Music of _The Fisher King_

Dear Arthurians,

This post is intended to serve as a supplement to my presentation on The Fisher King. I had two main ideas that I wanted to get across last Monday. The first, is the notion that Gilliam's film confuses medieval stories of the Fisher King--such as those we see in Chre(accent)tien and Wolfram--by having each of the two main characters occupy dual roles as both redeeming knight and wounded king. Hopefully, that was clear. The second point, dealt with the film's main themes--the maiming sin of pride, and the healing power of compassion. These are themes that recur throughout the history of Fisher King narratives, and receive great attention in this particular film. Since I didn't have time last night, I'm using the blog as an opportunity to discuss the important role the film's musical score plays in establishing and supporting these themes. There are three songs in particular which dominate the film and align with certain characters:

SONGS OF PRIDE (Jack)

“Hit the Road Jack”

As suggested by its title, The Fisher King notably evokes Arthurian quests for the Holy Grail. Before the opening credits even begin, the idea of travel is evoked against the empty black screen by the popular Ray Charles song, “Hit the Road Jack” (1961)—the theme of Jack’s show, and one of two recurring songs which orbit his character. After seeing Jack berate his callers in the opening scene, the song makes good sense: not only does Bridges’ character have the same name as the character in the song, he also acts like a jerk; his callous behavior toward others provides sufficient justification for him to be told to “hit the road.” However, as the quest narrative becomes more apparent, “Hit the Road, Jack,” gains significance as a directive. The song proclaims what Jack is going to do, as he indeed hits the road. Yet, unlike medieval grail champions such as Percival and Galahad, Jack is reluctant, and his motives are purely selfish.

“I’ve Got the Power”

This wonderful early '90s anthem of self-empowerment is the other theme of Jack's show, and recurs throughout the film. It can be read in a few ways. The first fits with Jack's character at the beginning, and points to the smug self-assuredness arising from narcissism. Jack has the power to do what he wants because he is more important than others (or so he thinks)--a reflection of his sin of pride and egotism. Another way of looking at the significance of this song, would be to think of it in correlation to Parry's declaration that Jack is the one who can defeat the Red Knight and capture the grail. It is through Jack's power that these goals are achieved and the wounded men are healed. Looking at Snap's great contribution to Western humanity in this light, we can see how the meaning of "I Got the Power" subtly changes and takes on various nuances as the quest unfolds.

SONG OF COMPASSION (Parry)

“How About You?”

What isn't compassionate about this song? Even the title suggests that the singer is thinking about the thoughts and feelings of another. It is significant to note that we first hear this song during Parry's entrance into the story, and we last hear it at the end after the healing has occurred. In the three main instances of its occurrence, Parry actively works to include others, always conducting and encouraging participation. Also, the lyrics of the song seem to call for a response--though it isn't of the call and response mode. A sample lyric:

I like New York in June
How about you?
I like a Gershwin tune
How about you?

Those lines point to the reciprocal exchange which the song's lyrics, if not the song itself, invites of its listeners. After both men are healed, we see the new compassionate Jack take over as conductor of "How About You," and his enthusiasm paints him as wholly separate from the detached, egotistic man whose main concerns are his biography and power. Jack is now someone who can genuinely feel for, and with, others.



I know this was a rather quick overview of the stupendous jamz of The Fisher King. I love music, so I'm always interested to see how directors choose to employ song to enhance their narrative. So, for my final statement, I feel the need to say this: Watch The Fisher King. It rules. And if you feel like it, pay attention to the use of these songs, and maybe you can decide for yourself if there's a connection between this and this.