And Now For Something Completely Python

Forty years have passed since the release of Monty Python's Meaning of Life (1983). It proved to be the last film made by the original six members of a team that had transformed comedy since joining forces on a BBC sketch show in 1969. Sporting matching tie and handkerchief, Cinema Paradiso relates the ripping yarn. complete with warty towels.

There was something in the air over Britain beside Nazi bombs during the Second World War. Babies born during the conflict would have a seismic effect on society during the 1960s and their impact on music, art, fashion, film, sport, television, and comedy can still be felt in our own times. Take, for example, the legacy left by five provincial Oxbridge graduates and an American cartoonist, whose early days are recalled in a couple of documentaries: Rachael Griffiths's Monty Python: In the Beginning (2005) and Monty Python: Almost the Truth: The Lawyer's Cut (2009).

Pre-Python

Born in Weston-super-Mare on 27 October 1939, John Marwood Cleese was the first member of the Monty Python troupe to take a bow. He would have been called Cheese, only his insurance salesman father had changed his name before fighting in the Great War to avoid ribbing. Advised to become an accountant so that the world would be his oyster, Cleese left Clifton College in Bristol to read law at Downing College, Cambridge.

Such was his fascination with The Goon Show (1951-60) and Beyond the Fringe (1960-64), however, that he became involved with the famous Footlights Club and appeared in the Cambridge Circus revue that played in New Zealand and New York.

Around the time he bumped into Terry Gilliam while appearing in an off-Broadway production of Half a Sixpence, Cleese also met first wife Connie Booth, who would become a regular collaborator after they married in 1968. By this time, he had started writing for The Dick Emery Show (1963-81) on television and the absurdist radio programme, I'm Sorry, I'll Read That Again (1964-73). Fame came, however, when he started writing and performing in sketches on The Frost Report (1966-67), the successor to the satirical landmark, That Was the Week That Was (1962-63), which is best remembered for a routine on class featuring Cleese and Ronnies Barker and Corbett. Check out Andrew Fettis's The Frost Report Is Back (2008) to see more.

All five British Pythons would work on the show in due course before Cleese hooked up with Graham Chapman and Eric Idle on At Last the 1948 Show (1967-68), which co-starred Marty Feldman, Aimi MacDonald, and future Goodies Tim Brooke-Taylor and Bill Oddie. So closely did this ITV series anticipate the Python formula that 'The Four Yorkshiremen' skit would become part of the stage show in the 1970s.

Hailing from Minneapolis, Minnesota, Terence Vance Gilliam was born on 22 November 1940. The son of a salesman-turned-carpenter, he grew up in the Panorama City district of Los Angeles before studying political science at Occidental College. A huge fan of cartoonist Harvey Kurtzman and Mad magazine, Gilliam went to New York, where he persuaded Cleese to appear in a fumetti photo strip for Help! Frustrated by the political atmosphere in the United States, Gilliam left for London in 1967, hoping to find work in television.

The son of a Leicester policeman, Graham Chapman was born on 8 January 1941. He was studying medicine at Emmanuel College, Cambridge when he gravitated towards the Footlights. Despite appearing in Cambridge Circus, he decided to complete his education at St Bartholomew's Hospital Medical College, which would put him in good stead when he came to write for the ITV sitcoms, Doctor in the House (1969-70) and Doctor in Charge (1972-73). It was his friendship with Cleese that led to Chapman working for David Frost and ISIRTA, although he was beginning to drink heavily by the time he joined At Last the 1948 Show.

The middle-born British Python, Terence Graham Parry Jones arrived in Colwyn Bay on 1 February 1942. Four years later, his father returned from RAF duty to meet him for the first time and relocate the family to Claygate in Surrey. Following his schooling at the Royal Grammar School in Guildford, Jones read English at St Edmund Hall, Oxford, where his study of Geoffrey Chaucer led to a lifelong fascination with the Middle Ages. As part of the Oxford Revue, he met Michael Palin and they were recruited by Graeme Garden to join the BBC sketch show, Twice a Fortnight (1967). Forming a writing team, Jones and Palin decamped to ITV to join the cast of Do Not Adjust Your Set (1967-69) before venturing to London Weekend Television for The Complete and Utter History of Britain (1969). The latter was presumed wiped, but the surviving material can be rented from Cinema Paradiso on a DVD that also includes the documentary, The New Incomplete Complete and Utter History of Britain (2014).

