Brazil
Brief Synopsis
Cast & Crew
Julian Doyle
Jonathan Pryce
Robert De Niro
Katherine Helmond
Ian Holm
Bob Hoskins
Film Details
Technical Specs
Synopsis
A nerdy clerk in a futuristic world finds himself caught up in the middle of a revolution against the bureaucratic and austere governing state.
Cast
Jonathan Pryce
Robert De Niro
Katherine Helmond
Ian Holm
Bob Hoskins
Michael Palin
Ian Richardson
Kim Greist
Paul Waller
Holly Gilliam
Patrick Connor
Jim Broadbent
Derek Deadman
Saul Jephcott
Bryan Pringle
James Coyle
Tony Portacio
Jo Phillips
Nigel Planer
Sheila Reid
Elizabeth Spender
Rojer Whieldon
Ralph Nossek
Russell Keith Grant
Roger Ashton-griffiths
Diana Martin
Anthony Brown
John Flanagan
Terence Bayler
Paul Hillier
Peter Vaughan
John Pierce Jones
Myrtle Devenish
Toby Clark
Simon Nash
David Straun
Christopher Barr
Winston Dennis
Sue Hodge
Kathryn Pogson
Janet Hampson
Gordon Kaye
Ann Way
Ray Hatfield
Bill Wallis
Oscar Quitak
Howard Lew Lewis
David Marshall Grant
Charles Mckeown
Don Henderson
Mark Holmes
Judith Morse
Derrick O'connor
Brian Miller
John Grillo
Jack Purvis
Colin Stepney
Noel Butler
Ray Cooper
Harold Innocent
Prudence Oliver
Connie Thomas
Barbara Hicks
Lyn Brotchie
Simon Jones
Crew
James Acheson
Margaret Adams
Martin Adams
Bernard Allum
Vic Armstrong
Ary Barroso
John Beard
Stephen Bream
Meinir Brock
Linda Bruce
Vin Burnham
Ray Caple
Elaine Carew
Paul Carr
Patrick Cassavetti
Valerie Charlton
Ira Curtis Coleman
Richard Coleman
Tim Condren
Richard Conway
George Lane Cooper
Ray Cooper
Jamie Courtier
Clive Curtis
Perry Davey
Jim Dowdall
Bob Doyle
Julian Doyle
Julian Doyle
Nick Dunlop
Nick Dunlop
Yves Duteil
Sallie Evans
Jean Fairlie
Terence Fitch
Graham Ford
Terry Forrestal
Tex Fuller
Martin Gant
David Garfath
Norman Garwood
George Gibbs
Terry Gilliam
Rodney Glenn
Joseph P Grace
Martin Grace
Maggie Gray
Annie Hadley
Ray Hanson
Frank Henson
Bill Hobbs
Nick Hobbs
Bob Hollow
Billy Horrigan
Kent Houston
Kent Houston
Herman Hupfeld
Andy Jackson
Michael Kamen
Sally Kines
David Mccall
Barry Mccormick
Charles Mckeown
Wayne Michaels
Arnon Milchan
Richard Morrison
Richard Morrison
Geoff Muldaur
Maria Muldaur
Chris Newman
Tim Ollive
Tim Ollive
Keith Pain
Chantal Perrin
Dinny Powell
Greg Powell
Roger Pratt
Roger Pratt
Terry Richards
Tony Rimmington
S K Russell
Stanley Sayer
Hamish Scott
Raymond Scott
David Scutt
Heather Seymour
Neil Sharp
Neil Sharp
Sandra Shepherd
Aaron Sherman
Keith Short
Margery Simkin
Tim Spence
Joyce Stoneman
Tom Stoppard
Chris Thompson
Tip Tipping
Eric Tomlinson
Guy Travers
Frank Vinall
Christine Vincent
Chris Webb
Kevin Westley
Bill Weston
Maggie Weston
Film Details
Technical Specs
Award Nominations
Best Art Direction
Best Art Direction
Best Original Screenplay
Articles
Brazil
That element carries through to an extent in Brazil courtesy of the fantasies experienced by our meek bureaucrat protagonist, Sam Lowry (Jonathan Pryce), including dreams of romance, adventure, and the ability to fly. However, this is all framed within a dystopian nightmare straight out of George Orwell as his stage-controlled life becomes an escalating parade of grotesque misunderstandings and violence.
