Deep humanism runs through the veins of this film from Terry Gilliam, and in some ways it reminded me of old Hollywood and Frank Capra. Its treatment of the homeless and people suffering mental illness because of trauma is highly sympathetic, and in working in fantasy and romantic comedy elements, the film has a light, magical air to it. Jeff Bridges plays an unpleasant radio DJ and Robin Williams is the homeless man whose world was shattered because of something the DJ broadcast, and they're both brilliant here. Mercedes Ruehl and Amanda Plummer play their love interests, and they're fantastic as well - but Michael Jeter nearly upstages them all as the homeless cabaret singer when he belts out a show tune in drag in an office space.

One of the things I liked most about the film was how it deals with charity. We see people throwing coins at homeless people without even looking at them, and a gift of big bills in a shallow attempt to atone for wrongdoing. The scene where Bridges' character says it's not his fault to Williams who can't respond is powerful, and such a metaphor for the affluent wrestling with guilt over those who've been trampled by life (for the rich who actually feel guilt anyway). True charity begins with true empathy, we see, and the giving that comes from immersing oneself into another person's world is divine.

There are some really sweet scenes here, many of which involve Robin Williams. That beautiful story of the fisher king while looking up at the stars, how he imagines everyone waltzing in Grand Central Station because the woman he's secretly in love with is walking across the floor, and the way he tries to offset her awkwardness at the Chinese restaurant are all touching. We get little bits of his comedy too, like when his character can't help himself from picking up a discarded bottle off a trash heap while walking on his first date.

The story takes a lot of twists and turns, and maybe a few too many, en route to what was probably an inevitable ending, but this is a good one. Now if only all radio talk show hosts who glibly said harmful things had to truly confront the consequences of their words.

There's no doubt the role of Parry was made for Robin Williams' boundless energy and manic personality. It's only when you learn the tragic circumstances of Henry Sagan's transformation into a seeker of the Holy Grail that you begin to understand that his trauma was caused by the indiscreet remarks of a radio shock jock who took things one step too far. I'm becoming fascinated by Jeff Bridges' range as an actor, having seen more recent films like "Crazy Heart" and "True Grit", but he goes full circle here through a range of emotions that will leave you stunned. In the story, Parry's mental illness hinges on a severely traumatic event, and Jack Lucas (Bridges) takes it upon himself to seek some measure of personal redemption by bringing Parry back to reality. While dealing with his own personal demons, Jack glides through his hellish existence with the comfort and understanding of a determined woman who's better instincts would have thrown the bum out long ago. Recognizing that the linchpin to Parry's salvation might be introducing him to an unattainable dream girl, Jack and girlfriend Anne (Mercedes Ruehl) concoct a scheme that brings all the parties together in a last ditch effort to achieve Parry's salvation. Though the plan is interrupted by a tragedy that puts Parry in a coma, it compels Jack to seek out Parry's mystical Holy Grail, and a satisfying conclusion to a tale of two couples who might have otherwise ended in oblivion. As much as I was intrigued by the story, what really put it over the top for me was when Robin Williams' character broke out with that rendition of 'Lydia, Oh Lydia', a song I thought I would never come across in a movie again, after first encountering it in the 1939 Marx Brothers picture, "At The Circus". With Groucho's zany rendition, I couldn't get that melody out of my head for about a week after hearing it.

Part of the problem with this movie is that it doesn't trust the audience to imagine anything. Instead the director wants to show us.. For example the red knight that symbolizes repressed memories. To me the visual metaphor seemed very hokey. I can conjure far more terrifying visions from my own nightmares. Again with the murder scene. Anyone with a significant other can appreciate the trauma seeing him/her murdered would do. I didn't need the rather cheesy special effects to pound that home. Both flawed attempts at showing us what the characters were/had seen only detracted from the experience for me.

The second nail in the coffin was my failure to connect with the characters. It was strange to watch a movie from the era where Williams over-acted as was so popular in the 90s (witness the rise of Jim Carey). In the end despite an energetic performance by Robin, it is hard to "buy" his character. That coupled with the borderline believability of several other characters goes a long ways towards sinking what is essentially a character drama.

The real shame here is that the move had great potential and an above average plot. It just didn't feel well executed. 6/10, worth renting if you have made it through the top 250 already.