Still working to recover. Please don't edit quite yet.

Brazil (film)

From Anarchopedia
Jump to: navigation, search

Brazil is a 1985 British science fiction fantasy/Wikipedia:black comedy Wikipedia:film directed by Wikipedia:Terry Gilliam. It was written by Gilliam, Wikipedia:Charles McKeown, and Wikipedia:Tom Stoppard and stars Wikipedia:Jonathan Pryce. The film also features Wikipedia:Robert De Niro, Wikipedia:Kim Greist, Wikipedia:Michael Palin, Wikipedia:Katherine Helmond, Wikipedia:Bob Hoskins, and Wikipedia:Ian Holm. Wikipedia:John Scalzi's Rough Guide to Sci-Fi Movies describes the film as a "Wikipedia:dystopian Wikipedia:satire".

The film centres on Sam Lowry, a man trying to find a woman who appears in his dreams while he is working in a mind-numbing job and living a life in a small apartment, set in a dystopian (WP) world in which there is an over-reliance on poorly maintained (and rather whimsical) machines. The bureaucratic, Wikipedia:totalitarian government in Brazil is reminiscent of the government depicted in George Orwell (WP)'s Wikipedia:Nineteen Eighty-Four, except that it has a buffoonish, Wikipedia:slapstick quality and lacks a Big Brother figure.

Wikipedia:Jack Mathews, film critic and author of The Battle of Brazil (1987), described the film as "satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life".[1] Though a success in Europe, the film was unsuccessful in its initial North America release. It has since become a Wikipedia:cult film.

Coming soon, the poster for the film. For now, a form of Ducting, which unlike the film poster does have a file on the Wikipedia Commons (deletionists, who are all that is left on Wikipedia, are not fans of Brazil it seems), and which plays a major role in this film, along with Johnathan Price, Robert De Niro, Michael Palin, Kim Greist, Katherine Helmond, Bob Hoskins, and Ian Holm and anyone else I left out. Who probably also have image files on the Commons, but then I would have to put them all on, and someone would get left out, and you know how that is

The film was inspired indirectly by the recurrent theme song, "Wikipedia:Aquarela do Brasil". Gilliam imagined a scene with similar music playing, and the concept of, as co-writer Tom Stoppard puts it, (with many other members of the cast and crew giving similar descriptions, in the same documentary) "the myth of the free man, in an unfree society"[2]

Escape it all; take the money and run, off to Brazil. But in the film, even Brazil is the grim reality, and there is nowhere left to run to.[2]


Plot[edit]

Set in an unidentified country, the film follows Sam Lowry (Wikipedia:Jonathan Pryce), a low-level government employee who has frequent daydreams of saving a beautiful maiden. One day he is assigned the task of trying to rectify an error caused by a fly getting jammed in a printer, which caused it to misprint a file, which resulted in the incarceration and death during interrogation of Mr. Archibald Buttle instead of the suspected terrorist, Archibald "Harry" Tuttle (Wikipedia:Robert De Niro). When Sam visits Buttle's widow, he discovers Jill Layton (Wikipedia:Kim Greist), the upstairs neighbour of the Buttles, is the same woman as in his dreams. Jill is trying to help Mrs. Buttle find out what happened to her husband, but has become sick of dealing with the bureaucracy. Unbeknownst to her, she is now considered a terrorist friend of Tuttle for attempting to report the mistake of Buttle's arrest in Tuttle's place to bureaucrats that would not admit such an error. When Sam tries to approach her, she is very cautious and avoids giving Sam full details, worried the government will track her down. During this time, Sam comes in contact with the real Harry Tuttle (Wikipedia:Robert De Niro), a renegade air conditioning specialist who once worked for the government but left due to the amount of paperwork. Tuttle helps Sam deal with two government workers who are taking their time fixing the broken air conditioning in Sam's apartment.

Sam determines the only way to learn about Jill is to transfer to "Information Retrieval" where he would have access to her classified records. He requests the help of his mother, Ida (Wikipedia:Katherine Helmond), vainly addicted to rejuvenating plastic surgery under the care of cosmetic surgeon Dr. Jaffe (Wikipedia:Jim Broadbent), as she has connections to high ranking officers and is able to help her son get the position. Delighted that her son has finally shown ambition – he previously turned down the promotions which she had arranged – Sam's mother arranges for Sam to be promoted into the Information Retrieval division. Sam eventually obtains Jill's records and tracks her down before she is arrested, then falsifies her records to make her appear deceased, allowing her to escape the bureaucracy. The two share a romantic night together before Sam is apprehended by the government at gunpoint for misusing his position.

Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old friend, Jack Lint (Wikipedia:Michael Palin), as he is now considered part of an assumed terrorist plot including Jill and Tuttle. However, before Jack can start, Tuttle and other members of the resistance break in to the Ministry. The resistance shoots Jack, rescues Sam, and blows up the Ministry building as they flee. Sam and Tuttle run off together, but Tuttle disappears amid a mass of scraps of paper from the destroyed Ministry. Sam runs to his mother attending a funeral for a friend who died of excessive cosmetic surgery. Finding his mother now looking like Jill and fawned over by a flock of juvenile admirers, Sam falls into the open casket, finding it to be bottomless. He lands in a world from his daydreams, and attempts escape up a pile of flex-ducts from the police and imaginary monsters. He finds a door at the top of the pile and, passing through it, is surprised to find himself in a trailer driven by Jill. The two drive away from the city together.

However, it is revealed that this happy ending is all happening inside Sam's head; Sam is still strapped to the chair under observation by Jack and Deputy Minister Mr. Helpmann (Wikipedia:Peter Vaughan). Realising that Sam appears catatonic, a smile on his face and humming "Brazil", the two declare Sam a lost cause, and exit the room as the film closes.

Cast[edit]

Production[edit]

Writing[edit]

Gilliam developed the story and wrote the first draft of the screenplay with Wikipedia:Charles Alverson, who was paid for his work but ultimately uncredited in the final film. For nearly 20 years, Gilliam denied that Alverson had made any material contribution to the script. But then when the first draft was published, and original in-progress documents emerged from Alverson’s files, Gilliam begrudgingly changed his story. This was a bit late for either credit on the film or a listing on the failed Oscar nomination for Alverson. He has said that he would not have minded the Oscar nomination, even though he didn’t think much of the script or the finished film.[3] Gilliam, McKeown, and Stoppard collaborated on further drafts. Brazil was developed under the titles The Ministry and 1984 ½, the latter a nod not only to Orwell's original 1984 but also to Wikipedia:8½ by Wikipedia:Federico Fellini, a director whom Gilliam often cites as one of the defining influences on his visual style when directing.[4] During the film's production, other working titles floated about, including The Ministry of Torture, How I Learned to Live with the System - So Far,[5] and So That's Why the Bourgeoisie Sucks,[6] before settling with Brazil relating to the name of its escapist signature tune.

Gilliam sometimes refers to this film as the second in his "Wikipedia:Trilogy of Imagination" movies, starting with Wikipedia:Time Bandits (1981) and ending with Wikipedia:The Adventures of Baron Munchausen (1989).[1] All are about the "craziness of our awkwardly ordered society and the desire to escape it through whatever means possible."[1] All three movies focus on these struggles and attempts to escape them through imagination—Time Bandits, through the eyes of a child, Brazil, through the eyes of a man in his thirties, and Munchausen, through the eyes of an elderly man.

Gilliam has stated that Brazil was inspired by Wikipedia:George Orwell's Nineteen Eighty-Four—which he has admitted never having read[7]—but is written from today's perspective rather than looking to the future as Orwell did. In Gilliam's words, his film was "the Nineteen Eighty-Four for 1984."

Casting[edit]

Wikipedia:Robert De Niro originally wanted to play Jack, but Gilliam had already promised the role to Wikipedia:Michael Palin. De Niro still wanted to be in the film, and so was cast as Tuttle instead.[7]

Director Gilliam's daughter, Holly, plays Jack Lint's daughter, Holly.[7] Gilliam himself has a brief cameo appearance as a mysterious smoking man who appears to be spying on Sam during his visit to the Buttle family home.

