Brazil (1985 film)

1985 film by Terry Gilliam

Brazil

UK theatrical release poster by Bill Garland

Directed by| Terry Gilliam
Screenplay by|

* Terry Gilliam
* Tom Stoppard
* Charles McKeown

Produced by| Arnon Milchan
Starring|

* Jonathan Pryce
* Robert De Niro
* Katherine Helmond
* Ian Holm
* Bob Hoskins
* Michael Palin
* Ian Richardson
* Peter Vaughan
* Kim Greist

Cinematography| Roger Pratt
Edited by| Julian Doyle
Music by| Michael Kamen

Production
companies

* Embassy International Pictures[1]
* Brazil Productions[2][3][4]

Distributed by|

* Universal Pictures (United States)
* 20th Century Fox (International)[2]

Release dates

* 20 February 1985 (1985-02-20) (France)
* 22 February 1985 (1985-02-22) (United Kingdom)
* 18 December 1985 (1985-12-18) (United States)

Running time

| 142 minutes[5]
Countries|

* United Kingdom
* United States[1][6]

Languages| English
French
German
Budget| $15 million[7]
Box office| $9.9 million (US)[nb 1][8]

Brazil is a 1985 dystopian science fiction black comedy film[9][10] directed by Terry Gilliam and written by Gilliam, Charles McKeown and Tom Stoppard. The film stars Jonathan Pryce, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, Michael Palin, Ian Richardson, Peter Vaughan, and Kim Greist.

The film centres on Sam Lowry, a low-ranking bureaucrat trying to find a woman who appears in his dreams while he is working in a mind-numbing job and living in a small flat, set in a dystopian world in which there is an over-reliance on poorly maintained (and rather whimsical) machines and where people found guilty of crimes are liable for the costs of their interrogation by torture. Brazil's satire of technocracy, bureaucracy, hyper-surveillance, corporate statism and state capitalism is reminiscent of George Orwell's 1949 novel Nineteen Eighty-Four,[11][12][13] and it has been called "Kafkaesque"[14] as well as absurdist.[13]

Sarah Street's British National Cinema (1997) described the film as a "fantasy/satire on bureaucratic society", and John Scalzi's Rough Guide to Sci-Fi Movies (2005) described it as a "dystopian satire". Jack Mathews, a film critic and the author of The Battle of Brazil (1987), described the film as "satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life".[15] Despite its title, the film is not about the country Brazil nor does it take place there; it is named after the recurrent theme song, Ary Barroso's "Aquarela do Brasil", known simply as "Brazil" to British audiences, as performed by Geoff Muldaur.[16]

Although a success in Europe, the film was unsuccessful in its initial North American release. It has since become a cult film. In 1999, the British Film Institute voted Brazil the 54th greatest British film of all time. In 2017, a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the 24th best British film ever.[17]

## Plot

[edit]

In a dystopian, polluted, hyper-consumerist, overbearing, bureaucratic, totalitarian future based on elements of the 20th century, Sam Lowry is a low-level government employee who frequently dreams of himself as a winged warrior saving a damsel in distress. One day, shortly before Christmas, an insect becomes jammed in a teleprinter, which misprints a copy of an arrest warrant it was receiving. This leads to the arrest and death during interrogation of cobbler Archibald Buttle instead of suspected terrorist Archibald Tuttle.

Sam discovers the mistake when he finds that the wrong bank account has been debited for the arrest. He visits Buttle's widow to give her the refund where he catches a glimpse of her upstairs neighbour Jill Layton, a truck driver, and is astonished to discover that Jill resembles the woman from his dreams. Sam frantically tries to approach Jill, but she disappears before he can find her. Jill has been trying to help Mrs Buttle establish what happened to her husband, but her efforts have been obstructed by bureaucracy. Unbeknownst to her, she is now considered a terrorist accomplice of Tuttle for attempting to report the wrongful arrest of Buttle.

Meanwhile, Sam reports a fault in his apartment's air conditioning. Central Services are uncooperative, but Tuttle unexpectedly comes to his assistance. Tuttle explains that he used to work for Central Services but left because of his dislike of the tedious and repetitive paperwork, and now illegally works as a freelance heating engineer. Tuttle repairs Sam's air conditioning, but when two Central Services workers, Spoor and Dowser, arrive, Sam has to stall to let Tuttle escape.

Sam discovers that Jill's records have been classified and the only way to access them is to be promoted to Information Retrieval. He had previously turned down a promotion arranged by his high-ranking mother Ida, who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr Jaffe. Sam retracts his refusal by speaking with Deputy Minister Mr Helpmann at a party hosted by Ida. After obtaining Jill's records, Sam tracks her down before she can be arrested. Sam clumsily confesses his love to Jill, and they cause mayhem as they escape government agents. They stop at a mall and are frightened by a terrorist bombing (part of a campaign that has been occurring around the city), then government agents arrive and take Sam. He awakens briefly detained in police custody.

