The Man Who Killed Don Quixote
21 January, 2018
Terry Gilliam, known for Monty Python, Brazil, and 12 Monkeys, has finally returned with The Man Who Killed Don Quixote, a project he has been working on for over twenty years. Gilliam first wrote the screenplay in 1991 and has since faced countless obstacles in bringing it to life. Financial issues, bad weather, cast changes (such as the late John Hurt being replaced by Jonathan Pryce), and numerous technical challenges caused the film to be shelved repeatedly. In fact, a documentary about its failed production (Lost in La Mancha, 2000) was even released.
The film draws its narrative foundation from one of the most enduring classics in literature, Miguel de Cervantes’ Don Quixote de La Mancha, often regarded as the first modern novel. Jonathan Pryce plays Javier, an aging shoemaker, while Adam Driver portrays Toby, an advertising director. Together, they form a compelling Don Quixote-Sancho Panza duo. Joana Ribeiro adds emotional depth to the story as Angelica, the innkeeper’s daughter and one of the central characters. Set in a world where dreams and reality intertwine, the film is filled with daydreams and delusions. Gilliam masterfully immerses the audience into the romantic, half-mad, half-knightly spirit associated with Don Quixote. Jonathan Pryce’s exceptional performance as Don Quixote is particularly noteworthy, bringing unparalleled nuance and depth to the character.
The Hero’s Journey is a concept familiar to many films: a protagonist embarks on a quest, undergoes a transformation along the way, and finds that the original goal becomes secondary to their personal evolution. Gilliam offers a dual-layered interpretation of this classic structure, exploring the transformations of both Toby and Javier. The narrative repeatedly underscores the notion that Don Quixote cannot exist without Sancho Panza. The title of the film, The Man Who Killed Don Quixote, seems to fade into the background for much of the story, only regaining its significance as events unfold. Don Quixote’s line, “My name is Don Quixote, I cannot die!” encapsulates the essence of the title. It evokes parallels with the famous line from V for Vendetta: “Beneath this mask, there is an idea, and ideas are bulletproof.” Don Quixote embodies an ideal, a vision, and the spirit of romanticism; he is immortal. In the film, when Toby kills Javier, he effectively transforms into Don Quixote, ensuring the survival of the idea.
Beyond revisiting Cervantes’ masterpiece, Gilliam uses the film to reflect on his own cinematic journey and critique the rigidities of Hollywood. In this sense, The Man Who Killed Don Quixote is a deeply self-reflexive work. It offers clear nods to Gilliam’s struggles in the film industry, particularly the challenges he faced during the production of this very film. For instance, a scene where an advertising shoot is disrupted by bad weather mirrors Gilliam’s real-life experiences in 2000, when unfavorable conditions halted filming, as depicted in Lost in La Mancha.
Ultimately, The Man Who Killed Don Quixote delivers exactly what it promises—nothing more, nothing less. Perhaps owing to the wisdom accumulated over years of effort, Gilliam carefully balances romanticism, chivalry, humor, fantasy, and love without overindulging in any one element. The film brings Don Quixote’s immortal spirit into the modern era, honoring his timeless legacy. Like a fine wine aged to perfection, this long-gestating project reflects both the passage of time and the marks it has left on Gilliam’s creative journey. All that remains for the audience is to immerse themselves in Don Quixote’s story and see the windmills he charges at as monstrous giants.
The film draws its narrative foundation from one of the most enduring classics in literature, Miguel de Cervantes’ Don Quixote de La Mancha, often regarded as the first modern novel. Jonathan Pryce plays Javier, an aging shoemaker, while Adam Driver portrays Toby, an advertising director. Together, they form a compelling Don Quixote-Sancho Panza duo. Joana Ribeiro adds emotional depth to the story as Angelica, the innkeeper’s daughter and one of the central characters. Set in a world where dreams and reality intertwine, the film is filled with daydreams and delusions. Gilliam masterfully immerses the audience into the romantic, half-mad, half-knightly spirit associated with Don Quixote. Jonathan Pryce’s exceptional performance as Don Quixote is particularly noteworthy, bringing unparalleled nuance and depth to the character.
The Hero’s Journey is a concept familiar to many films: a protagonist embarks on a quest, undergoes a transformation along the way, and finds that the original goal becomes secondary to their personal evolution. Gilliam offers a dual-layered interpretation of this classic structure, exploring the transformations of both Toby and Javier. The narrative repeatedly underscores the notion that Don Quixote cannot exist without Sancho Panza. The title of the film, The Man Who Killed Don Quixote, seems to fade into the background for much of the story, only regaining its significance as events unfold. Don Quixote’s line, “My name is Don Quixote, I cannot die!” encapsulates the essence of the title. It evokes parallels with the famous line from V for Vendetta: “Beneath this mask, there is an idea, and ideas are bulletproof.” Don Quixote embodies an ideal, a vision, and the spirit of romanticism; he is immortal. In the film, when Toby kills Javier, he effectively transforms into Don Quixote, ensuring the survival of the idea.
Beyond revisiting Cervantes’ masterpiece, Gilliam uses the film to reflect on his own cinematic journey and critique the rigidities of Hollywood. In this sense, The Man Who Killed Don Quixote is a deeply self-reflexive work. It offers clear nods to Gilliam’s struggles in the film industry, particularly the challenges he faced during the production of this very film. For instance, a scene where an advertising shoot is disrupted by bad weather mirrors Gilliam’s real-life experiences in 2000, when unfavorable conditions halted filming, as depicted in Lost in La Mancha.
Ultimately, The Man Who Killed Don Quixote delivers exactly what it promises—nothing more, nothing less. Perhaps owing to the wisdom accumulated over years of effort, Gilliam carefully balances romanticism, chivalry, humor, fantasy, and love without overindulging in any one element. The film brings Don Quixote’s immortal spirit into the modern era, honoring his timeless legacy. Like a fine wine aged to perfection, this long-gestating project reflects both the passage of time and the marks it has left on Gilliam’s creative journey. All that remains for the audience is to immerse themselves in Don Quixote’s story and see the windmills he charges at as monstrous giants.
