ब्रज़िल

A virtual celebration of writer/director Terry Gilliam's singular creative vision and seemingly limitless imagination, Brazil is a unique movie experience. And it is kind of hard to put the label of any one particular genre on the film; it's generally referred to as "dystopian science fiction" (which certainly isn't wrong), but it's also a satire, a drama, a black comedy and perhaps even a fantasy film. Like many other dystopian sci-fi films (e.g. Fahrenheit 451, Equilibrium, The Hunger Games), Brazil depicts a totalitarian society, but that's about as far as the similarities with other films go.

The whole design of Brazil's crazy world is unlike anything I've ever seen in other movies (with the exception perhaps of those made by the same filmmaker). Where films with similar themes typically go for a futuristic look that is defined by all the technological advancements the writers and filmmakers can dream of, Terry Gilliam chooses the complete opposite direction. In his film, technology seems to have made no progress since somewhere around the forties or fifties, and what technology there is doesn't exactly look very reliable. And unlike other dystopian films, it's not primarily the bleak aspects of a totalitarian society Gilliam wants to explore; in his film, he wants to show how hilariously insane, inept and ridiculous many of the mechanisms and instruments of oppression truly are. In that sense, Brazil is mainly a satire (at least that's how I perceive it), and it is often either darkly funny or downright hilarious.

There is simply not a dull moment in the film: it's a wild ride that never lets up and almost every image on the screen practically bursts with clever (often hilarious) details; from the way food is served in restaurants to how the benefits of plastic surgery are presented, Gilliam's imagination can only be marveled at. His vision of a bureaucracy gone mad is probably the most entertaining nightmare ever put on film (I'm talking about the director's cut, of course). A masterpiece that gets even better after repeat viewings: 10 stars out of 10.

Favorite films: http://www.IMDb.com/list/mkjOKvqlSBs/

Lesser-Known Masterpieces: http://www.imdb.com/list/ls070242495/

Favorite Low-Budget and B-Movies: http://www.imdb.com/list/ls054808375/

I really can't tell you how much my first viewing of this movie knocked me out. Nearly twenty years ago, before Terry Gilliam's reputation is what it is today, seeing this in a cinema without knowing ANYTHING about it, it was one of the most unforgettable movie experiences of my life! Still is. I was a Python fan since childhood and well aware of Gilliam's animation work, but nothing could prepare you for just how bizarre, funny, scary and disturbing 'Brazil' is. It's still one of the most original and inventive science fiction movies ever made, with a surreal, retro future quite unlike anything seen on a movie screen before or since. Gilliam mixes Python's anarchic, intellectual humour with Orwell, Kafka and Theatre Of The Absurd elements and comes up with something really special. John Sladek kinda sorta wrote some stories in a similar territory before this, and Dean Motter has written some comics since, but 'Brazil' is really in a world of its own! Jonathan Pryce was fairly obscure at the time and an odd choice to play the leading role, but is perfectly cast, and it's hard to think of an actor who would have been as convincing and sympathetic. The rest of the cast includes an amusing cameo from Robert De Niro, Kim Greist (only her second movie, after 'C.H.U.D.' of all things!) as Pryce's love interest, Python's Michael Palin, and a bunch of excellent Brit character actors - Bob Hoskins, Ian Richardson, Ian Holm, Jim Broadbent, etc.etc. It goes without saying that when I praise 'Brazil' I am ONLY referring to Gilliam's cut. This is still an utterly brilliant movie, one of the very best of the last twenty-five years. I can't recommend this movie highly enough, it is a masterpiece pure and simple.

One of my favorite novels of all time is George Orwell's 1984, and Brazil is very much a comedic interpretation of that. Brazil shows us a hilarious exaggeration of the monotony of machine like run bureaucracy, and man's constant voyage to avoid responsibility. "That's not my department." Everyone seems to say. Sam Lowry (Jonathan Pryce) is a low ranking government employee. When an error leads to the execution of engineer Archibald Buttle (Brian Miller) instead of terrorist Archibald Tuttle (Robert De Niro), Sam attempts to fix this, and inadvertently becomes an enemy of the state. Read that scenario again. This is a funny movie. It's a dark comedy/political satire, and almost every joke works. The nonchalant attitude of the government depicted in the film is where a big chunk of the humor comes from. It's a very smart comedy. Honestly if you like political satire, then Brazil is one we can all enjoy together.

One of the truest statements about originality in art comes from T.S. Eliot: "Immature poets imitate; mature poets steal." Terry Gilliam is one of cinema's mature poets. His "Brazil" features homages to numerous other films, ranging from "Modern Times" to "The Empire Strikes Back," and its plot is broadly similar to "Nineteen Eighty-Four." Yet the result is intriguingly fresh and creative.

