A hugely talented but socially isolated computer operator is tasked by Management to prove the Zero Theorem: that the universe ends as nothing, rendering life meaningless. But meaning is what he already craves.
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 Tuttle, 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>
Robert De Niro originally went uncredited, despite playing a major character, because he was under contract elsewhere. He took a role that he had not sought, and did it for free, because he really wanted to be in the movie. See more »
When Kurtzman is trying to find information about Buttle/Tuttle on his computer, he removes his glasses and sets them on his desk. He then punches a key to spy on his workers. A shot of the employees shows they are watching movies rather than tending to their work. The next shot shows Kurtzman with his glasses back on his face as he angrily takes them off again. 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 »
Sidney Sheinberg's name is listed in the credits next to Worst Boy. Terry Gilliam and Sheinberg fought notoriously over the content and release of the film. See more »
The American release has a few scenes that are not present in the European one.
There are clouds that open and close the film in the American Release. Some of the footage of these clouds was extraneous footage from The NeverEnding Story.
After watching Mrs. Lowry's first plastic surgery treatment, Sam exclaims "My god, it works!"
Jack says "You look like you've seen a ghost, Sam..." to Sam at the entrance of the Ministry of Records when Sam sees Jill Layton.
Perhaps the most imaginative and entertaining nightmare ever put on film
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.