The writing of Brazil was a team effort between Gilliam, actor and writer Charles McKeown (who also worked with Gilliam on 1988's The Adventures of Baron Munchausen), and acclaimed playwright Tom Stoppard, with early uncredited contributions from novelist and Jabberwocky co-scenarist Charles Alverson. "It's Franz Kafka meets Walter Mitty" was the succinct description Gilliam provided in the making-of documentary shot on the set at the time by Rob Hedden, which also tried to unravel the meaning of the title (which ties in with the song "Aquarela do Brasil," which was reworked for the soundtrack by Michael Kamen and Kate Bush).
The cast of Brazil features some familiar faces from previous Gilliam projects including fellow Pythonite Michael Palin as Sam's successful but soulless friend Jack Lint and Time Bandits (1981) alumni Ian Holm and Katherine Helmond as Sam's boss and mother, respectively. Perhaps the most surprising name among the cast is Robert De Niro, who had originally wanted Palin's role but was cast in the role of helpful terrorist Harry Tuttle; he shot his small but crucial role in between the filming of two other mammoth European productions, Once upon a Time in America (1984) and The Mission (1986).
Brazil was picked up for international distribution by 20th Century Fox (who had just tried and failed to court Gilliam to direct Enemy Mine) and presented in Gilliam's original 142-minute cut in many territories in early 1985. However, trouble began brewing immediately with American distributor Universal Pictures (under ownership by MCA, Inc. at the time) and its President and COO, Sid Sheinberg. A pivotal figure in the New Hollywood wave, Sheinberg was responsible for giving Steven Spielberg his big break on Jaws (1975) and would shepherd through many of the director's subsequent features at Universal.
The unusual and often jarring "art house" tone of Brazil proved too much for Sheinberg, who wanted a more commercial title and demanded extensive cuts and a total reworking of the film's melancholy ending (which is at least more positive than the outcome of Orwell's novel). Oddly enough, at the same time Sheinberg was also grappling with an overhaul of Ridley Scott's Legend, which ultimately reached American theaters in a radically altered and rescored version. Universal enlisted editors to rework the film according to the theme of "love conquers all," with Gilliam refusing to cooperate as his work was reedited into a much shorter rendition with a stitched-together happy ending. (This much-derided variant, which aired in some syndicated TV markets in the 1980s, can still be seen on the Criterion Collection home video release, for those who are curious.)
After a spate of furious memos and a long period of delays, Gilliam caused waves in the film industry by taking out a trade ad in Variety asking Sheinberg when he would get around to releasing Brazil. Frustrated by the continuing war, Gilliam arranged to screen the film covertly for college students and, due to increasing demand, L.A. critics without the studio's blessing. In a surprising twist, the film was lauded by the Los Angeles Film Critics Association as the best film of 1985, also nabbing nods for director and screenplay. Gilliam had been contracted to deliver a film no longer than two hours and fifteen minutes, so his own shortened American cut (clocking in at 132 minutes) was the one released at the end of 1985.
The general critical reception was actually mixed, ranging from ecstatic raves to baffled confusion (with critic Roger Ebert famously falling into the latter category). However, the film's reputation has only continued to grow with each passing year, even as Gilliam went on to fight future Quixotic battles on such productions as The Adventures of Baron Munchausen and the disaster-plagued production of the unfinished The Man Who Killed Don Quixote. Amusingly, one of his most popular films, Fear and Loathing in Las Vegas (1998), also wound up being released by Universal after Sheinberg's departure.
Now regarded as one of the pivotal films of the 1980s, Brazil remains a fascinating anomaly in film history and an eccentric, still astonishing case study of a worthy film surviving and taking flight against a seemingly insurmountable situation torn straight from its own plotline.
By Nathaniel Thompson
Brazil
Brazil - BRAZIL - The Newly Upgraded Criterion Collection Edition
The brilliant, Oscar nominated script by Gilliam, Tom Stoppard and Charles McKeown started life with the title 1984½, which perhaps too accurately pegs the film's ambition. Getting audiences to sit through film versions of Orwell's depressing totalitarian fantasy was never easy. Brazil adds appealing, essential content: Beautiful flights of fancy and a tough-minded (but whimsical) sense of British humor.