Art design[edit]

thumb|Logo of the Ministry of Information Michael Atkinson of Wikipedia:The Village Voice wrote, "Gilliam understood that all futuristic films end up quaintly evoking the naive past in which they were made, and turned the principle into a coherent comic aesthetic."[8] The result has been dubbed "retro-futurism" by fellow film-makers Wikipedia:Jean-Pierre Jeunet and Wikipedia:Marc Caro.[8] Generally called "sci-fi noir," it is "a view of what the 1980s might have looked at viewed from the perspective of a 1940s filmmaker."[9] It is an eclectic yet coherent mixture of styles and production designs derived from Wikipedia:Fritz Lang's films (particularly Metropolis and M) or Wikipedia:film noir pictures starring Wikipedia:Humphrey Bogart: "On the other hand, Sam's reality has a '40s noir feel. Some sequences are shot to recall images of Humphrey Bogart on the hunt and one character (Harvey Lime) may be named as an homage to Wikipedia:The Third Man's Harry Lime."[9] A number of reviewers also saw a distinct influence of Wikipedia:German Expressionism, as the 1920s seminal, more nightmarish, predecessor to 1940s film noir, in general in how Gilliam made cunning use of lighting and set designs.[10][11]

This eclectic virtuosity and attention to detail in lighting and set design was coupled with Gilliam's trademark obsession for very wide lenses and tilted camera angles; going unusually wide for an audience used to mainstream Hollywood productions, Gilliam made the film's wide-angle shots with 14mm (Zeiss), 11mm, and 9.8mm (Kinoptic) lenses, the latter being a recent technological innovation at the time as one of the first lenses of that short a focal length that didn't fish-eye.[12] In fact, over the years, the 14mm lens has become informally known as "The Gilliam" among film-makers due to the director's frequent use of it since Brazil.[13]

One visual element which figures prominently in the movie is the ducts, specifically the snakelike "flex-ducts" used in modern construction. The film opens with an advertisement for different styles of ducting available for homes, seen on a display of television sets in a shop, which is then blown up in a terrorist bombing.

Sam's apartment is dominated by a wall consisting entirely of metal panels which conceal a woefully outdated and complex air-conditioning system – the guerrilla engineer Tuttle is the only person able to tame it. Later, Sam lunches in a restaurant dominated by a giant centerpiece where the "flowers" are actually flex-ducts. Still later, when Sam makes a potentially seditious nighttime visit to his office, the emptiness of the government building's gigantic lobby is set off by maintenance men's floor buffing machines, trailing long cords of flex-duct.

In the working-class Buttle home, the families have to live their lives while giving way to ducts that in fact hinder their daily activities. In Sam's home, the ducts are not visible initially, but make their presence felt as an undertone when they break down. In the Department of Records, the ducts are a visible part of the environment, but above everyone's heads. Finally, in the dreaded Ministry of Information, there are very few ducts.

Music[edit]

Wikipedia:Ary Barroso's 1939 song "Wikipedia:Aquarela do Brasil" ("Watercolor of Brazil", often simply "Brazil") in a version specifically performed by Wikipedia:Geoff Muldaur is the Wikipedia:leitmotif of the movie, although other background music is also utilized. Wikipedia:Michael Kamen, who scored the music, originally recorded "Brazil" with vocals by Wikipedia:Kate Bush. This recording was not included in the actual film or the original soundtrack release; however, it has been subsequently released on re-pressings of the soundtrack.

Releases[edit]

The film was produced by Wikipedia:Arnon Milchan's company Embassy International Pictures (not to be confused with Joseph E. Levine's Wikipedia:Embassy Pictures). Gilliam's original cut of the film is 142 minutes long and ends on a dark note. This version was released internationally outside the US by Wikipedia:20th Century Fox.

US distribution was handled by Universal. Universal executives thought the ending tested poorly, and Universal chairman Wikipedia:Sid Sheinberg insisted on dramatically re-editing the film to give it a happy ending, a decision that Gilliam resisted vigorously. As with the cult science fiction film Wikipedia:Blade Runner (1982), which had been released three years earlier, a version of Brazil was created by the Wikipedia:movie studio with a more consumer-friendly ending. After a lengthy delay with no sign of the film being released, Gilliam took out a full-page ad in the trade magazine Variety urging Sheinberg to release Brazil in its intended version. Eventually, after Gilliam conducted private screenings (without the studio's approval), Brazil was awarded the Wikipedia:Los Angeles Film Critics Association award for "Best Picture", which prompted Universal to finally agree to release a modified 131-minute version supervised by Gilliam, in 1985.[1][14]

Home media[edit]

In North America, the film was released on Wikipedia:VHS and Wikipedia:Laserdisc in the 132-minute US version. A slightly modified 142-minute version of the original European cut was first made available in a 5-disc Wikipedia:Criterion Collection laserdisc box set in 1996, and is currently available on Wikipedia:DVD (referred to in the director's commentary as the "fifth and final cut", it uses the American cloud opening instead of a stark blank screen setting the time and place).[7]

Sheinberg's edit, the 94-minute so-called "Love Conquers All" version, was shown on syndicated television and was first made available for sale to consumers as a separate disc in the Criterion laserdisc box set, and subsequent DVD three-disc set in 1999 (both of which also featured a special video documentary version of Jack Mathews' book, with new Gilliam interviews and tape-recorded interviews from Sid Sheinberg for the original book).

