Movies that are slightly off.
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…
Really impressive aesthetics, features a beautifully fluid, and at times has a refreshing sense of fun that most dystopia lacks. However, it is significantly overlong, and the main love interest is pretty much paper thin
Welcome to the crazy, crazy world of Terry Gilliam!
"Brazil, where hearts were entertaining June
We stood beneath an amber moon
And softly murmured 'someday soon'
We kissed, and clung together
Then, tomorrow was another day
The morning found me miles away
With still a million things to say
Now, when twilight dims the sky above
Recalling thrills of our love
There's one thing that I am certain of
Return I will to old Brazil"
First watched with Freya right after Blade Runner.
Oh man it's been quite a while since I've watched a film that I loved as much as this one. Brazil is a spectacular George Orwell inspired dark comedy from Terry Gilliam.
I feel like this movie was the natural evolution of the Monty Python movies that director Terry Gilliam played part in making. The absurdist nature of the film, charming characters and abundance of unique ideas share a lot in common with the Monty Python film that preceded this.
Brazil presents us a more lighthearted look at the future than Orwell's 1984, but it still offers biting social commentary which is still relevant to this day. In fact this film holds up incredibly well in both its subject matter…
Viewing number 2 after reading Jack Mathews' "Battle of Brazil" tome, about Gilliam's very public battle with Universal Studios, stemming from their desire to tailor a non-conformist, darkly satirical movie into a product that could conceivably make their money back. The film's symbolic status as an enduring personal vision emerging relatively unscathed from the Hollywood sausage factory, in some ways, eclipses the film itself.
I'm glad that something this visually ambitious and unapologetically weird exists, but it's hard for me to pinpoint why my enthusiasm is so reserved while watching it, compared to my affection for his mid-period studio for-hire gigs (I'm talking about "Fisher King," "12 Monkeys," and "Fear & Loathing," naturally, not whatever "Brothers Grimm" was going for).
Some of the most creative cinematic ideas, some of the most pointed satire, and one of the grimiest, messiest, uncomfortable futures ever put on film. A lot of this film is shown from the perspective of an outsider. Yes, we sympathize with the protagonist, but we're still sort of figuring out how the world works, and seeing him interact with that world is part of how that works.
The ending is pretty damn soul-crushing, as are the numerous nightmare sequences, but it's all a part of Terry Gilliam's vision, and it all makes sense, linearly.
Just a sight to be beheld, even if it can alienate some viewers. Also...that recurring music theme is pretty catchy.
Watched the 94-minute "Love Conquers All" Version, with (Brazil expert David Morgan) Criterion Collection commentary
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…