Born in South Shields on 29 March 1943 because his mother had been evacuated, Eric Idle was raised by a grandmother in Swinton after his RAF veteran father was killed in a car crash soon after being demobbed. As his mother found it hard to cope, the seven year-old was sent to board at the Royal Wolverhampton School. Life was tough and Idle joked that there was nothing else to do except study. He was rewarded with a place to read English at Pembroke College, Cambridge, although he was soon lured by the Footlights, which he opened to women for the first time during his presidency.

He also welcomed Denise Coffey and David Jason to the cast of Do Not Adjust Your Set, which was scheduled during the children's hour on ITV, but soon became cult viewing, especially for the contributions of The Bonzo Dog Doo-Dah Band, whose members included Vivian Stanshall and Neil Innes. Cleese was so impressed with Idle, who wrote on his own, that he offered him guest slots on At Last the 1948 Show. Jonathan Miller also gave him an uncredited part in his BBC adaptation of Alice in Wonderland (1966), while Idle also wrote for We Have Ways of Making You Laugh (1968) and Hark At Barker (1969-70).

The youngest Python, Michael Edward Palin, was born to a Sheffield engineer and his wife on 5 May 1943. A devotee of radio comedy at Shrewsbury School, Palin met Jones while studying history at Brasenose College, Oxford. Following his time in the Oxford Revue, he joined the Brightside and Carbrook Co-operative Society Players, in spite of his father's concerns about finding a proper job. His fears were assuaged when Palin joined the BBC as a writer and worked on such light entertainment staples as The Ken Dodd Show, The Billy Cotton Bandshow, and The Illustrated Weekly Hudd, as well as two vehicles for John Bird: The Late Show and A Series of Bird's.

Palin and Jones came to Cleese's attention on The Frost Report, although he was unlikely to have seen the former presenting the Welsh pop programme, Now! (1965-66). He would certainly have been aware of the pair's guest appearances on Broaden Your Mind, which was a precursor to The Goodies (1970-82), while they all wrote for Marty (both 1968-69). So, when the BBC offered Cleese his own show, he recruited Idle, Jones, and Palin to help him bring the best out of Chapman, whose alcoholism was making him increasingly unpredictable. The incoming trio insisted upon bringing Gilliam, who had produced some animated sequences for the second series of Do Not Adjust Your Set. All they needed now was a format and a name.

Flying Circus

When the newly formed ensemble assembled in the office of the BBC's Head of Comedy, they had absolutely no idea what their show was going to be like. Each question Michael Mills asked drew a fudged response and all present remember leaving the worst pitching session in TV history feeling astonished that they had been given a 13-part series and a reassurance of non-interference.

All agreed that Spike Milligan's Q (1969-82) had set new standards for sketch comedy and they decided to follow its anarchic approach, with Terry Jones suggesting that sketches could end without punchlines. They also concurred that Terry Gilliam's animation should be used as bridges between the items, while also launching the episode in new directions. The emphasis would be on absurdity, with the subversive nature of the material having a satirical subtext that would be more social than overtly political.

Recurring characters would be limited, as would catchphrases. That said, Michael Palin's dishevelled castaway often crawled towards the camera to gasp, 'It's...', while John Cleese's dinner jacketed continuity announcer would crop up in transitions to declare, 'And now for something completely different.' The Gumbys would also make regular appearances, while each member came to specialise in certain character types. Cleese often portrayed authority and professional figures, although a dissatisfied customer called Mr Praline also proved popular. Idle did a nice line in cheeky chappies and TV presenters. Palin also excelled at the latter, although he was also renowned for milquetoasts like Arthur Putey. When not dragging up as a Pepperpot, Jones was often seen as a naked organist, although such antics were invariably curtailed by Chapman as a colonel threatening to halt the show if it became 'too silly'.

