モンティ・パイソン ライフ・オブ・ブライアン
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Overview
西暦33年のエルサレム。ローマ帝国の圧政の中、イエス・キリストと同じ日に隣の家で生まれ、東方の三賢者に救世主と間違えられそうになったユダヤ人の青年ブライアン（グレアム・チャップマン）は、口うるさい母親マンディ（テリー・ジョーンズ）と共に生活していた。 ある日、ブライアンは母親から、自分の父がユダヤ人ではなくローマ兵であることを告げられる。怒った彼はローマ人に復讐をするべく、レッジ（ジョン・クリーズ）率いる過激派集団「ユダヤ解放戦線」に加入する。しかし、ローマ帝国の総督ピラト（マイケル・ペイリン）の妻の誘拐計画が失敗、ただ一人ブライアンだけが生き残る。脱走した彼は、危険人物のレッテルを貼られ、逃げ惑うはめになる。 追い詰められたブライアンは、ローマ兵の目をごまかすために、教祖のふりをして説教をする。ローマ兵はごまかせたものの、民衆はブライアンのことを救世主だと勘違い。ブライアンは救世主であることを必死で否定するが、どんどん信者は増える一方で、どこまでもブライアンについてくる。「解放戦線」のメンバー、ジュディス（スー・ジョーンズ＝デイビス）と一夜を過ごしたのち、起きてみると外には大群衆が待ち受けていた。追い返そうとして何を言っても、群衆はてこでも動かない。 そうこうしているうちに捕まってしまったブライアンは、磔刑に処せられる。「解放戦線」のメンバーや、ジュディス、ついには母親にまで見捨てられたブライアンは絶望する。そこで、磔にされていた1人（エリック・アイドル）が「元気出せよ」とエンディング曲「Always Look on the Bright Side of Life」を歌いだすと、それに導かれ磔にされている全員が合唱を始める。
製作費: $4,000,000 (6億円)
興行収入: $20,833,252 (31億円)
純利益: $16,833,252 (25億円)
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Reviews / 口コミ
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TMDB ユーザーの口コミ
This isn't Monty Python's best. In fact, it's very ordinary humor for the most part. The story of another man living a life parallel to Jesus could have been much funnier than this. However, people who love "dry humor" may appreciate this one more. It isn't the slapstick humor that we usually get from Monty Python that leaves a person nearly dying of laughter. It's very low key humor. The only memorable scene is the suicide squad that comes to save Brian, which lasts a few seconds. It's not totally boring, but it comes close. 4/10
**It's an excellent comic film, but much inferior to “The Holy Grail”.** There is consensus on the impact that Monty Python had on humor, and on the way comedy is seen and performed. After a bombastic television series and a highly successful first film, they decided to make this film which, in essence, is a satire on the great biblical epics of the past. In this film, we follow Brian, a man who was born a short distance from Jesus and is constantly confused with him. I'm not conservative enough to not appreciate a religious joke if it's good, and there are a lot of good things in this film, starting with the incredible performances by the Pythons, in particular Graham Chapman and Terry Jones. The humor is what they have accustomed the public to, and the film does not disappoint the group's fans. Even so, I couldn't help but have the feeling that this film was quite inferior to “The Holy Grail”. On a technical level, I believe it is worth highlighting the costumes and sets, which are at the best level and set the story very well in time and space. And the final scene, where the crucified sing a well-known and very positivist melody, cannot be more surrealist than it is.
## **Monty Python's Life of Brian (1979) Review: A Blasphemous, Brilliant, and Utterly Human 10/10** If *Holy Grail* was a shotgun blast of medieval absurdity, then *Life of Brian* is a precision laser guided by satirical genius. Arriving four years later amid a whirlwind of anticipation and pre-release outrage, this is not merely a follow-up; it is an evolution. It is the pinnacle of Monty Python's craft—a film so sharp, so intelligent, and so uproariously funny that it doesn't just earn a perfect score; it defines what a perfect satire can be. ### The Plot: A Case of Mistaken Messiah-ship The premise is sublime in its simplicity: what if a man named Brian Cohen (Graham Chapman), born in the stable next door to Jesus on that fateful night, is mistaken for the Messiah his entire life? Brian is an everyman—a reluctant rebel, a bewildered participant in history, and a victim of cosmic irony. Through his eyes, we are treated to a scathing, hilarious, and surprisingly humane deconstruction of organised religion, political factionalism, and the sheer absurdity of blind faith. ### Why It's a 10/10: Beyond the Gags * **The Satire is Razor-Sharp:** *Holy Grail* parodied history; *Brian* eviscerates dogma. Its targets are not the teachings of Christ (whose "Sermon on the Mount" is presented with reverence, albeit with jokes about the crowd in the back having trouble hearing), but the bureaucratic, squabbling, and often ridiculous institutions that spring up around them. The People's Front of Judea (not the Judean People's Front!) is a masterclass in lampooning militant political in-fighting, and the scene where Brian is forced to repeat his "prophecies" to a crowd of his own followers is a timeless critique of how messianic figures are created by their audiences, not themselves. * **The Pythons at their Peak:** The ensemble has never been better. Every member delivers career-highlight performances. From John Cleese's regal, stuttering Pontius Pilate to Michael Palin's unctuous, friendly Pontius Pilate, and Eric Idle's charmingly direct Stan ("I want to be a woman!"), the cast is flawless. Terry Jones as Brian's mother, Mandy, provides a hilariously cynical anchor to the celestial chaos. * **The Unforgettable Finale:** The film builds to one of the most brilliant and unexpectedly poignant endings in comedy history. Crucified alongside his fellow condemned, Brian and his fellow sufferers launch into the jaunty, Academy Award-nominated musical number, "Always Look on the Bright Side of Life." It's not a moment of despair, but one of defiant, whistling-in-the-dark humanity. It is the perfect encapsulation of the film's message: in the face of the absurd and the tragic, all we have is each other and a good song. ### The Pandemonium: The Best Marketing Campaign a Film Never Asked For Long before a single frame was seen by the public, *Life of Brian* was the most notorious film in the world. Religious groups, led by outraged church officials in Britain and the US, launched a ferocious campaign to have it banned, branding it as "blasphemous" and "sacrilegious." Their efforts backfired spectacularly. The controversy became a global news story, creating a public debate about censorship, faith, and comedy that guaranteed the film unprecedented publicity. The Pythons, never ones to shy away from a fight, met the criticism with wit and logic. In a now-legendary television debate, John Cleese and Michael Palin faced down the formidable Bishop of Southwark and the conservative journalist Malcolm Muggeridge. Their defence — that the film was a satire of fanaticism and organised religion, not of Jesus himself — was so intellectually sound and calmly delivered that it utterly deflated their opponents. The whole affair proved the film's central thesis: that institutions often miss the point entirely. ### The Verdict: A Comedy for the Ages **10 out of 10 - A Sacred Text of Satire** *Life of Brian* is more than a comedy; it is a work of profound philosophical and social insight disguised as a series of jokes about Judean street vendors and ex-lepers. It is braver, smarter, and more cohesive than even its legendary predecessor. The attempts to ban it did not stifle its voice; they amplified it for eternity, cementing its status as a vital testament to free speech and the power of laughter to challenge power. It is a film that dares to ask the big questions: "What have the Romans ever done for us?" and, more importantly, reminds us that we are all individuals, and that life is actually quite ridiculous, so you might as well always look on the bright side of it. A flawless, fearless, and forever-relevant masterpiece.
