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Big Screen Rome - Amazon Web Services

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tackle some extremely touchy topics, none more sacred than the mindnumbing<br />

conformity that occurs within collective structures, such as organized<br />

religion and other dogma-defined groups, which were becoming<br />

increasingly common in the fragmented years of the 1970s and early 1980s.<br />

Cleese declares that the film takes on “closed systems of thought, whether<br />

they are political or theological or religious or whatever; systems by which<br />

whatever evidence is given to a person, he merely adapts it, fits it into his<br />

ideology” (quoted by Hewison, 87).<br />

Many scenes in the film parody the formation and trappings of modern<br />

religious organizations. In the Street of Prophets scene, there is an<br />

unseemly smorgasbord line-up of gurus, like a self-help section in a bookstore,<br />

and the multiplicity of their messages suggests there is no “true”<br />

message. The people who seek answers are depicted in a markedly negative<br />

way, first hostile and demanding, then fawning and fanatic. When<br />

Brian assures one of the seekers: “I am NOT the Messiah!” the man rudely<br />

shoots back: “I say you are, Lord, and I should know, I’ve followed a few.”<br />

After the followers of Brian unilaterally elevate him to Messiah, groveling<br />

around him in an orgy of thoughtless submission, they suddenly split up<br />

into rival factions with competing symbols (“Follow the holy gourd of<br />

Jerusalem!”), in a biting send-up of religious schisms. The rabid and uncompromising<br />

intolerance of some religious groups is satirized when the<br />

old hermit, who represents the unpersuaded minority, denies that Brian is<br />

the Messiah, and is thus persecuted as a “heretic.” The Pythons took clear<br />

aim at this target, as Idle says: “It’s a very Protestant film, it’s about people<br />

interpreting, people speaking for God and people wanting to kill for God<br />

which is what they still do. To question people’s strong belief system<br />

is very threatening to them” (quoted in Cleese et al., 305). True to the<br />

Python sense of irreverence, the very threat of a blasphemy charge against<br />

their film is lampooned in the scene where Matthias is sentenced to be<br />

stoned for uttering the name of God during a particularly nice meal:<br />

“Look, I’d had a lovely supper and all I said to my wife was, ‘That piece of<br />

halibut was good enough for Jehovah.’” The Jewish official supervising the<br />

execution goes berserk: “Blasphemy! He’s done it again!” Not surprisingly,<br />

Matthias gets away, while the authorities get whacked.<br />

Conformist group mentality among secular “special interest groups”<br />

also comes in for the scathing Python treatment in Life of Brian. The anti-<br />

Roman activist organization, the People’s Front of Judaea, exhibits a pretentious<br />

and sanctimonious display of corporate equality, but the utterly<br />

self-interested ambitions and desires of individual members form an<br />

MONTY PYTHON’S LIFE OF BRIAN (1979) 189

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