Brazil (1985)

Brazil: Directed by Terry Gilliam. With Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm. A bureaucrat in a dystopic society becomes an enemy of the state as he pursues the woman of his dreams.

“How does one put a Monty Python twist on a dystopian/Orwellian (whichever term you prefer) science-fiction fantasy? The answer might not be clear, but as long as Terry Gilliam knows it, it can be done. The u0026quot;Monty Python and the Holy Grailu0026quot; director begins his career of daring reality-bending films with u0026quot;Brazil,u0026quot; maybe his greatest or if not most signature film.u003cbr/u003eu003cbr/u003eNamed after the iconic song, u0026quot;Brazilu0026quot; is a quirky-spirited and outlandish futuristic film that operates subtly and with peculiarity as only Gilliam would have it. Unlike the more popular dystopian films of today, you canu0026#39;t rely on theme-heavy dialogue to understand Gilliamu0026#39;s warning to society, you have to sit and absorb the bizarre imagery, seemingly irrelevant dream sequences and comic downplay of dramatic events. Once you understand why itu0026#39;s there and stop worrying about exactly what it means, the genius becomes clearer.u003cbr/u003eu003cbr/u003eThe film stars Jonathan Pryce as Sam Lowry, an unambitious bureaucrat who works for the Ministry of Information in a very mechanical society with an extensive yet inefficient process for bringing criminals, namely terrorists, to justice. Therefore, a small printing error leads to the unlawful arrest and death of Archibald Buttle, not Archibald u0026#39;Tu0026#39;uttle. Lowry must investigate the error and in the process comes across a woman (Kim Greist) whom he recognizes from his dreams where heu0026#39;s soaring in the air with wings toward a beautiful woman in white robes. He decides to pursue this woman and it leads him down a dangerous path.u003cbr/u003eu003cbr/u003eGilliam introduces us to this society by showing its excessive yet seemingly unreliable technology. Samu0026#39;s air conditioning breaks down, gourmet food is needlessly ground into globs and everything has a large and obtrusive cord attached to it. All this seems strange because its on the periphery of whatu0026#39;s happening to Sam, so it can easily be dismissed as excessive detail. On the contrary, itu0026#39;s what quietly makes this Gilliamu0026#39;s masterpiece.u003cbr/u003eu003cbr/u003eThe more human story is in Samu0026#39;s pursuit of this dream in reality, a dangerous feat. Claiming early in the film that he wants nothing for himself, this woman is the only exception. He pursues it relentlessly and it costs him. As completely absurd as some of the events occurring to him appear to be, these trippy sequences ultimately test his character despite their strange tactics.u003cbr/u003eu003cbr/u003eIcing all this is the quirky Monty Python style. Itu0026#39;s not the humor that lends itself to the film, but sort of the spirit of Monty Python. Even Michael Palin plays a small role to sort of perpetuate this feeling. Since everything goes mostly unexplained, this humor compounds the oddities of the film, poking fun at the excessiveness whether it be Samu0026#39;s motheru0026#39;s face lifts and same surgeries that slowly kill her friend or playing up the dialogue between Sam and other characters such as Tuttle (De Niro) in the midst of an abnormal scenario.u003cbr/u003eu003cbr/u003eu0026quot;Brazilu0026quot; might not be a science-fiction film for everyone, but it deserves classic status for lovers of the genre. Itu0026#39;s just very untypical in its delivery, going for a hallucinogenic and more discomforting style of film-making that Terry Gilliam has made a name for himself on. It wonu0026#39;t appease the average viewer who demands more direct service between him/herself and the creative mind behind the film, but it will offer a lot to ponder to those who like partaking in that when the credits role.u003cbr/u003eu003cbr/u003e~Steven Cu003cbr/u003eu003cbr/u003eVisit my site http://moviemusereviews.com”