The box set presents the feature film in its correct aspect ratio for the first time, but the version on the original DVD release is not enhanced for newer widescreen TVs. New 16:9-enhanced editions of the film in both a complete set and separate film-only disc were re-issued on DVD by Criterion on September 5, 2006.

Critical response[edit]

The film has a 97% on the Wikipedia:Rotten Tomatoes Tomatometer, with 39 out of 40 reviewers giving positive reviews. It has received a score of 88 on Wikipedia:Metacritic, based on 12 reviews.[15]

Wikipedia:Chicago Sun Times film critic Wikipedia:Roger Ebert disliked it, giving it 2 out of 4 stars, saying it "I was reminded of a Chaplin film, Modern Times, and reminded, too, that in Chaplin economy and simplicity were virtues, not the enemy."[16]

Wikipedia:Los Angeles Times critic Wikipedia:Kenneth Turan described the film as "the most potent piece of satiric political cinema since Wikipedia:Dr. Strangelove".[1] Wikipedia:Janet Maslin of Wikipedia:The New York Times was very positive towards the film upon its release, stating "Terry Gilliam's Brazil, a jaunty, wittily observed vision of an extremely bleak future, is a superb example of the power of comedy to underscore serious ideas, even solemn ones."[17]

In 2004, Wikipedia:Total Film named Brazil the 20th greatest British movie of all time. In 2005, Time film reviewers Wikipedia:Richard Corliss and Wikipedia:Richard Schickel named Brazil in an unordered list of the 100 best films of all time. In 2006, Wikipedia:Channel 4 voted Brazil one of the "Wikipedia:50 Films to See Before You Die", shortly before its broadcast on Wikipedia:FilmFour.

Wired ranked Brazil number 5 in its list of the top 20 sci-fi movies.[18] Wikipedia:Entertainment Weekly listed Brazil as the sixth best science-fiction piece of media released since 1982.[19] The magazine also ranked the film #13 on their list of "The Top 50 Cult Films".[20]

The film was nominated for two Wikipedia:Academy Awards; for Original Screenplay and Best Art Direction (Wikipedia:Norman Garwood, Wikipedia:Maggie Gray)[21] According to Gilliam in an interview with Wikipedia:Clive James in his online programme Talking in the Library, to his surprise Brazil is apparently a favorite film of the far Right in America.

Influence[edit]

Other films that drew inspiration from Brazil's cinematography, art design, and/or overall atmosphere include Wikipedia:Jean-Pierre Jeunet's and Wikipedia:Marc Caro's films Delicatessen (1991) and Wikipedia:The City of Lost Children (1995),[22] the Wikipedia:Coen brothers' Wikipedia:The Hudsucker Proxy (1994),[23][24] and Dark City (1998) by Wikipedia:Alex Proyas.[25][26]

Cinematographer Roger Pratt worked on Wikipedia:Tim Burton's Batman, the production design and lighting style of which have been compared to Brazil.[27] Burton and production designer Wikipedia:Anton Furst studied Brazil as a reference for the look of their film.[28]

The technology of Brazil inspired the design of Max Cohen's apartment in the film π.[29]

This article contains content from Wikipedia. Current versions of the GNU FDL article Brazil (film) on WP may contain information useful to the improvement of this article WP

Brazil has also been recognized as an inspiration for writers and artists of the Wikipedia:steampunk sub-culture.[30][31][32]

See also[edit]

References[edit]

