This post was inspired by a video I saw on the subject:
More or less this is a post that I wanted to put up because recently after watching the video if I feel more like these three protagonists than I let on. I feel the bitterness and rage of Daniel Plainview (There Will Be Blood), the deviant and dangerously drunk Freddie Quell(The Master), and the passive and very aggressive Barry Egan(Punch Drunk Love). The reason I say all this is because if anybody watch these three movies you will know these are not traditionally black and white "good" characters, they are flawed and sometimes sadistic characters that will make people be uncomfortable.There Will Be Blood did that to me as the character, I felt, reflected all the dark feelings I had when it came out. If anybody else hasn't seen these films I urge you to do so with a warning that they are not meant for everybody, some will love these films, others will hate them with a passion.
1. Computer Literacy
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Yes that's right Monty Python were influenced heavily by the Goon Show, a radio program from 1951 to 1960. Get this, if you believe it, this show was more outrageous and much stranger than the majority of what Monty Python released and the Pythons can attest to this influence:
In my opinion its one of the weirdest, funniest, and certainly boldest show I have ever listened to and it goes by so fast that you need to hear the episode twice to get all the jokes because it would move at such a speed. It was the first to do this kind of surreal/alternative comedy that the British were exposed and it became popular for a while. What's great about this show was the fact that they abused the sound library from the BBC and you just hear random and wacky noises throughout each episode making each one more zanier than the last. Think of it this way, if you love the antics of Looney Tunes, Tom and Jerry, and the DIsney shorts of Goofy and Donald Duck then this show is for you.
Taken from the wikipedia page about the show:
Surrealism
The Goon Show has been variously described as "avant-garde," "surrealist," "abstract," and "four dimensional."[36] Broadly the Goon Show engaged in 'sound cartooning'. That is creating cartoons by means of sounds - voices, sound effects (FX), gramophone recordings of noises (GRAMS), orchestral effects etc. - all performed live in front of a studio audience. In the scripts themselves, Milligan explored the use of 'subject transference'. In particular he used three methods - transference of time, transference of place and transference of utility.
Examples are:
Transference of time
If time causes calendars, calendars can cause time. If you drop a bundle of 1918 calendars on German troops in 1916, then they will all go home, thus shortening the war. ("World War One", 22nd episode/ 8th series.) Two other shows with extreme examples of time transference are "The Treasure in the Tower", 5th episode/8th series; and "The Mysterious Punch Up the Conker", 19th episode/7th series. (The famous 'What time is it Eccles?' scene.)
Transference of place
If one lives in a house, and one can say that someone lives in their clothes, then the two are interchangeable. Therefore a recurring theme in the shows is of someone living in the basement of someone else's clothes, or of someone taking the lift up and down inside someone's suit. (e.g.: "What are you doing in my trousers?? - 'Slumming!') The best example of this is in "The Policy", 9th/ 8th series. Doors give you entrance into a different place, so a door can transport you anywhere. A door in the Himalayas can take you back to London etc.
Transference of utility
Milligan swapped functions between objects haphazardly and to comic effect. Pianos become vehicles of transportation, theatre organs become divining machines, two bananas become binoculars, Eccles becomes an omnibus ("Rommel's Treasure", 6/6th - "My, he's running well."), gorillas become cigarettes ("These gorillas are strong! Here, have one of my monkeys - they're milder."), photographs of money become legal tender, etc.
Medium games
Additionally, Milligan played games with the medium itself. Whole scenes were written in which characters would leave, close the door behind themselves, yet still be inside the room. Further to this, characters would announce their departure, slam a door, but it would be another character who had left the room. That character would then beat on the door for readmittance, the door would open and close and again the wrong character would be locked out.[37] Spike also specialised in writing long scenes where a pair of characters would discuss a subject in a circle, coming back to the point they started. The best example is in "The Great Tuscan Salami Scandal" 23rd episode/ 6th series, in a scene between Minnie and Henry.
Locations
The settings for the shows were a revolution in themselves. Rather than the tepid everyday world of Britain in the '50s, Milligan set most of the shows in foreign locations, especially India, North Africa, South America, the Wild West, places where he had lived or had been posted during WWII, or had been fascinated with when a boy. It gives the shows a "boys'-own-story" atmosphere to the plots, and also an extraordinary sense of realism. The episodes set during wartime and those located in India, highlighted the absurdist humour played out against the realistic backdrops.
Violence
Apart from the background, and the scripts, is the question of violence. Milligan had been caught in an explosion at the Battle of Monte Cassino during the war, and weekly he would blow up either Bluebottle, Eccles, or the whole cast. (The whole cast is blown up in, e.g., "The Sale of Manhattan", 11th episode/6th series.) Bombs, cannons, dynamite, TNT; anything and everything was used. Eccles breaks his leg in "Shangri La Again", 8th/6th series. How? "I just got a big hammer and went WHACK!" This was weekly fare. The most violent episode is considered to be "The Last Tram", 9th/5th series, where the cast and announcer belt each other with shovels for the last 2 minutes of the show.
The Goon Show paved the way for surreal and alternative humour, as acknowledged by comedians such as Eddie Izzard.[38] The surreality was part of the attraction for Sellers.[19] All this exacerbated his mental instability especially during the 3rd series.[39] Many of the sequences have been cited as being visionary in the way that they challenged the traditional conventions of comedy.[40] On p. 73 of the Pythons' autobiography, Terry Jones states "The Goons of course were my favourite. It was the surreality of the imagery and the speed of the comedy that I loved - the way they broke up the conventions of radio and played with the very nature of the medium."[8] This is reiterated by Michael Palin and John Cleese in their contributions to Ventham's (2002) book. Cleese recalls listening to The Goon Show as a teenager in the mid-1950s "and being absolutely amazed by its surreal humour. It came at a key stage in my own development and I never missed a show" (p. 150).[7]