At work, Sam is chastised by his new boss Mr Warrenn for his lack of productivity. Sam returns home to find that Spoor and Dowser have repossessed his apartment. Tuttle appears in secret and helps Sam exact revenge on the two Central Services workers by filling their environment suits with raw sewage. Jill finds Sam outside his apartment, and the two take refuge in Ida's unoccupied home, where they share their first kiss. Sam falsifies government records to indicate her death, allowing her to escape pursuit. The two have sex overnight, but in the morning are apprehended by the government at gunpoint. Sam learns that Jill was killed during his arrest. Charged with treason for abusing his new position, Sam is restrained in a chair in a large, empty cylindrical room, to be tortured by his old friend Jack Lint.

As Jack is about to start the torture, Tuttle and other members of the resistance break into the Ministry, shooting Jack, rescuing Sam and blowing up the Ministry building. Sam and Tuttle flee together, but Tuttle mysteriously disappears amid a mass of scraps of paperwork from the destroyed building. Sam stumbles into the funeral of Ida's friend, who has died following botched cosmetic surgery.

Sam discovers that his mother now resembles Jill and is too busy being fawned over by young men to care about her son's plight. Government agents disrupt the funeral, and Sam falls into the open casket. Through a black void, he lands in a street from his daydreams and tries to escape police and monsters by climbing a pile of flex-ducts. Opening a door, he passes through it and is surprised to be in a truck driven by Jill. The two leave the city together.

However, this "happy ending" is a delusion: it is revealed that Sam is still strapped to the torture chair. Realising that Sam has descended into irrecoverable insanity, Jack and Mr Helpmann declare him a lost cause and leave the room. Sam remains in the chair, smiling and humming "Aquarela do Brasil" to himself.

## Cast

[edit]

### Main cast

[edit]

* Jonathan Pryce as Sam Lowry. Pryce has described the role as the highlight of his career, along with that of Lytton Strachey in Carrington.[18] Tom Cruise was also considered for the role.[19]
* Kim Greist as Jill Layton. Gilliam's first choice for the part was Ellen Barkin; also considered were Jamie Lee Curtis, Rebecca De Mornay, Rae Dawn Chong, Joanna Pacuła, Rosanna Arquette, Kelly McGillis and Madonna.[20] Gilliam was reportedly dissatisfied with Greist's performance and chose to cut or edit some of her scenes as a result.[20]
* Robert De Niro as Archibald "Harry" Tuttle. De Niro still wanted a part in the film after being denied that of Jack Lint, so Gilliam offered him the smaller role of Tuttle.[21]
* Katherine Helmond as Mrs Ida Lowry. According to Helmond, Gilliam called her and said, "I have a part for you, and I want you to come over and do it, but you're not going to look very nice in it." The make-up was applied by Gilliam's wife, Maggie. During production, Helmond spent ten hours a day with a mask glued to her face; her scenes had to be postponed due to the blisters this caused.[22]
* Ian Holm as Mr Kurtzmann, Sam's boss.
* Bob Hoskins as Spoor, a government-employed heating engineer who resents Harry Tuttle.
* Michael Palin as Jack Lint. Robert De Niro read the script and expressed interest in the role, but Gilliam had already promised the part to Palin, a friend and regular collaborator. Palin described the character as "someone who was everything that Jonathan Pryce's character wasn't: he's stable, he had a family, he was settled, comfortable, hard-working, charming, sociable—and utterly and totally unscrupulous. That was the way we felt we could bring out the evil in Jack Lint."[23]
* Ian Richardson as Mr Warrenn, Sam's new boss at Information Retrieval.
* Peter Vaughan as Mr Eugene Helpmann, the Deputy Minister of Information.

### Supporting cast

[edit]

* Jim Broadbent as Dr Louis Jaffe
* Brian Miller as Mr Archibald Buttle
* Sheila Reid as Mrs Veronica Buttle
* Simon Nash as Boy Buttle
* Barbara Hicks as Mrs Terrain
* Kathryn Pogson as Shirley Terrain
* Bryan Pringle as Spiro
* Derrick O'Connor as Dowser
* Elizabeth Spender as Alison "Barbara" Lint
* Derek Deadman and Nigel Planer as Bill and Charlie
* Ray Cooper as Technician
* Gorden Kaye as the M.O.I. porter
* John Pierce Jones as Basement guard
* Ann Way as Old lady with dog
* Myrtle Devenish as Jack's secretary
* Simon Jones as Arrest official
* Bill Wallis as Bespectacled lurker
* Don Henderson as Black Maria guard
* Howard Lew Lewis as Black Maria guard
* Oscar Quitak as Interview official
* Harold Innocent as Interview official
* John Grillo as Interview official
* Patrick Connor as guard
* Roger Ashton-Griffiths as the Priest
* Jack Purvis as Dr Chapman
* Sue Hodge as performer