Synopsis: An office mishap with a fly changes a "T" to a "B" on a piece of paper, with the result that an innocent shoe repairman named Buttle is imprisoned and tortured to death in place of a rogue air conditioning 'terrorist' named Harry Tuttle (Robert De Niro). Non-ambitious clerk Sam Lowry (Jonathan Pryce) does all the work for his decision-paralyzed boss Mr. Kurtzmann (Ian Holm) and becomes involved in the Buttle case by trying to deliver a refund check to the man's traumatized widow. Sam also meets Harry Tuttle when the latter swoops down to perform some welcome air conditioning repair, an incident that puts Lowry in Dutch with an 'authorized' repairman, Spoor (Bob Hoskins). Tuttle's wildcat services have landed him on the arrest sheets but he has nothing to do with the constant deadly bombings that interrupt the luncheons of Lowry's decadent mother Ida (Katherine Helmond) and her friends. In his daydreams Lowry sees himself as a flying Galahad fighting a giant Samurai warrior to save a beautiful princess. He's shocked to find that Jill Layton, one of Mrs. Buttle's neighbors (Kim Greist) is a dead ringer for his daydream princess. To find Jill, Lowry accepts a promotion to the "Information Retrieval" department, which is actually an Orwellian Ministry of Fear specializing in torture. Sam's 'friend' Jack Lint (Michael Palin) feigns sincerity but is actually the department's top interrogation specialist. If Sam isn't careful, both he and Jill could end up in Jack Lint's torture chamber.
When talking to Francois Truffaut, Alfred Hitchcock divided film directors into two categories, "Simplifiers" and "Complicators." He proudly classified himself in the first category. The Complicators seem to rule the present state of filmmaking, as MTV aesthetics have dictated that no single shot will do when five can take its place. Trendy directors trowel on layer after layer of 'visual fabric' in the belief that crowded soundtracks and busy images make films ''more real." Terry Gilliam's trio of fantastic adventures Time Bandits, Brazil and The Adventures of Baron Munchausen are packed with detail and often presented at a dizzying pace, but have little in common with the action-oriented chaos we now know too well. Gilliam has the unique talent of creating an entire 'world' with terrific short strokes of visual genius: Everything we see has a maximum impact, so nothing has to be overdone or oversold. It's the difference between Content and clutter.
Terry Gilliam wisely constructs his bureaucratic Dystopia from the remnants of the past, which immediately puts the look of Brazil ahead of 90% of its peers. Movies as diverse as Things to Come and Fahrenheit 451 imagine future styles that soon become obsolete. Avoiding that trap, Gilliam's retro-mechanical automatic typewriters and Fresnel-enhanced data monitors already look like outmoded junk, suggesting Orwell's crumbling infrastructure while at the same time resembling nothing familiar to us now. 1984 was set almost exclusively in rotting tenement blocks but Gilliam gives his Sam Lowry a rich mother to show the gulf between the haves and have-nots. Ida Lowry and her decadent set enjoy their privileges and live in total isolation from unpleasant realities.
The economic disparity yields unlimited opportunities for wicked satire. Ida undergoes bizarre saran-wrap cosmetic surgery to make herself younger, while her less fortunate friend Mrs. Alma Terrain (Barbara Hicks) goes to another quack and is slowly reduced to gelatinized gore. A typographical error results in the utter destruction of the Dickensian Buttle family by government agents, but Ida and Alma are resentful when their chi-chi luncheon is interrupted by a full-scale terror attack.
Denied peace on any level, some of the "proles" refuse to play the game. Harry Tuttle swings through the skyscrapers like Spiderman, doing his bit by helping ordinary citizens when the official plumbers won't. Shocked by the Buttle mishap, Jill Layton registers her protest through the bureaucratic labyrinth, and succeeds only in having her name added to Terrorist rolls. Sam Lowry wants only an escape to his daydreams but inadvertently becomes Public Enemy number one. The most shocking charge against him is that he left some irrelevant receipts un-filed.
