Film
A Liar's Autobiography: The Untrue Story of Monty Python's Graham Chapman
- Comedy
- Light-hearted
- Strange
A deliberately fake autobiography of Monty Python's Graham Chapman, animated in dizzy 3D and narrated by his actual colleagues. It's Pythonic chaos—absurdist, digressive, obscene, and allergic to linear storytelling. For anyone who loves Monty Python's theatrical anarchy and doesn't mind their tributes unruly and weird.
If you liked this
Monty Python and the Holy Grail1975
The platonic ideal of anarchic British comedy. Sketch logic applied to narrative, ridiculous accents, total commitment to stupidity. If you're watching Chapman's autobiography, you need the source material.
But It's forty years old and moves at a pace that tests modern attention spans. Some sketches don't land. The animation is deliberately cheap.

And Now for Something Completely Different1971
Monty Python's first film: the sketches that built their legend, filmed and polished. A masterclass in how to make silly things funny through precision timing and deadpan delivery.
But It's essentially a sketch compilation, so there's no narrative spine. The humour is very much of its era—some of it has aged into obscurity.

Life of Brian1979
Python's most coherent film, loosely structured as a life-and-times parody of religious epics. Chapman stars as the hapless protagonist. Funny and shockingly smart about ideology and groupthink.
But Its satire of religion still angers people forty-five years later. If you prefer your comedy fluffy, this targets sacred cows deliberately.

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The wildcard
Something you would not have found on your own.
Kes1970
Chapman lived that world—working-class British roots, Cambridge education, gay life in a repressive era. Kes captures the actual texture of the Britain that shaped Python's rebelliousness.
Ken Loach's brutal, tender portrait of a working-class Yorkshire boy and his hawk. It's funny, heartbreaking, and absolutely earned in its emotional power. Proof that British cinema could be poetic without being pretty.
But It's unflinchingly bleak about class and childhood. The humour is dry and contextual; it's not a comedy. You watch it for truth, not laughs.

More like this (6)
Monty Python's The Meaning of Life1983
Python's final film: a series of increasingly ambitious and bizarre musical numbers and sketches about existence itself. Uneven, ambitious, utterly unashamed to be strange.
But It's structurally chaotic and runs out of steam in places. The comedy is hit-or-miss, and some bits are just gross for the sake of it.

Brazil1985
Terry Gilliam's dystopian masterpiece, visually inventive and narratively daring. Gilliam narrates Chapman's autobiography, and Brazil shows why: he builds entire worlds from absurdist logic.
But It's bleak and complex, with a fatalistic ending that won't satisfy anyone wanting comfort. The plot is deliberately confusing.

Fawlty Towers1975
John Cleese's masterpiece sitcom: twelve episodes of escalating catastrophe and character comedy. Proof that Python's energy could sustain something with an actual plot.
But It's over in two seasons and hasn't aged as universally as Holy Grail. Some of it depends on dated social reference points.

The Hitchhiker's Guide to the Galaxy1981
Douglas Adams adapted his radio comedy for television with that unmistakable British absurdist energy. It shares Python's willingness to go nowhere fast and make it hilarious.
But The budget is obviously tiny, and the FX look like a children's show now. It's also deliberately plotless, which frustrates people who want narrative momentum.

Do Not Adjust Your Set1968
Early Python DNA: Eric Idle and Terry Jones worked on this sketch show before Python formed. Fast, silly, anarchic. A missing link for understanding where their style came from.
But It's harder to track down and less polished than Python proper. The sketches are shorter and hit-or-miss, and it feels like an apprenticeship rather than the main event.

NewsRadio1995
American sitcom with British absurdist DNA: fast-paced sketch comedy baked into character relationships. Sharp, silly, and genuinely odd in ways that owe something to Python's influence.
But It requires investing in American network sitcom conventions, which is the opposite of Python's theatricality. Comedy is gentler and less transgressive.

People
Cast
Graham ChapmanSelf (voice)
Terry GilliamVarious (voice)
John CleeseVarious (voice)
Michael PalinVarious (voice)
Carol ClevelandVarious (voice)
Cameron DiazSeigmund Freud (voice)
Stephen FryOscar Wilde (voice)
Philip BulcockDavid Sherlock (voice)
Diana Kent(voice)
Lloyd KaufmanUncle Lloyd (voice)
Tom HollanderRecording Engineer (voice)- Margarita Doyle(voice)
Directing
- Ben TimlettDirector
- Bill JonesDirector
- Jeff SimpsonDirector
Writing
- David SherlockWriter
- Graham ChapmanWriter
Production
- Hanspeter JabergExecutive Producer
- Mark SandellExecutive Producer
- Meyer SchwarzsteinExecutive Producer
- Ben TimlettProducer
- Bill JonesProducer