{"id":15433,"date":"2018-05-23T06:00:33","date_gmt":"2018-05-23T05:00:33","guid":{"rendered":"http:\/\/leregardlibre.com\/?p=15433"},"modified":"2025-12-04T22:49:12","modified_gmt":"2025-12-04T21:49:12","slug":"the-man-who-killed-don-quixote-the-right-kind-of-fantasy","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/lhomme-qui-tua-don-quichotte-la-fantaisie-adequate\/","title":{"rendered":"\u00abThe Man Who Killed Don Quixote,\u00bb the perfect fantasy"},"content":{"rendered":"

Cinema Wednesdays - Alexandre W\u00e4lti<\/em><\/p>\n

It\u2019s all there: energy, madness, ingenuity, adventure, and even homage. It\u2019s Terry Gilliam\u2019s take on Don Quixote, aged in a Monty Python barrel\u2014the 2018 vintage, at last! That\u2019s an understatement, given how long the adaptation of Cervantes\u2019 classic has been an ordeal for the director, who had the project in mind as early as 1990 and began production in 2000. He isn\u2019t the only director to have attempted a film adaptation: the great Orson Welles had already struggled with it for twenty years, starting in 1957. Why did it take so many years to make\u00a0The Man Who Killed Don Quixote<\/em> ?<\/p>\n

<\/p>\n

First, the late Jean Rochefort had to turn down the title role due to a double herniated disc; then, a flood destroyed all the film\u2019s equipment; and finally, the location initially chosen by Terry Gilliam was under a flight path. These setbacks ultimately put an end to the project starring Johnny Depp in 2002 and led to a documentary that also offers an interesting behind-the-scenes look at film production:\u00a0Lost in La Mancha<\/em>.<\/p>\n

The idea for the film goes back a long time\u201425 years, to be exact, as the opening credits remind us. At the same time, the director is tackling a tome of over 1,000 pages that, at first glance, seems impossible to adapt for the screen\u2014truly impossible. Why? For so many reasons that it\u2019s impossible to list them all here\u2014at the risk of turning this article into an endless list. As you\u2019ll no doubt agree, that\u2019s something to avoid when reviewing a film. But mainly, it\u2019s because the novel is a layering of characters within the character of Don Quixote, just as it\u2019s a succession of stories within the story. In short, as you\u2019ve probably gathered, Cervantes\u2019 two-volume work is the infinite book by definition.<\/p>\n

A clever use of the \"mise en abyme\" technique<\/h3>\n

Enough about literature\u2014let\u2019s talk about movies! That\u2019s why you\u2019re here, isn\u2019t it? Yet I\u2019m really tempted to whisk you away, like some Don Quixote emerging from the shadows, on \u00aba perfect day for adventure.\u00bb Specifically, Terry Gilliam\u2014echoing the introduction to this article (and yes, all that rambling wasn\u2019t for nothing)\u2014chose to create a mise en abyme. How? He decided to enter the world of Don Quixote through the perspective of the American director Toby (Adam Driver, superb). Toby had shot his graduation film inspired by the adventures of Don Quixote. He returns to Spain\u2014did he ever really leave?\u2014for a film shoot, perhaps the sequel to *Don Quixote*.<\/p>\n

Overnight, through a series of chivalrous events\u2014Toby, the director, returns to the location of his first shoot and discovers, ten years after his graduation film, what has become of the actors and extras. In particular, he realizes that he has forever changed the life of Javier, his cobbler-Quixote (Jonathan Pryce, wildly possessed), and that he has influenced so many other lives without really realizing it. At this point in the article, it\u2019s worth noting the emergence of the Portuguese actress Joana Ribeiro\u2014fabulous and intense\u2014in the role of Ang\u00e9lica. Let\u2019s return to the film. This journey into the past suddenly transports Toby into the very story of Don Quixote. He becomes Sancho Panza, the faithful squire of the knight-errant, and relives his adventures in the modern era. Once again, Terry Gilliam\u2019s approach keeps the film from getting too close to the endless tales of Don Quixote, without ever overlooking certain iconic passages from Cervantes\u2019s work.<\/p>\n

The encounter between the director and Don Quixote serves to make the disconnect between two eras and two mindsets even more believable. This is the film\u2019s central theme, far more so than Don Quixote\u2019s adventure. This is undoubtedly the adaptation\u2019s greatest strength. It actively contributes to the tension, which is both comical\u2014because, yes, Gilliam hasn\u2019t abandoned his offbeat English humor, and we do have a good laugh\u2014and dramatic, as the quest remains unattainable.<\/p>\n

From Wild Imagination to Comic Reality<\/h3>\n

Gilliam\u2019s Quixotic epic thus literally plunges the viewer into the madness of Cervantes\u2019s character, his tenderness, his loyalty, his life; pardon me\u2014the characters, the tenderness, the loyalties, and the lives of the knight-errant, which are, in a way, those of every person who indulges in the pleasure of inventiveness and imaginative passion. But be careful not to lose your way! The English director doesn\u2019t overlook Quixote\u2019s megalomania and personifies it in the form of a Russian vodka baron (Jordi Moll\u00e1, icy). We\u2019ll leave it to you to imagine what that looks like through the eyes of a Monty Python member\u2014those in the know will understand; the rest will discover it for themselves.<\/p>\n

In summary, the pace of\u00a0The Man Who Killed Don Quixote<\/em> is clearly comical. Just take the example of the fictional inn\u2014very real in Cervantes\u2019s work and freely adapted by Gilliam\u2014where the new Sancho and Don Quixote find shelter. When the Inquisition storms in, even the viewer firmly believes the madness is real and begins to doubt the time period in which the film is set. Exactly the effect of the novel! The two companions panic, and all the scenes that follow are absolutely packed with slapstick and other highly entertaining antics. Pure pleasure!<\/p>\n

Write to the author : alexandre.waelti@leregardlibre.com<\/a><\/i><\/p>\n

Photo credit: \u00a9 Diego Lopez Calvin for Ascot Elite Entertainment<\/p>","protected":false},"excerpt":{"rendered":"

Les mercredis du cin\u00e9ma – Alexandre W\u00e4lti Tout y est\u00a0: l\u2019\u00e9nergie, la folie, l\u2019inventivit\u00e9, l’aventure et m\u00eame l\u2019hommage. C\u2019est Don…<\/p>","protected":false},"author":335,"featured_media":509842,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[254984,346697,2445646,35,4019626,194340,259547,634893616,331476],"class_list":["post-15433","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-cervantes","tag-clown","tag-don-quichotte","tag-humour","tag-jean-rochefort","tag-johnny-depp","tag-orson-welles","tag-sancho-panzo","tag-terry-gilliam"],"acf":[],"yoast_head":"\n\u00ab L'homme qui tua Don Quichotte \u00bb, la fantaisie ad\u00e9quate<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/leregardlibre.com\/en\/cinema\/films\/the-man-who-killed-don-quixote-the-right-kind-of-fantasy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00ab L'homme qui tua Don Quichotte \u00bb, la fantaisie ad\u00e9quate\" \/>\n<meta property=\"og:description\" content=\"Les mercredis du cin\u00e9ma - Alexandre W\u00e4lti Tout y est\u00a0: l\u2019\u00e9nergie, la folie, l\u2019inventivit\u00e9, l'aventure et m\u00eame l\u2019hommage. 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