Dante once wrote in his "Purgatorio," "Not by the malediction of bishop nor priest is Eternal Love so lost, as long as hope hath still a speck of green."
It is with this in mind that we look to director Terry Gilliam's "The Fisher King," a film about sin and redemption, despair and hope.
Jack (Jeff Bridges) is a brash talk radio D.J. like Don Imus or Howard Stern, who one day receives a call from a distressed man.
Thinking nothing of it, Jack brushes the call off in a nonplused manner.
This time, however, he makes the wrong decision. The caller goes on a shooting spree, ultimately killing himself as his final act.
Jack, blaming himself for the man's actions, sees his life slip away and then drowns himself in alcohol and self-pity. His girlfriend Anne Napolitano (Academy-Awarding winner Mercedes Ruehl) can do little but watch his demise.
After three years of self-loathing, Jack is attacked on the street and almost set on fire. But he is saved by a strange man named Parry (Robin Williams), who he learns is homeless.
In an attempt to repay Parry for his deed, Jack learns that a man cannot buy back his soul with only money and temporary kindness. So Parry then takes him in as a partner in the quest for Lydia (Amanda Plummer), Parry's dream woman and the Holy Grail that Parry inexplicably believes lies in the mansion of a Manhattan billionaire.
Local New Yorkers yearning to finally be home for the summer (sorry to all the sophomores) will be comforted to recognize the "mansion" as Hunter High School on Madison Avenue in New York City.
Thus Jack is taken on his quest to seek redemption. "The Fisher King" is a film that works on so many levels.
As a film purely viewed for enjoyment, Gilliam's personal touch remains a delight to see on screen. For those looking for a bit of fantasy, Gilliam again includes mythical (now more symbolic) figures as the Holy Grail and a knight who ominously rides through Central Park.
For those who seek something more in a film, the theme of salvation becomes delicately woven into the plot such that it does not hit the viewer over the head suddenly and unexpectedly, but is rather always present in the backdrop.
The dramatic performances by all characters earned critical acclaim. Both Williams and Ruehl were nominated for Academy Awards, along with nominations for musical score, writing and production design.
Ruehl emerged victorious with the Best Supporting Actress Award, but Williams lost out to Anthony Hopkins.
Gilliam, Williams, Bridges and Ruehl were all recognized by the Golden Globe awards as well, with Ruehl and Williams picking up awards.
While "The Fisher King" is probably Gilliam's most commercial film yet, it does not sacrifice its high quality or its quintessential Gilliam-style. Clocking in at over two hours, the film may seem intimidating, but overall it is a worthwhile experience.
In charting the union between Bridges, Ruehl, Williams and Plummer, and the personal growth of each character, "The Fisher King" stands in defense of what Dante wrote more than 600 years ago.
