This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
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…
Film #4 of Gustav's Recommendations
”Mistakes? We don't make mistakes.”
What is living under a totalitarian regime – where paranoia and anxiety are routine parts of everyday life - like? Where all your acts and even thoughts are controlled by the government and everything you do and everything you say can be seen as a threat for the state. It’s not a surprise that some people may try and change the way things are and of course it’s not a surprise to see government suppressing any kind of suspicious activity. In such a state many people will only dare to imagine things like freedom, happiness and joy in their dreams.
Terry Gilliam’s Brazil takes the above mentioned issue and turns…
The occasion for this watch was that my lovely wife was busy with some work chores, and I got to pick for our Thursday neighbour movie night. These occasions are always like me being in a candy store. I get a chance to validate ( or invalidate ) my cinematic taste by choosing to re-watch something on Lise’s He Says She Says list. Well, it suddenly struck me that my sweetie had given me the Criterion Blu of Brazil for a birthday present; Brazil was #1 on the He Says She Says List; Brazil it is!
Stanley Kubrick turned the source novel Red Alert on its head by turning it into a black comedy, so does Gilliam with his Orwellian…
"Doesn't it bother you the sort of things you do at Information Retrieval?"
"What? I suppose you'd rather have terrorists!"
Brazil is a science fiction black comedy from famously idiosyncratic director Terry Gilliam, and even though I don't consider myself a fan of the director's work in general, to me the film is a masterpiece. It is so richly textured both in terms of its visual presentation and its thematic construction that it's hard to know where to begin (the film almost belongs as part of the German Expressionist movement). Perhaps it is Gilliam's penchant for detail which draws me to the film, as there's a part of me that wants to go through and take screenshots of every one…
This was the second time I viewed this complex Science-fiction film directed by the Monty Python member and eccentric genius Terry Gilliam. I can't really say if my taste and how I view movies has evolved or if I was just able to grasp this cryptic dystopian nightmare better on my second viewing, but the two years that have passed since I last saw it, proved enough to make it grow on me from a weak 4 star to a strong 5 star movie. Brazil follows Sam Lowry a competent clerk, who is content with his position at the records of a huge government agency known as the Ministry of Information, but is thrown into a sea of odd occurrences…
"Hi there. I want to talk to you about ducts."
This is a review for the "Love Conquers All" version of Brazil, a cut of the film made by Universal during their conflict with director Terry Gilliam. They wanted the film to be shorter and have a different ending; Gilliam refused. So the studio made this abomination, which is two-thirds the original length and attempts to offer almost the exact opposite message of the original film (if this one tells us "love conquers all," the original could be understood as telling us "all is conquered by love/fantasy).
There were not only massive cuts which eliminate certain characters entirely, but also alternate takes of certain performances which emphasize Sam's supposed heroism…
La acabo de terminar y ya estoy pensando en que la tengo que volver a ver.
Me la han mandado en la asignatura de Narrativa Audiovisual y me queda claro el por qué.
Hay demasiada información como para no necesitar buscar qué es lo que acabo de ver. Voy a ello señores/as.
PD: he leído una reseña de esta película demasiado buena como para poder decir yo algo al respecto.
Wacky, silly, unsettling. But it's Terry Gilliam - I would expect nothing less. This is his "crown jewel" if you will, at least to this point in his career. Some may feel his other films are their favorites. Some may feel Gilliam doesn't get any better than Brazil, but this is a visual masterpiece nonetheless.
The plot is fairly simple: Man meets Girl in his dreams. Man sees Girl in real life. Man chases real life Girl. But it's the dream world and the real world that become blurred for the Man, Sam Lowry (played by Jonathan Pryce). Lowry is a valued employee of the Big Brother-like system that controls virtually everything in his world, bureaucratically and inefficiently. Pryce balances…
The world building is absolutely amazing. The soundtrack and social commentary is also great. The plot just couldn't keep me interested. The whole "dream girl" thing is just too cheesy and cliche for me, even though it fits the over-the-top tone of the movie.
Been meaning to see this one for years, and, for the most part, it absolutely lived up to its reputation.
Baffling in its singularity and wild, slapstick pessimism, 'Brazil' only falters in its second third, when the narrative takes over and the momentum drops dead for a time.
The rest of it, however, is a vivid nightmare of bureaucracy, destruction, and the necessity of madness, all leading to a shocker of an ending.
amazing how you doesnt need fancy animation to make a sci-fi movie into history. the script and plot its so well estructured, everything its so wonderfull and futuristic remaining that old 80's movies.
"What would you like for Christmas?"
"My own credit card."
Too long and confusing.
[This review is for the studio-mandated "Love Conquers All" cut of the film.]
This cut is an absolute disaster in just about every way conceivable. It shows a wild misunderstanding of the original film, not just on a tonal level, but on a narrative one, as well. Though it's obvious that the studio was trying to morph the film's story into one it found more palatable, whoever did the editing obviously did not understand much about what was happening on-screen, because there are things both omitted and left in which are sometimes necessary and sometimes in direct opposition to the story being presented.
Other egregious problems:
The cut tries to re-write the film as a straight-up comedy, yet it eliminates…
"Care for a little necrophilia?"
not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…
Movies that are slightly off.