Would love to see this. The concept looks much more sinister than DeBessonet's joyous take, which probably promises a more compelling second act. The characterization of the Mysterious Man is compelling: mad hatter, undertaker, Musical Hall host, leading the cast in a dance of death. What's probably still to come is a full surrealist layering of puppetry and thematically pointed, constantly shifting visual spectacle. And it's fine to have different interpretations of this work, even a delight.
I am still disappointed in Gilliam's idiotic wading into the culture wars and what he saw as his constraints on his freedom of speech to ridicule the identities of non-white, non-male, non-cis people he was working with. Another talented asshole. |