The best adjective to describe the movie's tone is "whimsical." It's the type of sci-fi film with an almost childlike fascination with strange sights and happenings. Rarely has a film so pessimistic been this much fun. Many sci-fi films since "Brazil" have attempted a similar approach, usually with little success. The chief problem with most such films (e.g. "The Fifth Element") is that they get bogged down in plot at the expense of emotional resonance. "Brazil" avoids this fate: while the movie possesses psychological and thematic complexity, its plot is fairly simple, and the humor, quirky as it is, never relies on throwaway gags. Even the oddest moments have a certain poignance.

The story seems to take place in a fascist alternative world. It isn't "the future" exactly. The technology is weird-looking but hardly superior to anything in our world. Money transactions are sent through pipes in what looks sort of like a crude version of ATM. (One of the film's several nods to silent movies occurs after a character tries to stuff one of these pipes with wads of paper.) The pop culture references are positively retro, from the title song to scenes from the film "Casablanca."

The evil of the government in this film is driven not so much by cruelty as by bureaucratic incompetence, much of which is played for laughs. But some of the scenes look eerie today, in our post-9/11 world, and are good fodder for conspiracy theorists. Pay particular attention to the scene where the official boasts that the government is winning its war against "the terrorists." The movie is ambiguous as to whether there are any real terrorists, and we have a sneaking suspicion that the explosions are caused by the government itself. The plot is set in motion by a typographical error leading an innocent man to be arrested instead of a suspected terrorist. The movie is not about this man but about a meek government worker, Sam Lowry (Jonathan Pryce), who's observing from the sidelines. Robert De Niro has a cameo as the wanted "terrorist" whose crime, from what we see, consists of doing home repairs without the proper paperwork.

I have noticed that most of the classic dystopian tales are fundamentally similar to one another. But "Brazil" approaches the genre in a uniquely psychological way. Sam Lowry is different from the standard protagonist who rebels against the government due to noble motives. He doesn't seem to have any larger goals than his own personal ones. He isn't trying to make the world a better place. He's only longing for a better life for himself, one more exciting and romantic than the humdrum existence he currently occupies, where he's beset by an overbearing mother, a pitiful boss, and a dull job. In the midst of this bureaucratic nightmare state, he cares only about such matters as getting his air conditioning fixed and stalking a female stranger who physically resembles his fantasy woman--or so he perceives. The woman, as played by Kim Greist, appears in his fantasies as a helpless damsel with long, flowing hair and a silky dress who sits in a cage while he battles a giant Samurai warrior. The real-life woman he pursues, also played by Greist, sports a butch haircut, drives a large truck, and has a cigarette dangling from the corner of her mouth.

It's a testament to Pryce's performance that he commands our total sympathy the whole time. We feel for him and go along with the romantic adventure he attempts to create for himself. His nervous, stammering personality is one that would have been easy to overdo, yet Pryce strikes just the right note, especially as we begin questioning the character's sanity. At one point, another character tells him that "You're paranoid; you've got no sense of reality." But who wouldn't be paranoid in such a setting? The scene brings to mind the old joke that goes "You're not paranoid. Everyone really is out to get you." The movie inhabits such a whacky, surreal world full of strange people and sights that Sam Lowry almost seems sensible by comparison. Creating a character like this was a fresh, innovative twist on a genre that normally loses sight of human personalities.

Sam Lowry works within the huge ministry of information in a near-future world of bureaucracy. A simple administration error leads to the death of an innocent man. Lowry finds himself drawn into a world where he is forced to go against the admin world that he works in with devastating results.

This is one of Gilliam's best films (the other being 12 Monkeys). His nightmare vision is complete with wonderful visual touches - some inspired, some very unnerving in their originality. This satire on the world of bureaucracy gone mad has some wonderful elements that don't seem too farfetched - tiny offices, never-ending paperwork, a government so keen to cut costs that people who are arrested are forced to fund their own defence etc. The dream scenes and the romance don't sit too easily beside this element but they help add to the hallucinatory effect of the whole film.

The feeling of paranoia runs wild through the film. Everything in it symbolises the uselessness of trying to work against a unbeatable system and the pointlessness of individual effort - witness Tuttle eventually overcome by the "paperwork" he once resisted. The only problem with the film is that the plot is mostly rubbish, at first it's hidden but in the middle section and the end the holes become obvious.

The cast is mostly excellent despite forced to work with very weird characters. Pryce is brilliant as the quiet bureaucrat pushed into a nightmare by his dreams, although Kim Greist is dull as the focus of his dreams, Jill. The rest of the cast consists of a range of extended cameos including Ian Holm, Michael Palin, Bob Hoskins and an excellent Robert De Niro as a guerrilla heating engineer.

The studio bosses wanted an upbeat happy ending to help sales - basically the final 45 seconds had to go. However Gilliam stuck by his guns and produced a film that is visually inspiring whilst being depressingly based in the real world - right up till the final credit has rolled. "Has anyone seen Lowry?" - everyone should.