While the format slowly fell into place, the question of the title remained unresolved. Among the suggestions were Whither Canada?, The Nose Show, Ow! It's Colin Plint!, A Horse, a Spoon and a Basin, The Toad Elevating Moment, Bunn, Wackett, Buzzard, Stubble and Boot, and Owl Stretching Time. Eventually, someone from the BBC proffered the word 'circus' and this became 'Flying Circus' to prevent viewers from thinking the series had anything to do with the big top. The surname Python came up, with Idle submitting 'Monty' because it sounded suitably slippery. Consequently, the first episode of Monty Python's Flying Circus was recorded at the BBC on 7 September and broadcast at 22:50 on Sunday 5 October 1969.

The reviews were mixed and the Pythons were frustrated that the show was shuffled around the schedules. However, it started to acquire a cult following that included The Beatles and Elvis Presley. Forty-four more shows were spread over four series, with two specials being produced in German in 1971 under the title, Monty Python's Fliegender Zirkus. At some point in each episode, the opening credits would roll to the sound of John Philip Sousa's march, 'The Liberty Bell', with Terry Gilliam's animated sequence ending with the title letters being crushed by a giant foot, which had been borrowed from Agnolo Bronzino's canvas, 'An Allegory With Venus and Cupid' (c.1545).

A list of celebrated sketches would take up too much room, but it's interesting to know that Palin and Jones wrote 'The Ministry of Silly Walks', while 'The Dead Parrot' came about because Chapman reworked a secondhand car spoof that had appeared in How to Irritate People (1969). The best verbal sketches can be found on the LPs Monty Python's Flying Circus (1970), Another Monty Python Record (1971), Monty Python's Previous Record (1972), and The Monty Python Matching Tie and Handkerchief (1973). These were later followed by Monty Python Live At Drury Lane (1974) and Monty Python's Contractual Obligation Album (1980), while each original film had its own soundtrack album.

The first series earned a special BAFTA in 1970, but Cleese began to feel that they had started repeating themselves during the second and had to be persuaded into appearing in the third. Some of his sketches featured in the fourth series, but the other five felt that they had fulfilled their ambitions after six episodes. The last went out on 5 December 1974 and Monty Python's Flying Circus ceased to be.

Python At the Pictures

As the TV show had only been seen on a handful of public service channels in the United States, it was decided to release a compilation of the best sketches from the first two series to introduce Python to a wider audience. Playboy executive Victor Lownes came up with 40% of the budget and vetoed the inclusion of a couple of items. However, money remained tight and a disused dairy had to be used as a studio, while some of the material required re-writing to remove expensive effects.

Despite being reunited with regular director Ian MacNaughton, none of the Pythons was particularly pleased with And Now For Something Completely Different (1971), which only did modest business. Yet it served its purpose Stateside and has since acquired a cult status as a kind of 'greatest skits' package.

Determined to do something over which they had more control, the Pythons hit upon a story about King Arthur after the third series. Initially, the action was going to cut between time frames, but the scene was set in 932 AD and centred on a quest. Terrys Jones and Gilliam agreed to share the direction and Monty Python and the Holy Grail (1975) started shooting in Scotland with money donated by the rock bands Led Zeppelin and Pink Floyd, as well as musicians Elton John and Ian Anderson of Jethro Tull.

All remember the location shoot as being uncomfortable, as great emphasis was placed on period squalor. Moreover, the co-directors didn't always agree, while Chapman, who was playing King Arthur, was suffering from the effects of his drinking. Ultimately, Gilliam agreed to supervise the visual sequences, while Jones worked with the actors, with the Pythons playing several roles, while parts were found for dependables Connie Booth, Carol Cleveland, and Neil Innes.

Reviews were mixed, with several critics comparing the picture to Mel Brooks's Blazing Saddles and Young Frankenstein (both 1974). However, Holy Grail became the most successful British film in America in 1975 and it has subsequently been hailed as one of the finest screen comedies of all time.