### Cameos

[edit]

* Co-writer Charles McKeown as Harvey Lime, Sam's co-worker
* Director Terry Gilliam as the smoking man at Shang-ri La Towers

## Production

[edit]

### Writing

[edit]

Gilliam developed the story and wrote the first draft of the screenplay with Charles Alverson, who was paid for his work but was ultimately uncredited in the final film. For nearly 20 years, Gilliam denied that Alverson had made any material contribution to the script. When the first draft was published and original in-progress documents emerged from Alverson's files, however, Gilliam begrudgingly changed his story. This was too late for either credit on the film or a listing on the failed Oscar nomination for Alverson; he has said that he would not have minded the Oscar nomination, even though he didn't think much of the script or the finished film.[24]

Gilliam, McKeown and Stoppard collaborated on further drafts. Brazil was developed under the titles The Ministry and 1984 ½, the latter a nod to not only Orwell's original Nineteen Eighty-Four but also to 8½ directed by Federico Fellini; Gilliam often cited Fellini as one of the defining influences on his visual style.[25] During the film's production, other working titles floated about, including The Ministry of Torture, How I Learned to Live with the System—So Far,[26] and So That's Why the Bourgeoisie Sucks,[27] before settling on Brazil, relating to the name of its escapist signature tune.

In an interview with Salman Rushdie, Gilliam stated:

> Brazil came specifically from the time, from the approaching of 1984. It was looming. In fact, the original title of Brazil was 1984 ½. Fellini was one of my great gods and it was 1984, so let's put them together. Unfortunately, that bastard Michael Radford did a version of 1984 and he called it 1984, so I was blown.[28]

Gilliam sometimes refers to this film as the second in his "Trilogy of Imagination" films, starting with Time Bandits (1981) and ending with The Adventures of Baron Munchausen (1988).[15] All are about the "craziness of our awkwardly ordered society and the desire to escape it through whatever means possible".[15]

All three movies focus on these struggles and attempts to escape them through imagination—Time Bandits, through the eyes of a child; Brazil, through the eyes of a man in his thirties; and Munchausen, through the eyes of an elderly man. In 2013, Gilliam also called Brazil the first instalment of a dystopian satire trilogy it forms with 1995's 12 Monkeys and 2013's The Zero Theorem[29] (although he later denied having said this[30]).

Gilliam has stated that Brazil was inspired by George Orwell's Nineteen Eighty-Four—which he has admitted never having read[21]—but is written from a contemporary perspective rather than looking to the future as Orwell had. In Gilliam's words, his film was "the Nineteen Eighty-Four for 1984". Critics and analysts have pointed to many similarities and differences between the two,[13] an example being that contrary to Winston Smith, Sam Lowry's spirit did not capitulate as he sank into complete catatonia.[11][31]

The film's ending bears a strong similarity to the short story "An Occurrence at Owl Creek Bridge" by Ambrose Bierce.[32] The tragicomic tone and philosophy of the film bear many resemblances to absurdist drama, a genre for which Brazil co-writer Tom Stoppard is widely acclaimed.[13]

### Production design

[edit]

Logo of the Ministry of Information

Michael Atkinson of The Village Voice wrote, "Gilliam understood that all futuristic films end up quaintly evoking the naïve past in which they were made, and turned the principle into a coherent comic aesthetic."[33]

In the second version of the script, Gilliam and Alverson described the film's setting: "It is neither future nor past, and yet a bit of each. It is neither East nor West, but could be Belgrade or Scunthorpe on a drizzly day in February. Or Cicero, Illinois, seen through the bottom of a beer bottle."[34] In the 1988 documentary The Birth of Brazil, Gilliam said that he always explained the film as taking place "everywhere in the 20th century, whatever that means, on the Los Angeles/Belfast border, whatever that means".[35] Pneumatic tubes are a frequent sight throughout the film.[36]

The result is an anachronistic technology, "a view of what the 1980s might have looked like as viewed from the perspective of a 1940s filmmaker"[37] that has been dubbed "retro-futurism" by fellow filmmakers Jean-Pierre Jeunet and Marc Caro.[33] It is a mixture of styles and production designs derived from Fritz Lang's films (particularly Metropolis and M) or film noir pictures starring Humphrey Bogart: "On the other hand, Sam's reality has a '40s noir feel. Some sequences are shot to recall images of Humphrey Bogart on the hunt and one character (Harvey Lime) may be named as an homage to The Third Man's Harry Lime."[37]

