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Brazil (1985) [The Criterion Collection #051] [Re-UP]
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Brazil (1985)
2xDVD9 + DVD5 | VIDEO_TS | NTSC 16:9 | Covers+Booklet | 02:23:17 | Total: 18,14 Gb
Audio: English AC3 2.0 @ 192 Kbps + Commentary Track | Subtitles: English SDH
Genre: Drama, Fantasy, Sci-Fi | The Criterion Collection #051 Reissue
2xDVD9 + DVD5 | VIDEO_TS | NTSC 16:9 | Covers+Booklet | 02:23:17 | Total: 18,14 Gb
Audio: English AC3 2.0 @ 192 Kbps + Commentary Track | Subtitles: English SDH
Genre: Drama, Fantasy, Sci-Fi | The Criterion Collection #051 Reissue
Director: Terry Gilliam
Stars: Jonathan Pryce, Kim Greist, Robert De Niro
Pitting the imagination of common man Sam Lowry (the brilliantly befuddled Jonathan Pryce) against the oppressive storm troopers of the Ministry of Information, Terry Gilliam’s Brazil has come to be regarded as an anti-totalitarianism cautionary tale equal to the works of George Orwell, Aldous Huxley, and Kurt Vonnegut Jr. Gathering footage from both the European and American versions of this masterpiece, Gilliam has assembled the ultimate, 142-minute director’s cut of his most celebrated film.
It is generally agreed that certain old films have become classics: Casablanca and The Wizard of Oz and so forth. It's much harder to come up with a list of films post-1980 that will find a similar consensus. Being wildly successful guarantees little, as trendy hits turn sour, blockbusters are frequently dissed and critics tend to champion their personal favorites as 'guilty pleasures.' But Terry Gilliam's 1985 Brazil is fast becoming an acknowledged classic. It only looks better with the passing years, and its core of admirers is growing, especially on college campuses.
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.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/af/98/001c98af_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/b1/98/001c98b1_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/b2/98/001c98b2_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/b6/98/001c98b6_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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 (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/b5/98/001c98b5_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/b3/98/001c98b3_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/b8/98/001c98b8_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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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.Glenn Erickson, DVD Savant
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Brazil (1985) [The Criterion Collection #051] [Re-UP]
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Probably the quintessential Terry Gilliam film, Brazil provides an object lesson in how to create cinema with vision, blow an enormous budget, create an undeniable work of art that makes many viewers' all-time top ten lists, and yet still not achieve true box office success. It's a splendid example of imagination run riot across the silver screen, and although its story is very, very dark, it's told with such verve and panache that the whole thing feels like an amazing adventure.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/bb/98/001c98bb_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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That story centres on mild-mannered bureaucrat Sam Lowry (Jonathan Pryce), whose efforts in trying to correct a mistake that has led to the arrest of an innocent man cause him to fall under suspicion himself. Inadvertently making contact with a renegade air-conditioning engineer (Robert De Niro) and concerned citizen Jill (Kim Greist), who has mysteriously appeared in his dreams, he stumbles into a nightmare world where the state of which he was once a part turns on him. Will his plastic surgery addict mother use her connections to help him? What about his best friend, small-time administrator and sometime torturer Jack? As he struggles to navigate a path to safety, everything that made his world make sense begins to unravel, as if reality itself is coming apart.![Brazil (1985) [The Criterion Collection #051] [Re-UP]](https://pixhost.icu/avaxhome/bc/98/001c98bc_medium.jpeg)
Brazil (1985) [The Criterion Collection #051] [Re-UP]
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With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible. Its tremendous atmosphere dwarfs the earnest performances of its capable cast, but that's exactly as it should be - for all their courage, these characters are nonentities struggling against an all-powerful, self-reinforcing government machine. The visual scope of Brazil is a potent metaphor for the power of forces unseen, yet their monstrous nature is balanced by a witty and affectionate script that emphasises the humanity of our heroes. De Niro's character is undoubtedly insane, but he's tremendous fun, and the romance which develops between Sam and Jill is touching.
It's difficult to capture much of the essence of this remarkable film with mere words. See it for yourself and let it take your breath away.Jennie Kermode, Eye For Film
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Brazil (1985) [The Criterion Collection #051] [Re-UP]
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Brazil (1985) [The Criterion Collection #051] [Re-UP]
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Special Features:
DISC ONE:
* All-new, restored high-definition anamorphic digital transfer, supervised and approved by director Terry Gilliam, with a remastered Dolby stereo surround soundtrack
* Audio commentary by Gilliam
* Optional English subtitles for the deaf and hard of hearing
* PLUS: An essay by Jack Mathews
DISC TWO:
* A treasure trove of Brazil-iana:
* 30-minute on-set documentary What Is Brazil?
* Criterion’s original exposé The Battle of “Brazil”: A Video History, which reassembles players in the battle over the film’s U.S. release
* Hundreds of storyboards, drawings, and publicity and production stills
* Rare raw and behind-the-scenes footage
* Exclusive video interviews with the production team
* Original theatrical trailer
DISC THREE:
* The 94-minute “Love Conquers All” version of Brazil, with all the changes Gilliam refused to make
* An audio essay by journalist David Morgan
All Credits goes to Original uploader.
No More Mirrors, Please.
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