Monty Python and the Holy Grail

Monty Python and the Holy Grail follows the epic adventure of King Arthur (Graham Chapman) and his Knights of the Round Table (they dance when e’er they’re able). Unfortunately due to budget cuts all the horses have been replaced by servants and coconuts (but what is the air-speed velocity of an unladen swallow?). On the way King Arthur engages in a brutal battle with The Black Knight and meets the Knights Who Say “Ni”; Sir Galahad has a rather enjoyable near death experience with the countless sexy young novices and their Zoot; Sir Lancelot rescues Prince Herbert and Sir Robin the Not-Quite-So-Brave-as-Sir-Lancelot spends most of the movie running away.

As always the Pythons deliver an astounding comic performance. Michael Palin even ate mud for the movie, only to find out that he was actually off camera at the time. Monty Python and the Holy Grail is much more than just a collection of random spangly sketches stuck together, it’s a must see movie.

Review by Janey Birch
Taken from EUFS Programme Spring 2004

It is England, in the Year of Our Lord 932. Arthur, King of the Britons, sets out on a noble quest for the Holy Grail, in which he encounters many weird and wonderful creatures and characters. Particularly memorable are Knights who say "Ni", who only let the King pass if he can find them a shrubbery - a nice one, and not too expensive; and the deadly Rabbit -which can only be destroyed by the Holy Hand Grenade (as described in Armaments 2: 9-2 I). King Arthur is aided by the Knights of the Round Table, among them Sir Galahad the Chaste -who is rescued by Sir Lancelot from the Peril of a castle full of lewd maidens - and Sir Robin the Brave. Of course, the Holy Grail is never found, but that hardly matters. The Holy Grail is essentially a series of sketches, very much in the mould of the Python's TV series. But the lack of structure is amply compensated for by the film's being packed with brilliantly bizarre moments, and a wonderfully humorous sense of the squalor and tedium of the Dark Ages.

Review by Matthew Bull
Taken from EUFS Programme 1994-95