After the success of Monty Python's Flying Circus in the UK and US, the six Ambassadors of Anarchy got the right to make films. This 1974 effort was their second go-round (after 1972's And Now for Something Completely Different, which featured redone versions of several sketches from Circus) and one of their most famous and oft-quoted.A complete skewering of the Arthurian legend, it tells the story of King Arthur and his attempt to build a court at Camelot (which is, of course, a silly place). Once he assembles his crew (off-screen, mostly), he has a vision of God (or a reasonable drawing of same by Terry Gilliam based on a famous cricket player), informing him that to cement his name in immortality, he must seek the Holy Grail — the cup used at the Last Supper of Christ, and which caught his blood after the crucifixion. After a long and roundabout search which leads them to the far corners of the Kingdom and past idiosyncratic knights, the world's oldest harem, and a very nasty rabbit, they discover the Grail is supposedly located in a very old castle, which has fallen into the hands of those heathen enemies — the French.Those nasty taunting bastards.Full of random quips, hilarious stand-alone scenes, and the type of comedic anarchy and anticlimax that practically defines British comedy even to this day, the movie was a low-budget success story and has become a Cult Classic over time. It also reveals Michael Palin's versatility, as he plays something like 10 roles over the course of the film. He's not alone, of course; the majority of people and about 80% of the lines are from the Pythonites, leading to some interesting blocking and directing decisions. (Watch Lancelot's helmet.)Or, if you want to be "artsy" about it, see Eric Idle's Broadway adaptation: Spamalot!Just a side note — because Terry Jones is, in fact, an Arthurian scholar, this happens to be not just the funniest but the most accurate film adaptation of Malory's Le Morte d'Arthurever made. Some of the humor, in fact, is derived from typical Pythonian spins on events and characterizations from the original tales.
The cow and large wooden rabbit the French fling at the English knights (catapulting animals was a legitimate strategy for fending off invaders back then, but they were usually dead animals meant to spread disease, not actual livestock). The French can do this too, with less preparation.
Actually Pretty Funny: A meta example. According to the Pythons, early audiences viewing the battle against the Black Knight reacted with silence for the first couple of minutes, supposedly shocked by the violent nature of the scene. Then as they realized the joke - that he was showing no pain - they started to laugh.
Affectionate Parody: Terry Jones is an Arthurian scholar and knew a lot of the source material.
All Women Are Lustful: Castle Anthrax, where the vile temptresses threaten to take Galahad's purity, despite the fact that he doesn't mind.
Launching/dropping dead animals and other nasty things was a real tactic in siege warfare.
Those guys in the monks robes who walk around chanting in Latin and hitting themselves in the face with boards? They were called flagellants. Compared to what some of the actual flagellent sects did to themselves, their behavior, as odd as it is, is extremely mild.
Amusing Injuries: The Black Knight's limbs being lopped off in his duel with King Arthur.
You yellow bastards! Come back here and take what's coming to you! I'll bite your legs off!
Anarchy Is Chaos: Intentionally averted when King Arthur comes across an anarcho-syndicalist commune of literal mud farmers. They are decidedly non-violent, particularly when compared to Arthur himself, but they are extremely irritating, screaming "oppression" when... Arthur grabs one of them in annoyance. May be an example of the Pythons having shown their knowledge about left-wing politics and a subtle Take That at the many leftists who espoused such views in The Seventies UK.
Ascended Extra: Sir Bedevere is a fairly minor character of Arthurian legend, but in this movie he's one of Arthur's three continuous companions.
The surprise ending to the British attack on the French castle. The reason why they didn't go through with the whole fight is because they ran out of money and time, and couldn't film the whole thing. So they just said "Everyone went to jail". Some people consider it a cop-out.
Including Eric Idle's daughter. From the documentary "Monty Python: Almost the Truth":
Eric Idle: I ended the Holy Grail because we didn't have an end for that either. I said "Why don't we have the police arrest them, put their hand over the camera." My daughter hates me for that! She says, "It's the shittiest ending of a movie ever! I hate you dad!"
Apocalyptic Log: The message carved by Joseph of Aramathea giving the Grail's location.
Arranged Marriage: Prince Herbert's father wants him to marry a princess because her father owns the biggest tracts of open land in Britain, never mind Herbert's objections. Sir Lancelot comes to rescue Herbert because he thinks he's a Distressed Damsel.
Artistic License - History: A man announcing himself as the "King of the Britons" and "Defeater of the Saxons" would never have concluded with "Sovereign of all England." The reason a Briton would have been fighting the Saxons in the first place would be to prevent the establishment of "England," which means "Land of the Anglo-Saxons."
In one scene, (cut from the original theatrical version, but reinstated for TV and video) Dingo turns and talks to the audience, before being admonished by various cast members who aren't involved in the scene.
"GET ON WITH IT!!"