While promoting the film, Idle had joked that the next project would be called 'Jesus Christ: Lust For Glory'. Cinema Paradiso has already covered Monty Python's Life of Brian (1979) in one of its What to Watch Next articles. So, click on the link for the full story.

Ex-Beatle George Harrison played a key role in funding the project through his newly formed HandMade Films, while Gilliam focussed on the art design to give Jones a freer hand in the director's chair. Now sober, Chapman played Brian Cohen, the Galilean who comes to the attention of the Roman authorities after joining the People's Front of Judea and being mistaken for the Messiah. As before, the rest of the troupe played a range of characters, with Jones excelling as the Virgin Mandy, while Palin rhoticised amusingly as Pontius Pilate, Cleese cursed the imperialists as the leader of the PFJ, and Idle got to write and sing the showstopper, 'Always Look on the Bright Side of Life'.

As this was sung during the crucifixion finale, religious groups on either side of the Atlantic accused the Pythons of blasphemy. Some UK councils banned the film, but the box-office takings were healthy, while the critical response was positive. Indeed, Brian has been claimed by some as the group's masterpiece.

Despite being busy with solo projects, the six Pythons regularly reunited for stage shows. Videotaped over four nights in September 1980 and directed by Terry Hughes, Monty Python Live At the Hollywood Bowl (1982) contains sketches from across the Python years, including excerpts from the German shows. Neil Innes contributed songs, while Carol Cleveland took the non-Pepperpot female roles. Playing to a nightly audience of 8000, the Pythons hit their live peak, although the film was only given a limited release and has only come into its own since being issued on disc.

Keen to cash in on the success of Life of Brian, the Pythons agreed to embark upon another film. But no one could think of a linking story, with World War III being mooted before Monty Python's The Meaning of Life (1983) adopted a loose seven ages format that allowed the troupe to use their best new sketches. As Jones was placed at the helm, Gilliam was given a portion of the budget to make the short, The Crimson Permanent Assurance, which followed the adventures of some elderly accountants who transform their building into a pirate ship to attack the yuppified City of London.

This can be seen on the DVD, Blu-ray, and 4K versions available from Cinema Paradiso. Although reviews were lukewarm, the film won the Grand Jury Prize at Cannes, while 'Every Sperm Is Sacred' (which was choreographed by Arlene Phillips) was nominated for Best Song at the BAFTAs. Tensions during both the writing and shooting stages dissuaded the Pythons from attempting another film, although there was talk of a sequel to Holy Grail after Graham Chapman's death, with out-takes from the album sessions being used over shots of an urn of King Arthur's ashes. Cleese eventually nixed the idea, although the urn gag was recycled when the five remaining members attended the US Comedy Arts Festival for an on-stage interview that was released as Monty Python Live At Aspen (1998).

After 16 years apart, the Pythons reunited at The O2 in London in July 2014 for a farewell stage performance. Such was the demand for tickets that a one-off show turned into a 10-night residency, with Chapman being included through his absence in the resulting film title, Monty Python Live (Mostly): One Down, Five to Go (2014). In fact, he appears in archive footage throughout a three-hour revue that boasted the strapline, 'The show that leaves you wanting less.'

As the event had been necessitated to pay legal fees and back royalties relating to a case pertaining to Idle's stage musical, Spamalot (2005), the extra dates came in handy. It also made sense for Idle to supervise the gathering, which he did with the help of John Du Prez, Arlene Phillips, and Aubrey Powell, who directed the filming. A number of celebrities made guest appearances, although Robin Williams was too ill to attend and the film was dedicated to his memory after his suicide in August 2014.

Having already been interviewed separately for Monty Python's Personal Best (2006) and Will Yapp's Before the Circus, Idle, Jones, Palin, and Cleveland also appeared in Yapp's Monty Python Conquers America (both 2008). The famous five assembled for a last time for Monty Python: Almost the Truth: The Lawyer's Cut (2009). Co-directed by Terry Jones's son, Bill, this six-part reminiscence also kept the Pythons apart. But it provides an affectionate insight into both the series and the movies and is available with just a single click from Cinema Paradiso.