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As an example of the latter, one would think that Gilliam, having famously made the creative decision to bolster the late Heath Ledger's incomplete performance with the work of Johnny Depp, Colin Farrel and Jude Law, might have installed some sort of interesting yet logical plot device allowing that singular character to appear physically different at times. If one's own characters seem to think it's out of place, then the audience will have no choice but to question it as well.
Sadly, the reasoning is, for some reason, half-baked - the other characters in the film are just as puzzled as the audience is at the changes, even going way too far with their "No, wait... Disbelief: unsuspended and resolute in its anchor-like stolidity (how's that for a sentence? Now, despite all that, I absolutely, positively and without question adored The Imaginarium of Dr. Because Gilliam is really, really good at what he does best.
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Which is too bad, as directors like Gilliam, who so zealously worship at the alter of imagination and visual splendour with a slavish dedication to film-making craft are not so high in abundance.
When in this mode, he always managed to sub-textually raise questions about imagination and dreams as important sign-posts in our collective unconscious, lighting the way to collective and individual hope, joy and happiness.
The difference with Parnassus is that Gilliam has finally made a film that is explicitly and without question about that exact thing, positing at its core that stories and imagination and new ideas are the very things that hold the fabric of the universe together. ), this stuff, when fused with Gilliam's impeccable eye for composition and always fantastic production design will help you forget that the film isn't perfect or logical or accessible.
This film's script (mostly unchanged, despite production difficulties) will definitely try one's patience; characters make weird choices and important plot elements are left unexplained.
As a decision seemingly made to serve the story, most of Gilliam's film operates on a kind of dream logic, which at the best of times put a huge grin on my face and made me feel all gooey inside and at the worst of times pulled me right out of the film, faster than a spilled cold Coke in the lap.