"Look! There's the old man from Scene 24!"
Patsy: *when referring to Camelot* "It's only a model"note SHHH!!!!
The swallow joke ("African or European?") comes up at least twice after the initial scene. The narrator goes on about how many swallows'-flight away Arthur and Bedevere are from Galahad and Lancelot, and the counter-question that allows Arthur to pass the Bridge of Death. Bedevere is also introduced with a coconut tied to a bird, though it's a dove instead of a swallow.
After Launcelot "saves" him from Castle Anthrax, Galahad accuses Launcelot of being gay, which he denies. Subsequently, we see Launcelot rush to a castle to rescue a "damsel" who turns out to be the very effeminate Prince Herbert — who already had an escape plan. So not-gay, ostentatiously-hyper-masculine Launcelot ends up answering the personal ad of a young feminine guy who isn't at all interested in marrying a girl with big breasts.
The Book of Armaments, as read by Brother Maynard, expressly forbids counting to 5. Unfortunately, Arthur keeps getting 3 and 5 mixed up, and technically does count to 5.
The murder of the historian, and the ending.
The credits. All of the credits guys were sacked, meaning there were no end credits.
Brown Note: The Knights Who Say "Ni". Later King Arthur uses the sacred word "Ni" himself. And the evil word: "it".
Burn the Witch!: The villagers seek permission to burn an accused witch from Sir Bedevere.
Catch Phrase: King Arthur's "Oh, shut up!", "Jesus Christ!", and "Run away!"
Halfway through the film, a historian appears to summarize the next part of the plot and is murdered. Later, Arthur, Sir Bedevere, and Sir Lancelot are stopped on their quest and arrested for his murder.
Mass firings, which carries on into the end credits. (Or lack thereof.)
Crashing Through the Harem: Sir Galahad fights his way through a forest in a storm until he finds Castle Anthrax, which has a Grail-shaped beacon overhead. He bangs on the door, and when it opens he falls inside. He meets several young women, one of whom tells him that the castle contains eight score young blondes and brunettes, all between 16 and 19½. As Sir Galahad escapes from two naughty female doctors, he enters a room filled with the aforementioned eight score young women. Just as he decides to stay, some of the other knights "rescue" him and get him to continue the Grail quest. He then proceeds to call them gay.
Crosscast Role: In a rarity for Monty Python there's only one example of this in the whole film, namely the very minor character of Dennis's mother, who is played by Terry Jones. Even the Pythons comment on this on the DVD commentary, and surmise that since they could afford an actual cast for the first time, they just naturally hired real women to play the women in the film.
Brother Maynard: Three is the number thou shalt count, and the number of the counting shall be three. Four thou shalt not count, neither count thou two, excepting that thou then proceed to three. Five is right out.
This sounds exactly like an oral tradition (where repetition helped cement things in memory) that got transcribed exactly when it got written down. See above about Terry Jones being a history geek.
Parts of the Book of Armaments bear an uncanny resemblance to the Athanasian Creed, which affirms the Christian doctrine of the Trinity in agonising detail; to quote just a tiny section:
"...and yet they are not three eternals; but one eternal. As also there are not three uncreated; nor three infinites, but one uncreated; and one infinite. So likewise the Father is Almighty; the Son Almighty; and the Holy Ghost Almighty. And yet they are not three Almighties; but one Almighty. So the Father is God; the Son is God; and the Holy Ghost is God. And yet they are not three Gods; but one God..."
Derailed For Details: In the opening scene, King Arthur's attempt to summon the Lord of the local castle derails into a discussion of how exactly King Arthur acquired a coconut shell in Medieval England, and ends with an argument over the migratory patterns of swallows. This even turns up later in a Brick Joke.
The Blu-ray extras contain even more examples, newly restored, that didn't make it into the final film.
Determinator: Deconstructed, figuratively and literally, by the Black Knight scene. Cleese even said he based it on a school lesson in never surrendering, that Cleese found rather ridiculous (as it was about a Greco-Roman wrestler who died in the ring rather than lose the match).
God: Arthur! Arthur, King of the Britons! Oh, don't grovel! If there's one thing I can't stand, it's people groveling. Arthur: Sorry— God: And don't apologize. Every time I try to talk to someone it's "sorry this" and "forgive me that" and "I'm not worthy". What are you doing now!? Arthur: I'm averting my eyes, oh Lord. God: Well, don't. It's like those miserable Psalms — they're so depressing. Now knock it off!
Double Take: The French soldier when he sees the Trojan Rabbit.
Downer Ending: Arthur gets arrested by (modern-day) police officers in connection with a trans-temporal murder committed by an entirely different person earlier in the film. The climactic battle with the French never happens.
Lancelot: O Fair One, behold your humble servant Sir Lancelot of Camelot. I have come in answer to your mess— oh, I'm terribly sorry!
