Sam Lowry (Jonathan Pryce) 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 (Brian Miller), Lowry meets the woman he is always chasing in his dreams, Jill Layton (Kim Greist). Meanwhile, the bureaucracy has fingered him responsible for a rash of terrorist bombings, and Sam and Jill's lives are put in danger.Written by
Philip Brubaker <firstname.lastname@example.org>
Although a huge new Paris apartment complex called Marne la Vallee provided the setting for Sam's Tower Block (Robert De Niro leaps up on a balcony and disappears down a wire cable fourteen stories up), the little figure of Harry Tuttle zipping down a cable was an inch-high lead figure dropping along a wire through a two-foot-high building model. See more »
When Sam falls over Jill's truck's hood, she walks around and sees his right foot hanging on top of the grille over the truck's fog/turn lights. But when the angle reverses to show her, his foot is resting on the bumper, in front of the grille. 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 »
The Criterion LaserDisc and DVD version contains both the Sheinberg/TV/"love conquers all" version and what Terry Gilliam believes to be the "final director's cut" (142 minutes). The Universal "bare-bones" DVD contains only the longer version (though it is misidentified on the DVD cover as the American cut)." See more »
Brazil is a mad, paperwork obsessed, duct filled, shopping crazy world. In fact, Brazil is today, minus the ducts. Everyone is obsessed with shopping and in order to get anything done within the world of government, there is paperwork to be filled out, and filled out and on and on. Terry Gilliam's Orwellian nightmare is like a merging of Metropolis and his own mad drawings and cut outs the linked the sketches in Monty Python's Flying Circus. Bureaucrats abound in Gilliam's vision, and they run the place. Anyone with free will and imagination is thought to be dangerous. Visually, the film is a marvel of art direction and miniatures flawlessly edited together. So, be like Harry Tuttle. Go out, become a freelance guerilla plumber and try not to get consumed by paperwork. One last item. If you can, get the Criterion version of Brazil. It's the film that Terry Gilliam intended you to see.
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