  1. ↑ 1.0 1.1 1.2 1.3 1.4 Matthews, Jack (1996). "Dreaming Brazil" (essay accompanying Wikipedia:The Criterion Collection DVD release).
  2. ↑ 2.0 2.1 What Is Brazil? Terry Gilliam Documentary - Part 1 Gilliam at 3:33 on video: "And that's what it all started from, that is what the film is still about, is about somebody trying to escape from it, or thinking there's an escape from it"
  3. ↑ Brazil (The Evolution of the 54th Best British Film Ever Made). Orion books Ltd, 2001, edited by Bob McCabe. ISBN 0-7528-3792-3
  4. ↑ Terry Gilliam at Senses of Cinema
  5. ↑ Tim Dirks: Brazil (1985) on filmsite.org (The greatest films: The "Greatest" and the "Best" in Cinematic History)
  6. ↑ Wesley Morris: "Brazil': Paranoia with a dash of Python, San Francisco Examiner, April 30, 1999
  7. ↑ 7.0 7.1 7.2 7.3 Gilliam, in his audio commentary for Wikipedia:The Criterion Collection edition of Brazil
  8. ↑ 8.0 8.1 Michael Atkinson (1998): "Bravo New Worlds", September 1st 1998
  9. ↑ 9.0 9.1 James Berardinelli: Brazil on reelviews.net
  10. ↑ C. Jerry Kuttner (1994): "Beyond the Golden Age: Film Noir Since the '50s", Bright Lights Film Journal, no. 12 (Spring 1994)
  11. ↑ Brazil on Cinemania Movie Reviews
  12. ↑ Henry, (2006). "A shot to remember: Terry Gilliam on Brazil's rescue scene," DGA Quartely: Craft Journal of the Directors Guild of America, II, .
  13. ↑ Stubbs, Phil: "Terry Gilliam talks Tideland," Dreams
  14. ↑ The clashes between Sheinberg and Gilliam are also documented in Matthews' book The Battle of Brazil (1987, ISBN 0-517-56538-2).
  15. ↑ [1]
  16. ↑ Ebert, Roger. "Brazil". Chicago Sun-Times. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19860117/REVIEWS/601170301/1023. </li>
  17. ↑ Maslin, Janet (December 18, 1985). "The Screen: 'Brazil', From Terry Gilliam". Wikipedia:The New York Times. http://movies.nytimes.com/movie/review?_r=2&res=990CE5DC153BF93BA25751C1A963948260. Retrieved November 27, 2010. </li>
  18. ↑ Wired Magazine, Issue 10.06, Jun 2002 (http://www.wired.com/wired/archive/10.06/scifi.html?pg=6)
  19. ↑ Josh Wolk (2007-05-07). "The Sci-Fi 25". Wikipedia:Entertainment Weekly. http://www.ew.com/ew/article/0,,20036782_20037403_20037541_20,00.html. Retrieved 2007-06-21. </li>
  20. ↑ "The Top 50 Cult Films". Wikipedia:Entertainment Weekly. May 23, 2003. </li>
  21. ↑ "NY Times: Brazil". NY Times. http://movies.nytimes.com/movie/6977/Brazil/awards. Retrieved 2009-01-01. </li>
  22. ↑ (2006) Alien Woman: The Making of Lt. Ellen Ripley, Continuum International Publishing Group.
  23. ↑ Ronald Bergan (2000). The Coen Brothers, p. 148–162, New York City: Thunder's Mouth Press.
  24. ↑ Wikipedia:James Berardinelli. The Hudsucker Proxy. ReelViews.net. URL accessed on 2008-11-20.
  25. ↑ Hicks, Adrienne DARK CITY (1998): Critical Review and Bibliography.
  26. ↑ Dunne, Susan (2006)."Welcome To Dystopia At Trinity's Cinestudio," Hartford Courant, February 23, 2006
  27. ↑ Kehr, Dave Effects Make `Batman` A Stylized, Dark Adventure. Chicago Tribune. URL accessed on 2011-02-06.
  28. ↑ Jones, Alan (November 1989). "Batman in Production". Cinefantastique. </li>
  29. ↑ Adams, Sam (1998-07-23). "Pi Brain". Philadelphia City Paper. http://www.citypaper.net/movies/p/pi.shtml. Retrieved 2008-03-10. </li>
  30. ↑ Ruth La Ferla "Steampunk Moves Between 2 Worlds" Wikipedia:Newsweek, May 8, 2008
  31. ↑ Peter Bebergal "The age of steampunk Nostalgia meets the future, joined carefully with brass screws" Wikipedia:Boston Globe, August 26, 2007
  32. ↑ Brian Braiker "Steampunking Technology A subculture hand-tools today's gadgets with Victorian style." Wikipedia:The New York Times, October 31, 2007

    33. </ol>

Further reading[edit]

External links[edit]

You can help Anarchopedia by expanding this article by adding some of these quotes from Wikiquote

Template:Terry Gilliam Films

Retrieved from "http://eng.anarchopedia.org/index.php?title=Brazil_(film)&oldid=47634"