The Dung Ages: Remember, Arthurian scholar. This was actually one of the first movies to show that conditions back then weren't like what they showed you in the movies. The corpse collector is able to identify Arthur as a king specifically because "he hasn't got shit all over him."
Explain, Explain... Oh, Crap!: Sir Bedevere discovers that while his plan was tactically sound, he has missed an important step in its preparation.
King Arthur(after watching the French roll the Trojan Rabbit into their fortress): What happens next? Bedevere: Well, now, uh, Launcelot, Galahad, and I wait until nightfall, and then leap out of the rabbit, taking the French by surprise — not only by surprise, but totally unarmed! King Arthur(glancing over at Launcelot and Galahad): ...Who leaps out? Bedevere(hesitantly): Uh, Launcelot, Galahad, and I, uh, leap out of the rabbit, uh, and, uh.... (looks at the other knights, who are facepalming) l-look, if we built this large wooden badger...
Gag Sub: The opening credits and those on a DVD release.
For the record, the DVD Gag Sub is actually entirely composed of lines from William Shakespeare's Henry IV Part 2. It's marketed on the DVD as being "For People Who Did Not Like The Film." Only it isn't Henry IV. It's just the film's lines put into more Shakespearean terms.
Actually, all the lines are FROM Henry IV. They're just not in Shakespeare's order, and some are just fragments of lines, chosen to fit the lines actually spoken in the film.
Hidden in Plain Sight: When Arthur first encounters the French, they tell him that they already have a grail. At the end of the film, Arthur approaches the exact same castle...but from the water side across the lake, to find the Frenchmen still in residence. The fact that he doesn't realise it's the same castle until the Frenchman pokes his head over the wall is the joke.
The bridge-keeper attempts to invoke three questions before letting them cross (which are relatively easy... If you aren't indecisive). If they fail (either by not knowing one of the others or simply being indecisive with one of the questions), they are hurled down a fiery crevice. When Arthur gets his turn, specifically when he gets to the third question (about the airspeed velocity of an unladen swallow), Arthur actually asks for clarification as to whether he meant an unladen African swallow or an unladen European swallow. The bridgekeeper then admits he doesn't even know, with predictable results.
The Knights of the Round Table when the French taunters catapult the Trojan Rabbit at them.
Hollywood Tactics: Go, Sir Lancelot, you psychotic berk! Chop that castle down with your sword! Justified, though, in that this was how Lancelot actually acted in Malory and other early sources. "Mentally unstable berserker prone to stress-induced fugue states" doesn't even begin to cover him.
Rather more specifically, this scene is a parody of the rescue of Guenevere near the end of Morte d' Arthur.
Hollywood Torches: Appear during the Camelot, Castle Anthrax, Swamp Castle and Cave of Caerbannog sequences.
Insane Troll Logic: Bedevere's faultless chain of reasoning leading to the conviction of the witch. And in true Monty Python fashion, it works! Also, one of the tracks on the soundtrack album is an alleged philosophy professor analyzing the very thing. He concludes that sex is better than logic.
Just a Stupid Accent: John Cleese's taunting Frenchman hangs a lampshade. Further played with when one of the French knights actually does speak French (or uses commonly known French words), and the other Frenchmen don't understand a word.
Frenchman #1: C'est un cadeau! Frenchman #2: Huh? Frenchman #1: It's a present! Frenchman #2: Oh! Oui, un cadeau! Frenchman #1: Oui! Oui! Allons-y! Frenchman #2: What? Frenchman #1: Let's go. Frenchman #2: Oh!
King Arthur: As the movie is a parody of the Arthurian mythos, King Arthur is, predictably, the main character.
Literal-Minded: Prince Herbert's guards are so literal in their interpretation of their orders that they allow Herbert to engineer his rescue because in the process he never does anything they were told to keep him from doing.
Miles Gloriosus: "Brave" Sir Robin, who has a troupe of troubadours to follow him about and sing of his praises. Unfortunately he runs away at the first sign of danger, and they incorporate his cowardice into their song....
Miscarriage of Justice: Fridge Logic shows that the police were in the wrong to cart off Arthur and his men as suspected murderers of A Famous Historian. The knight who killed him rode a real horse.
Turned around on the knights, later. They are drained of their will by the word "it".
Oddly enough, the knight says it at the top of the scene with no harm done, but then hits himself with it for damage during the fadeout.
No Ending: Mainly because they couldn't think of one. Arthur and his knights prepare to storm the French castle, and are then promptly arrested by the police for the murder of a historian killed by Lancelot halfway through the film.
Only a Flesh Wound: The Trope Namer—but subverted. King Arthur chops the Black Knight's sword arm off to end the fight quickly and thus avoid having to kill him. When the knight insists on fighting one-armed, he chops off the other one; then one leg; then the other. At this point, the knight is clearly bleeding out and will probably die, but he's talking as if nothing had happened at all.