Brazil has moments of liberating joy to balance its darker corners: Sam delights in his fantasies, turning loops through the clouds after kissing his dream girl. He also shares Harry Buttle's triumph over the petty tyranny of repairman Spoor: Subversive plumbing, like vengeance, is best served cold. Brazil remains faithful to Orwell through Terry Gilliam's creative infidelity. When all is lost, we're treated to a briefly liberating daydream in which Robin Hood comes to the rescue.
Terry Gilliam's unique design sense enables Brazil to dwarf the visual imagination of other Science Fiction fantasies. Jack Lint's torture chamber is a colossal open space and not the expected secret chamber, which tells us his activities are so routine, they don't need to be hidden away. Myriad in-jokes, references to other films (an elegant nod to Battleship Potemkin) and Gilliam's peculiar brand of Python-informed poetic lunacy are everywhere, as when a shower of office paper scattered by a Terror explosion -- a chilling precursor of 9/11 -- magically regroups to bring down an 'enemy of the state.' Other gags seem inspired by earlier traditions, as with the maddening shared desk that keeps Lowry and his co-worker engaged in a constant war of nerves. It reminds us of the hapless lab manager in the classic Ealing comedy The Man in the White Suit, the one who sees his workspace shrinking and under attack by forces beyond his control.
The mark of Gilliam's genius is that his visual gags communicate the petty tyranny of a bureaucratic state so clearly...a ten year-old can watch Brazil and grasp its essential message. The film is too beautiful to be depressing and too imaginative to second-guess. It's a step beyond the novel 1984.
Jonathan Pryce is marvelously flexible as the wistful but determined Sam Lowry, while Ian Holm, Michael Palin, Jim Broadbent and Peter Vaughan take roles as various functionaries in the all-too familiar society, where war with undefined Terrorists never ends, and the economy is bolstered by making every day Christmas day. Robert de Niro lobbied for the lead role and was happy to settle for the smaller Harry Tuttle part. Bob Hoskins is suitably demonic as Lowry's plumber/tormentor. Slighted by director Gilliam as the picture's weak link, Kim Greist is actually quite fine as Lowry's activist dream girl.
Criterion's single-disc DVD of Brazil, The Final Cut is a quality update of an earlier multi-disc release that had more extras (including the shorter 'Happy Ending' Universal re-cut) but was hampered by a non-enhanced letterboxed transfer. The full boxed set has also been reissued, so collectors lacking only the newer transfer will not be forced to fully re-invest. The transfer is indeed vastly improved and holds together much better on larger monitors. The three-channel Dolby Stereo track still features the 1940s Latin hit tune Brazil as the basis for Michael Kamen's score.
The single-disc release also retains Terry Gilliam's highly praised original director commentary, recounting the director's entire highly publicized battle with Universal to get his original cut released. Jack Mathews, Newsday film critic and author of
For more information about Brazil, visit The Criterion Collection. To order Brazil, go to TCM Shopping.
by Glenn Erickson
Brazil - BRAZIL - The Newly Upgraded Criterion Collection Edition
Quotes
Trivia
Miscellaneous Notes
Released in United States Fall October 4, 1985
Released in United States December 18, 1985
Re-released in United States August 28, 1998
Re-released in United States April 2, 1999
Re-released in United States on Video May 14, 1996
Re-released in United States on Video January 28, 1997
Released in United States January 1996
Released in United States 1998
Shown at Los Angeles County Museum of Art (LACMA) as part of program "Twentieth Century Fox and the Golden Age of CinemaScope" July 3 - August 15, 1998.
Released in USA on video.
1998 Re-release restores 11 minutes of footage Universal forced Gilliam to cut.
Released in United States Fall October 4, 1985
Released in United States December 18, 1985
Re-released in United States August 28, 1998 (Film Forum; New York City)
Re-released in United States April 2, 1999 (Nuart; Los Angeles)
Re-released in United States on Video May 14, 1996
Re-released in United States on Video January 28, 1997
Released in United States January 1996 (Shown in New York City (American Museum of the Moving Image) as part of program "Fairy Tales For Adults: A Terry Gilliam Retrospective" January 6-21, 1996.)
Released in United States 1998 (Shown at Los Angeles County Museum of Art (LACMA) as part of program "Twentieth Century Fox and the Golden Age of CinemaScope" July 3 - August 15, 1998.)
Voted Best Picture and Best Director by the 1985 Los Angeles Film Critics Association.