Culture 16 August 2011 The afterlife of Brian Does a 30-year-old blasphemy row still have relevance today? Print HTML More than 30 years on, the controversy surrounding the release of Monty Python's Life of Brian seems more than a bit ridiculous -- a fit subject for a comedy. Certainly, the BBC thinks so: Holy Flying Circus, based on those events, will be broadcast on BBC4 in a few weeks. Taking centre stage is a recreation of a notorious TV debate in which the Pythons John Cleese and Michael Palin took on a fired-up Malcolm Muggeridge, who denounced the film as "squalid", and the slightly milder Bishop of Southwark, who predicted that the team would "get their 30 pieces of silver". That event (you can watch extracts on YouTube) is indeed rich in comic potential. The bishop, all wild hair and purple cassock, waves around an enormous silver cross. Muggeridge (in his day a significant public figure, though few now remember him) just looks demented. Palin looks, at times, genuinely distressed. The show was parodied shortly afterwards on Not the Nine O'Clock News but the original is much funnier. At the time, though, the debate was deadly serious. Life of Brian was banned in several US states and a number of countries (including Ireland, in those days still virtually a theocracy -- and we all know how well that turned out). There were protests, too, in Britain, co-ordinated by the Festival of Light, an evangelical group associated with Mary Whitehouse. After an unsuccessful attempt to persuade the BBFC to ban the film, the group masterminded a letter-writing campaign to local authorities. Thirty-nine responded by banning or reclassifying it. There was even talk of bringing a private prosecution for blasphemy -- sufficiently serious for the team to take legal advice from John Mortimer QC, who had led the defence in Whitehouse's earlier, successful prosecution of Gay News. It wasn't the Satanic Verses, nowhere near, but the principles at stake were the same. On one side, freedom of expression and the right to treat religion with not greater reverence than, say, politics or literature. On the other, the view that one shouldn't make fun of religion, either because it annoys God or, more pragmatically, because believers tend to get quite upset. The issues remain, sadly, as topical as ever. Yet it can be hard, today, to see what all the fuss was about. Partly, that's because the film is such a classic. It has given immortal phrases to the English language: "Blessed are the cheesemakers"; "What have the Romans ever done for us?"; "He's not the Messiah. He's a very naughty boy." After all these years, it's still extremely funny; but the religious satire has largely lost its power to shock. In some ways, it has almost become an object of veneration in its own right, as one of the greatest comic films ever made, a high point of British popular culture. Blasphemy, too, has gone, at least as a crime in British law. After a last, failed attempt to revive it in the case of Jerry Springer: the Opera, the ancient law of blasphemous libel was quietly euthanised in the Criminal Justice and Immigration Act 2008. It was probably the campaign against Jerry Springer (led by Stephen Green of the small pressure group Christian Voice) that nudged the then government into repealing the law. There was a rearguard action in both the Lords and Commons to preserve it but the illogicality of the blasphemy law was well summed up by the late (and much missed) Earl of Onslow: "If God does not exist, nothing will happen; if he does exist, it is up to him to get hold of the chap who wrote it and make sure that he does time in the diabolical house of correction." Stephen Green is a much more marginal figure than Mary Whitehouse and the Church of England is no longer much of a force in the land. The same government that repealed the blasphemy law, however, introduced a new crime of "religious hatred", replacing the fear of insulting God with that of insulting believers. The talk is of mutual respect and social cohesion. Where insult is perceived, it can be very difficult to distinguish between the believer and the belief. Here, Life of Brian remains as subversive as ever. If not an overt attack on Christianity, the film is devastating in its satire of religious behaviour. Blasphemy is parodied in the famous stoning scene. Just as pointed, in its own way, is the depiction of a would-be disciple who thinks that Brian will heal his wife's headache because "her brother-in-law is the ex-mayor of Gath". The scene in which Brian flees from a crowd of would-be worshippers manages to encapsulate the whole history of religion in around three minutes. Brian himself is something of a holy fool. Though naive, and far more interested in getting off with Judith than in either revolution or starting a religion, he sees with more clarity than any of the idiots, charlatans and human sheep that constitute the local population. In some ways, he may indeed be the Messiah: Look, you've got it all wrong! You don't need to follow me! You don't need to follow anybody! You've got to think for yourselves! You're all individuals! Life of Brian is about much more than just religion. All human life is there: at least, all human folly, which is to say much the same thing. It's a film about human vanity and stupidity, about pretension and wishful thinking, about people's almost irresistible tendency to think inside the box. The grammar-obsessed Roman centurion who forces Brian to write "Romans go home!" in huge letters all over the city wall as a punishment for getting his inflections muddled up is as caught up in his own self-referential universe as Reg, the all-too-recognisable leader of the People's Front of Judea, whose idea of defeating the might of Imperial Rome is to pass resolutions and inveigh against the "splitters" in the Judean People's Front. Religion, in this wider context, is just another manifestation of human stupidity. Subversive indeed. › What Bill Bratton really thinks about "zero tolerance" Belief, disbelief and beyond belief Subscribe More Related articles Checkmate for a broken republic: on Benjamin and Brecht Celluloid Dreams: are film scores the next area of serious musical scholarship? What do animals really think of us?