A computer hacker whose goal is to discover the reason for human existence continually finds his work interrupted thanks to the Management; namely, they send a teenager and lusty love interest to distract him.
Sam Lowry is a harried technocrat in a futuristic society that is needlessly convoluted and inefficient. He dreams of a life where he can fly away from technology and overpowering bureaucracy, and spend eternity with the woman of his dreams. While trying to rectify the wrongful arrest of one Harry Buttle, Lowry meets the woman he is always chasing in his dreams, Jill Layton. Meanwhile, the bureaucracy has fingered him responsible for a rash of terrorist bombings, and both Sam and Jill's lives are put in danger. Written by
Philip Brubaker <email@example.com>
Lots of significant names: - Mr. Kurtzman: (German for "short man"): small in stature and success. Named after the editor of "Help" (Harvey Kurtzman), a magazine that director Terry Gilliam worked for in the mid-60s. It was at a photo shoot for this magazine that Gilliam met John Cleese, who would later invite him to join the Monty Python team. - Mr. Helpman: "helped" Sam - Mr. Warrenn: works in a rabbit-warren style place: a maze of corridors - Harvey Lime: possibly a reference to Harry Lime in The Third Man (1949). See more »
When Harvey Lime goes to use his computer to look up Jill, as the camera moves forwards it hits Lime's desk and makes a loud audible thudding noise. See more »
[TV commercial jingle]
Central Services: We do the work, you do the pleasure.
TV commercial pitchman:
Hi, there. I want to talk to you about ducts.
See more »
The only credits at the start of the film were the preliminary studio credits, a credit for Gilliam, and the title. All other credits are at the end. (Although commonplace today, the lack of full opening credits was still unusual in 1985). All versions of the film, including the "Love Conquers All" edit follow this format. See more »
When Brazil was released, I was an early teenager and I couldn't find anything exciting in this gloomy and old-fashioned movie. How wrong I was! Since then, I've seen it again many times and have appreciated every single bit of it. It's a masterpiece and I can now say I consider it the best sci-fi film ever made! Simply brilliant! As with all great films, there's no need to describe specific scenes or events to justify its greatness. Finally, let me link this film with Monty Python works. Terry Gilliam proves here why comedy is a very serious matter. Brazil is not comedy, although it has its moments, but he makes evident that a good comedian can produce a much deeper and dramatic film than a "serious" director.
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