It's only a state of mind.
Brazil is a Terry Gilliam dystopic black comedy film that reflects the melancholy, dreamlike quality of a famous Brazilian song that’s been translated into English. The film parodies the mostly dysfunctional bureaucratic world we live in and takes us to a post-apocalyptic world in the future yet with our present day attitudes in mind.
What do you get when you mix Python with Kafka and put it in an Orwellian nightmare? You get Gilliam's unsung masterpiece that manages to be both dark satire and visionary piece of visual art.
It is in essence a fierce attack on bureaucracy and totalitarianism, told as a tale greatly inspired by 1984, but unique in its deep emotive layers and beautiful aesthetics. Gilliam is often a messy director, but here he is in perfect balance. He gives us his unique visual flair without losing sight of the story and its themes.
Gilliam's film sings a song for the individual, the romantic and for love. Struggling through a web of red tape and one clerical error we witness the…
There are many reason why I love Terry Gilliam.
Brazil is probably the most prominent of those reasons.
This film carries all of Gilliam's trademarks, honed to perfection. The dark, Python-esque comedy; the elaborate visual style; the mix of light and dark tones are all synchronized into one incredible film. Not only is it though provoking and intelligent, but also incredibly entertaining; with its 142 minute run time just flying by.
The production design and production scales are immaculate, and the world is perfectly realized in a sense that only Gilliam could create. Despite having influences from Kafka, Orwell, and the director's earlier days in the Monty Python troupe; Gilliam's world feels completely unique - and eerily prevalent to our…
Ever since college, Brazil has been my go-to when people ask the crazy-making question "What's your favorite movie?" In many ways, it's anarchic and undisciplined, as Terry Gilliam films tend to be, but it's also funny, frightening, impressively prescient, passionate, and just plain not like anything else ever made. A bunch of us at The Dissolve just re-watched it for an upcoming Movie Of The Week discussion on the site (starting Monday, August 5 for those who want to play along) and we'll be writing a great deal about it then, so I won't get too deeply into it here and now, except to say this: Brazil is Gilliam's masterpiece. Impeccably crafted, brilliantly thought-through, and just plain crazy. It had…
During the last Criterion sale, I took a gamble and bought the Brazil Blu-ray. A gamble because I had started watching it once before, several years ago, but abandoned it. But I reasoned, really, could it be any more up my alley? A visionary filmmaker, a world built from the scratch of our world, bold ideas and bold visuals. I’d heard bits and pieces about the troubles and the studio problems and everything else (looking forward to checking out the extra features), so I knew not to expect flawlessness.
More and more I’m coming to love films that aim high, even if they don’t fully succeed. Show me something imperfect, show me something messy, as long as it’s crazy or…
On paper, Brazil is an amalgamation of my favorite genres and themes in cinema: black comedy, satire, romance, fantasy, science-fiction, dystopic societies, fear of/fighting against "the man," championing of the individual, etc. Imagine my disappointment when all of those things turned out to be true, but I still only found a marginal amount of enjoyment in the experience. At first I was laughing at the absurdity of the visuals, engrossed in the satirical story, and rooting for our hero Sam Lowry (Jonathan Pryce). As time went on and the narrative dragged, it started grating on my nerves. The end slightly saved the film for me because I found it thought-provoking, but overall I was still disappointed. In 1985, I'm sure…
La primera vez que vi Brazil fue cuando tenía 14 años. Fui al cine a ver 12 Monkeys y sobra decir que salí muy impresionado. Corrí a algún libro (porque les recuerdo que muchos no teníamos aún internet. [asumo fue alguna guía de Leonard Maltin]) y leí todo lo que había que leer sobre este tal 'Terry Gilliam'. Descubrí que ya había visto y disfrutado de sus Time Bandits y Fisher King, y que me había aburrido mucho con su Baron Munchausen (no sabía nada). Pero me faltaba su más celebre. Al día siguiente fui a mi Videocentro y me di cuenta que era una película, con una portada con un héroe alado que salía volando de un archivero, que…
This review reportedly contains spoilers. I can handle the truth.
How could words do this film justice. Many can't, surely mine can't. This is absolutely essential watching for fans of sci-fi, Monty Python, absurdism, philosophy, cinema in general. I can't believe this film got made.
Look for the Criterion cut of this film.
A wonderfully bizarre dark comedy that attacks everything from government, commercialism, technology, public image & personal obsessions! The fantastical/nightmarish dream sequences are lavish, especially in contrast to the stark reality. Love the futuristic wonderland setting mixed in with gritty dankness. Reminded me a bit of "Blade Runner".
My only issue with the film, and it's small, is the presentation of the love story. The relationship itself is fine, but the way Gilliam introduces it didn't sit well with me. Pryce having fantasized about her, hence his obsession, was a bit too forced for me. I completely understand the reasoning (again playing up the personal obsessions), but I would've preferred it be introduced in another light.
Minor gripes aside, this is a fantastic dark comedy! Deserves it's acclaim. It's about time I finally got around to watching it.
I really need to find the time to watch this again. It's hard to tell WHY exactly I loved it as much as I did, and it might be because I'm not really sure how much of the film was actually being inflicted on the protagonist.
Tried to watch this on a train journey but couldn't get past the first hour.
incredible film. dreamy post-'la dolce vita'-fellini, noirish, sprinkled with slapstick. so glad i've finally watched this.
The story went off in so many tangents that some were more interesting than others (everything to do with the mother is gold), and made the film feel unfocused a lot of times at 2.5 hours. Also, the close adherance to 1984 is somewhat inspired, but also means that the story beats are pretty spelled out and made the movie almost predictable. The set designs are a wonder, though, matching the moods and situations perfectly, and the last 30 minutes are one of the best endings to a movie I've seen.
1984 meets Monty Python, Terry Gilliam's utterly flawless masterpiece on the dangers of consumerism, bureaucracy, counter terroism and authoritarianism.
I am going to have to see this again before I review it.