BrazilDirector: Terry Gilliam
Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema. Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him. Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties.
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- [Wide Screen]
- [DTS 5.1-Channel Surround Sound]
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Cast & Crew
|Jonathan Pryce||Sam Lowry|
|Michael Palin||Jack Lint|
|Kim Greist||Jill Layton|
|Robert De Niro||Harry Tuttle|
|Katherine Helmond||Ida Lowrey|
|Barbara Hicks||Mrs. Terrian|
|Jim Broadbent||Dr. Jaffe|
|Jack Purvis||Dr. Chapman|
|Sheila Reid||Mrs. Buttle|
|John Flanagan||TV Interviewer/Salesman|
|Brian Miller||Mr. Buttle|
|Simon Nash||Boy Buttle|
|Prudence Oliver||Girl Buttle|
|Simon Jones||Arrest Official|
|Derek Deadman||Bill, Department of Works|
|Nigel Planer||Charlie, Department of Works|
|Tony Portacio||Neighbor in Clerk's Pool|
|Winston Dennis||Samurai Warrior|
|Diana Martin||Telegram Girl|
|Elizabeth Spender||Alison/Barbara Lint|
|Anthony G. Brown||Porter, Information Retrieval|
|Myrtle Devenish||Typist in Jack's Office|
|John Pierce Jones||Basement Guard|
|Ann Way||Old Lady with Dog|
|Terry Forrestal||Burning Trooper|
|Don Henderson||1st Black Maria Guard|
|Howard Lew Lewis||2nd Black Maria Guard|
|Oscar Quitak||Interview Official|
|Patrick Connor||Cell Guard|
|Gorden Kaye||M.O.I. Lobby Porter|
|Sadie Corré||Midget Woman|
|James Acheson||Costumes/Costume Designer|
|John Beard||Art Director|
|Richard Conway||Special Effects|
|Graham Ford||Production Manager|
|Norman Garwood||Production Designer|
|George Gibbs||Special Effects|
|Joseph P. Grace||Associate Producer|
|Maggie Gray||Set Decoration/Design|
|Michael Kamen||Score Composer|
|Keith Pain||Art Director|
|Walter Scharf||Score Composer|
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This movie, with its brilliant perplexity, is bound to be kept out of the mainstream and deemed ''boring'' by some who see it. Indeed movies are boring when they are far too complex to comprehend. Most people prefer the standard formula for action movies that has been done a million times before. Most people desire to step into a movie theater and see some car chases, sex scenes, and crude aphorisms that they would consider to be humor. Then there are people like me, who love seeing things that stimulate the mind. What I value in a movie is the thought put into its script and its direction. Certainly one of the most thoughtful directors in this respect is Terry Gilliam. His name under this movie's title is what drew me in, since I loved 12 Monkeys and I'm a huge Monty Python fan. The plot of Brazil is enough to make your mind explode, and then understanding all the tiny subplots surrounding the main idea behind storyline is enough to change you forever. As the creepily lighthearted musical score pierced my ears as the movie faded into credits, I knew I would never be able to think the same way again. Terry Gilliam has really done it this time. See this movie. I don't care how you do it. You can't let another second of your life slip by without having this movie's message in your head.
Really, really a great movie. Highly recommended, but if you don't like this type of satirical humor, you may become bored. I won't ruin anything for you, buy this movie tonight and watch it twice.
The bureaucracy has won. People's everyday lives are overrun with paperwork, interrogations, and miles of red tape, all in an effort to keep people safe from "the terrorists". It's a delightful film with excellent A-list actors, and I highly recommend it for fans of dystopian films.
Although this title is totally uncharacteristic of anything Terry Gilliam has ever done, it is a truly enjoyable title. The world Gilliam creates is a nightmarish place, akin to ''Airstrip One'' from Orwell's 1984, where life is cheap and freedom is a vague hope. My only complaint is that Gilliam goes too far over the top, and too often.
gilliam combines the totalitarianism of orwell's 1984 and the distorted reality from kafka novels and creates this cinematic masterpiece. fans of surrealism and dark comedy will enjoy this.
This wild and dark look at the inhumanity of the modern condition makes laughter and tears flow together in a psychotic yet prescient look at the world of 1984 and the future present. This movie represents the best type of entertainment, because it amuses while causing one to look inward. It is among the greatest motion pictures made.
The bigger, badder brothers of the Rube Goldberg machines from 12 Monkeys dominate the "real life" visuals of Brazil. But, the fantasy sequences are stunning with heroic images in the style of the early Soviet and Nazi propaganda movies with fantastic Art Deco sets. The characters and the story line give an unsettling mix of slapstick comedy, dark cynicism, and (maybe) flamboyant individualism defying the impersonal grinding of the state. How dark? In one scene waiters set up screens to separate a table of diners (who continue to eat and talk) from the bloody victims of a terrorist bomb that goes off in the other half of the restaurant. This movie is a beautiful, offbeat retelling of 1984. But make no mistake, the story at the heart of this movie is the same story at the heart of Orwell's 1984. It does NOT have a happy ending. It does raise questions that are worth your time and thought. Finally, if you are a fan of Terry Gilliam, then this movie must be in your collection.
The three-disk set of Brazil provides an invaluable education on what can (and often does) happen to a director's move once the "suits" get a hold of it. The Directors cut is wonderful. Brazil is far from being a great movie but it is such an interesting one that I have watched it many times over and it becomes more of a delight with every viewing. The studio cut of the film (the so-called 'love concurs all' cut) is interesting to watch. The studios attempt to give the film a happy ending only results in some rather inexplicable behavior from the characters when seen outside of the director's intention. However, it also shows that Brazil might have been a better movie if Gilliam had planned a happy ending to begin with, instead of one he gave us. Yet, having made the movie he intended to make, it proves once again that the "suits" have to keep their hands off the finished product. As the old silent movie director, Eric Von Stroheim, once said, "The man who cut my film had nothing on his mind but a hat". However, for those who want to understand the inner workings of a Director/Studio fight over a film, the third disk is a wonder to behold. It has everybody's side of the fight over this film and is well worth the purchase of the three-disk set instead of merely the single disk of the directors cut.
Totally wasteful. And I know totalitarianism, I was born in the country that defined it. His satire has no teeth, all he shows is a panopticum of ridiculous personalities with trivial and predictable actions. This is no “1984”, folks. The director is desperately trying to either be cute or supersmart. Well, he is neither. Gilliam is full of himself; just watch his interview, in which he is bragging about deceiving studios that provided financing for his project.