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Final Price Rs. Apply Exchange. Other Specifications. Sarah Polley , who was nine years old at the time of filming, described it as a traumatic experience. It was just so dangerous. There were so many explosions going off so close to me, which is traumatic for a kid whether it's dangerous or not. Being in freezing cold water for long periods of time and working endless hours. It was physically grueling and unsafe.

Production designer Dante Ferretti afterwards compared Gilliam to his former director, saying, "Terry is very similar to Fellini in spirit. Fellini is a wilder liar, but that's the only difference! Terry isn't a director so much as a film author. He is open to every single idea and opportunity to make the end result work. Often the best ideas have come out of something not working properly and coming up with a new concept as a result.

He is very elastic and that's one quality in a director that I admire the most. In Madness and Misadventures , Robin Williams commented on the low number of release prints that Columbia produced, saying "[Puttnam's] regime was leaving, the new one was going through this, and they said, 'This was their movies, now let's do our movies!

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In a interview with IGN , Gilliam said about the contemporary press perception of the film being a financial disaster how "It seemed actually appropriate that Munchausen—the greatest liar in the world—should be a victim of some of the greatest liars in the world. The negative stories about the shoot that were turning up in the Hollywood press were coming, we found out later, from a source at Film Finances—which was the completion bond company on the film.

Their lawyer was a guy named Steve Ransohoff, whose father was Martin Ransohoff—who was Ray Stark's friend and partner. The ultimate fact was that when the film was ultimately released, there were only prints made for America — so it was never really released.

We were ultimately the victim of Columbia Tri-Star being sold to Sony, because at that time all they were doing was trying to get the books looking as good as possible. We weren't the only film that suffered, but we were the most visible one. And what happened—to complete the story in a neat and tidy way—was that they were not spending any money on advertising to promote any of the movies started by the previous regime—by Putnam's regime. They were burying films left right and center by spending no money on them—and the books looked really good at the end of that.

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The joke is, if you look back, we got the best reviews and we were doing the best business in the opening weeks of any film they had released since Last Emperor. We actually opened well in the big cities—we opened really well. A friend who had bought the video rights said he had never seen anything so weird—Columbia was spending their whole time looking at exit polls to prove the film would not work in the suburbs, and so it would be pointless to make any more prints.

He said, "I've never seen anything like this. Then it becomes this kind of legend—which it deserves to be The site's consensus reads: "Bursting with Terry Gilliam's typically imaginative flourishes, this story of a possibly deranged Baron recounting his storied life is a flamboyant and witty visual treat".

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Regarding the obvious gap between the movie's troubled production and its eventual triumph of aesthetic cinematic form on the screen, Jeff Swindoll wrote in his DVD review of Munchausen for Monsters and Critics : "For the absolute hell that the production of the film turned out to be, you really don't see any of that tension on the screen. Baron Munchausen is full of whimsy, fantasy, bright colors, and fabulous characters.

None is as fantastic as the Baron himself as played, with a twinkle in his eye, by the grand John Neville. Roger Ebert gave the film 3 out of 4 stars and found that it was "told with a cheerfulness and a light touch that never betray the time and money it took to create them", appreciating "the sly wit and satire that sneaks in here and there from director Terry Gilliam and his collaborators, who were mostly forged in the mill of Monty Python ".

While considering the film's special effects as "astonishing", Ebert also contended "the movie is slow to get off the ground" and "sometimes the movie fails on the basic level of making itself clear. We're not always sure who is who, how they are related, or why we should care". But "allowing for the unsuccessful passages there is a lot here to treasure", and Ebert concluded overall, "this is a vast and commodious work", "the wit and the spectacle of Baron Munchausen are considerable achievements".

Additionally, Ebert considered John Neville's title role performance as appearing "sensible and matter-of-fact, as anyone would if they had spent a lifetime growing accustomed to the incredible". The Washington Post called the film a "wondrous feat of imagination", though "except for Williams, the actors are never more than a detail in Gilliam's compositions". Richard Corliss wrote: [21].


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Everything about Munchausen deserves exclamation points, and not just to clear the air of the odor of corporate flop sweat. So here it is! A lavish fairy tale for bright children of all ages! Proof that eccentric films can survive in today's off-the-rack Hollywood! The most inventive fantasy since, well, Brazil! You may not believe it, ladies and gentlemen, but it's all true. Vincent Canby called the film "consistently imaginative" and a "spectacle [that] is indeed spectacular and worth the admission price and patches of boredom"; he said the "major credit must go to Giuseppe Rotunno , the cameraman; Dante Ferretti , the production designer; Richard Conway , who did the special effects, and Peerless Camera Company Ltd.

Without them, Baron Munchausen would have looked about as big and as interesting as a cent postage stamp. The film was nominated for four British Academy Film Awards , winning three:. In , the film was nominated for four Oscars : [23]. In , the film was further nominated for four Saturn Awards :. A laserdisc was released with features such as a commentary track by Gilliam and deleted scenes. The first DVD edition of the film, issued on 27 April , did not include any of these or any other extras. From Wikipedia, the free encyclopedia. This article needs additional citations for verification.

Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Theatrical release poster by Lucinda Cowell.