler leading to a series of escapades that involves knights, dating, the Holy Grail and video club membership. Terry Gilliam's tragicomedy is a lively, thoroughly entertaining and often hilarious treat which isn't afraid to enjoy itself in the light of its offbeat story. Bridges and Williams are invaluable in their roles and light up the screen with an array of memorable moments. The dual romantic sub-plot involving the pair's relationship with the two women in their lives (Mercedes Ruehl and Amanda Plummer) takes centre-stage for the film's middle portion and does become somewhat tedious as the on-street exchanges between the two men are more rewarding. Yet, for the most part, The Fisher King shines as a delightfully amusing piece of screwball entertainment.

As good as it gets

[Mr_Mirage · 10/10 · 24 February 2013]

While most of Gilliam's work is known for their over-the-top wild madness, which is a good thing, this is his most restrained, most subdued and possibly the single finest film of his career. Throughout there is a sense that life is going on while he just happened to be nearby with a camera, somehow even magically catching the tormented vision of a Red Knight chasing a hapless soul through Central Park.

The performances are stunning. Possibly the greatest moment in Williams' career, a chance to "be crazy" but in the sense of someone barely capable of functioning. Ruehl controls her reality, which is small and confined, but it is hers, every inch of it. Plummer, always fascinating, here is heart breaking. Jeter's role is small but perfect in every possible way. Najimy is on screen for about a heartbeat, but is totally memorable.

Then, of course, there is: Jeff Bridges as Jack Lucas. Bridges is obvious now, The Dude, Rooster Cogburn, his Crazy Heart beating loud. It is here, though, that the man that has done so much, and from a short line of great actors (father Lloyd and brother Beau as also great) that has given so much, he really deserved the attention that he is only now getting.

The writing completely destroys this otherwise wonderful movie.

[Mequias · 6/10 · 28 April 2023]

Originally an allegory of how humanity is waiting for its savior, "The Fisher King" is a story about a man so driven by fame and power, that he can't look past his own nose. The protagonist, Jack, is unable to consider the thoughts or feelings of others, until an un-empowered man (the Fisher King is a representation of those of us who are "castrated" and unable to produce or fend for ourselves) enters his life, giving him the opportunity of redemption. The movie is, in itself, a creative and meaningful adaptation of the mythological tale, but is very poorly scripted, often leading the viewer into frustration, annoyance, apathy and disregard.

Robin Williams was an incredible talent; his mind was constantly creating in an incessant unease; possibly brought on by a feverous need for acceptance and meaning. Like for many of us, comedy was a mandatory survival tactic for Robin, but he went further, eventually thriving upon it. Sadly, "The Fisher King" fails to tread the delicate balance between drama and comedy, and understandably, since the two are incredibly different. Robin's relentless energy is misplaced and poorly directed, often presented at pivotal points of emotion or danger, instead of properly and timely at appropriate moments in the plot. Terry Gilliam fails to temper Robin's antics, shape a proper homeless lunatic, or present believable social interactions. This movie definitely did not merit award, but was still able to pull off many, including the Oscar, eventually becoming the only so honored movie in Gilliam's repertoire (how did his movie "Brazil" not get noticed?).

Despite the intriguing premise and exceptional cast, "The Fisher King" is unable to rise above mediocrity, weighed down heavily by its horrendously wordy and meaningless script. Writer Richard LaGravenese either allowed the actors free reign or butchered the dialogue. Other aspects of the film are basically flawless, such as Roger Pratt's unique cinematography, as well as sound, music and editing. Depth and meaning are also presented correctly in the film. For example, the fact that Jack wears Parry's clothing in order to retrieve the grail is symbolic of his triumph of being able to walk in Parry's shoes. A massive achievement for Jack, who was unable to respect or understand others before this friendship. In conclusion, "The Fisher King" is probably a movie worth watching in the background, while doing something else.

Fisher King – Another masterpiece from Gilliam

[lobzhanidze · 10/10 · 18 December 2007]

New York is not just a city. New York is a model, model for the "world full of busy people," where the person is too grounded and too occupied to stop, look up into the sky and simply say "look it's beautiful".

Jeff Bridges plays a guy, anchor of the popular radio show and his popularity allows him to "make love with his ego." No one can stop him from self obsession, even the beggar knocking on his Porsche car window. Almost nothing can wake Jack Lucas(character played by Jeff Bridges), except for his own announcements in radio, which gives birth to tragedy.His ego can't stand this and turns him into heavy drinker. Once being drunk to death he goes wandering in the streets, thinking about his lost fame, here he encounters character named Parry, played by Robbin Williams. Possibly Gilliam influenced by his early work for Monty Piton(Monty Piton and Holy Grail) turns Parry to a character who seeks Holy Grail, however in this case Grail is just a symbol, symbol which will allow Parry to return to sanity and forget the tragedy which happened to his wife, the tragedy which links to Jack… However before the search for Grail begins the movie prepares us to this point. In the legend of Holy Grail the person should have been prepared to find it finally, he should have faced serious challenges and then become ready for the quest, so does the movie. Parry wants to get possession of the Grail during the whole movie, he knows where it is, however somehow he can't reach it and thinks Jack is the one chosen for this mission, however Jack does not even think finding it. However finally we get to this point and as mentioned above the grail is found and links the various topics of the movie together.

The atmosphere in the movie is typical to Gilliam's style, which reminds his early "Brazil" and later work "Fear and loath in Las Vegas". The scenes are overloaded with various subjects, which is normal for Gilliam, the camera moves in experimental way and so on. The movie features "Snap's" "I've got the power" song and appears every time Jack Lukas enters his luxurious house, car or office. However the question in the movie is what real power is, Jack having fun in his pent house, Parry dancing naked in the central park of New York, finding true love (by the end of the movie everything comes to this point), or maybe simply the human relations? The movie raises all of these possibilities and it is up to the viewer to find sense in the messed tale like world of Terry Gilliam.

Time has tested its limits

[isaacbrovald · 6/10 · 11 June 2021]

This movie has now been around for a total of 20 years. While its still a good movie, and was a great movie back in the day, there are things about it that do not make this as good a movie as some of the more modern films.

Jeff Bridges had points in the film that seemed like he was talking to us, instead of the other characters in the film which I thought was an area that could have improved on. However I did find that he spoke with great emotion, which was really nice to see.

Robin Williams was a great actor in this film like always, he preformed his role like a pro and even thrived in it. At a few points in the play I felt like he might have gone over the top.

This film had a great story with some great life lessons that can even more useful in todays day and age. The actual characters had great scripts and they got the right type of actor to play each role. I do feel that there were scenes in the movie that don't make sense in todays day and age. The comedy they tried to use also isn't as funny as it was intended to be back in in the day; however it was still pretty good.

Overall this was a pretty good film that has just become outdated, and that's not necessarily a bad thing. I recommend this film to anyone in the ages of 30 to 50 years old. That way they have a better understanding of some of the scenes and comedy that goes on throughout the film.