Only Sane Man: Arthur. He's not necessarily brilliant, but he's a capable and smart leader, a capable sword fighter, confident, assertive, and the only one without a severe emotional problem of some sort.
Only Smart People May Pass: Parodied in the Bridge of Death scene. The old man guarding it asks three questions; the first two are harmless, but the third one can be either another harmless one or a tricky piece of trivia nobody is assumed to know off-hand. Get any of them wrong or show hesitation and you're launched into the abyss below. This goes for the bridge keeper as well.
In a deleted scene with Zoot (which does still appear in several versions of the movie) and within several other scenes throughout the film. Note of course that in most instances, the Overly-Long Gag is itself an intentional Running Gag and a Lampshade Hanging.
Painful Rhyme: invokedThe "Camelot" song is built around these, and it's even lampshaded:
We're Knights of the Round Table, our shows are for-mid-able But many times, we're given rhymes that are quite un-sing-able...
Red Shirt: Bors, Gawain and Ector. They appear suddenly and without introduction before The Rabbit of Caerbannog and they are promptly dispatched. (Of course, in Malory and the Vulgate Cycle these are three of Arthur's most prominent knights - Terry Jones having a bit of fun with the traditions again?)
If you watch closely, you'll see that two of them do appear earlier - they're the knights who help Lancelot "rescue" Galahad. Those two aren't named, but you can tell it's them because they have the same heraldry as the knights in the Rabbit scene.
Rewriting Reality: The knights escape a cartoon monster when the animator dies of a heart attack.
Graham Chapman got so drunk, he was absolutely terrified this would happen. So a stunt double ripped off his clothes and strutted across the bridge. You might notice how strangely determined the guy looks when doing this.
Rule of Funny: The driving force behind all technology in the movie. Why else would the French have their catapults already aimed at the Britons, but unloaded? How else would one explain the existence of the Holy Hand Grenade? Okay, the movie thrives on this trope.
The counting of the Holy Hand Grenade. "Five is right out."
Subverted with the castles. The third castle in the swamp fared even worse than the first two. But the fourth one stayed up.
Further subverted in a scene cut from the ending sequence: The old man from scene 24 appears — for a third time, of course — as Arthur is about to board the boat to the Grail castle and intones, "He who would cross the Sea of Fate must answer these questions twenty-and-eight." Arthur just picks him up and throws him in the water before getting into the boat.
Sir Robin's minstrel: Brave Sir Robin ran away./Bravely ran away away./When danger reared it's ugly head,/He bravely turned his tail and fled./Yes, brave Sir Robin turned about/And gallantly he chickened out./Bravely taking to his feet,/He beat a very brave retreat.
Describing a woman as having "large tracts of land" accompanied by hand gestures indicating she has a large chest. The potential bride is described as having property, which, given the era, she would not have owned outright, but would have made up her dowry, to go to her husband upon marriage. Thus she was literally "well-endowed." Of course it today's language a woman is "well-endowed" if she has a large chest.
The Stinger: Aversion — a black screen and two minutes and forty seconds of repetitive organ music.
Storming the Castle: Three times: when they try to storm the French castle early on, when Lancelot attacks the castle by himself and when Arthur's army charges the French-controlled Grail castle at the climax.
Lancelot storms Anthrax to save Galahad from "almost certain temptation", and Swamp Castle to save the distressed... prince.
Stuff Blowing Up: Tim the Enchanter, to the point of interrupting the knights mid-sentence for no purpose but pyrotechnics.
Trope Overdosed: Yes and No. Given that this movie was the Trope Namer for many of the listed tropes on this page, Monty Python And The Holy Grail is only trope-overdosed in retrospect. Back when the movie premiered (in 1975), it mainly was 91 minutes of (often ground-breaking) weirdness.
Trust Me, I'm a Doctor: Both Doctor Piglet and Doctor Winston try to assure Sir Galahad that they are doctors during his stay at Castle Anthrax.
Well, they've had basic medical training.
Unexplained Recovery: From the "Burn the witch" scene, although it's also as likely that the peasant was lying in the first place about getting cursed.
Despite an unpleasant "splat" sound effect after falling out of the tower, Prince Herbert shows up at his wedding none the worse for wear. He does intend to explain this recovery (in song, natch), but sadly, we don't get to hear the best part.
Unusual Euphemism: The Swamp King wants Herbert to marry a woman so he can inherit her father's property, but the son is unwilling. He tries to convince him with a couple of reasons, ending off with the fact that she has "huge... tracts of land," with a gesture that is less suggestive of real estate and more suggestive of womanly curves.
Turned around on the knights, later. They are drained of their will by the word "it". Oddly enough, the knight says it at the top of the scene with no harm done, but then hits himself with it for damage during the fadeout.