A number of reviewers also saw a distinct influence of German Expressionism, as the 1920s seminal, more nightmarish, predecessor to 1940s film noir, in general in how Gilliam made use of lighting and set designs.[38] A brief sequence towards the end, in which resistance fighters flee from government soldiers on the steps of the Ministry, pays homage to the Odessa Steps sequence in Sergei Eisenstein's Battleship Potemkin (1925).[21] Strong references exist to the overcomplicated humoristic machinery of British illustrator W. Heath Robinson, published between 1915 and 1942.[39] The grotesque sets were based on George Grosz's paintings of 1920s Berlin.[40]

The lighting and set design was coupled with Gilliam's trademark obsession for very wide lenses and tilted camera angles; going unusually wide for an audience familiar with mainstream Hollywood productions, Gilliam made the film's wide-angle shots with 14mm (Zeiss), 11mm and 9.8mm (Kinoptik) lenses, the latter being a recent technological innovation as one of the first lenses of that short a focal length that did not fisheye.[41] In fact, over the years, the 14mm lens has become informally known as "The Gilliam" among filmmakers due to the director's frequent use of it since Brazil.[42]

Many of the film's exterior scenes were filmed in Les Espaces d'Abraxas in Noisy-le-Grand near Paris, a monumental apartment complex designed by Ricardo Bofill Taller de Arquitectura.[43][44]

The numbering of form 27B/6, without which no work can be performed by repairmen with the Department of Central Services, is an allusion to George Orwell's flat at 27B Canonbury Square, London (up six half-flights of stairs), where he lived while writing parts of Nineteen Eighty-Four.[45][46]

### Music

[edit]

Geoff Muldaur performed a version of Ary Barroso's most famous 1939 song "Aquarela do Brasil" ("Watercolor of Brazil", often simply called "Brazil" in English). The song is a musical ode to the Brazilian motherland. Michael Kamen uses the song as a leitmotif in the film, although other background music is also used. Kamen's arrangement and orchestration of Barroso's song for Brazil made it more pliable to late 20th-century tastes, to the extent that film trailer composers often used it in contexts that had little to do with Brazil and more to do with Gilliam's dystopian vision.[47]

Kamen, who scored the film, originally recorded "Brazil" with vocals by Kate Bush. This recording was not included in the film nor on the original soundtrack release. However, it has been subsequently released on re-releases of the soundtrack. Gilliam recalls drawing the inspiration to use the song while in Port Talbot, Wales in 1977:[48]

> This place was a métallurgie city, where everything was covered by a gray metallic dust... Even the beach was completely covered by dust, it was really dusky. The sun was going down and was very beautiful. The contrast was extraordinary. I had this image of a man sitting there in this sordid beach with a portable radio, tuned in those strange escapist Latin songs like Brazil. The music took him away somehow and made the world seem less blue to him.

Sylvia Albertazzi, in her article "Salman Rushdie's 'The Location of Brazil': The Imaginary Homelands of the Fantastic Literature", stresses even further the importance that the soundtrack had on the movie's plot and meaning. She suggests, "... the opening question 'where is Gilliam's Brazil?', may be answered, quite literally, 'in a song'; just as it is in a song that there is to be found that world where 'all fall down' in children's games."[49]

## Release

[edit]

The film was produced by Arnon Milchan's company Embassy International Pictures. Gilliam's original cut of the film was 142 minutes long and ends on a dark note. This version was released in Europe and internationally by 20th Century Fox without issue. However, the film's US distribution was handled by Universal Pictures, whose executives felt that the ending tested poorly.[28] Universal's chairman, Sid Sheinberg, insisted on a dramatic re-edit of the film to give it a happy ending and suggested testing both versions to see which scored higher.[50] At one point, there were two editing teams working on the film, one without Gilliam's knowledge.[51] After a lengthy delay with no sign of the film being released, Gilliam took out a full-page ad in Variety urging Sheinberg to release Brazil in its intended version. Sheinberg spoke publicly in interviews of his dispute with Gilliam, and ran his own advertisement in Daily Variety offering to sell the film.[52]

Gilliam conducted private screenings of Brazil (without the studio's approval) for film schools and local critics. On the same night when Universal's award contender Out of Africa premiered in New York, Brazil was awarded the awards for "Best Picture", "Best Screenplay" and "Best Director" at the Los Angeles Film Critics Association.[53] This prompted Universal to finally agree to release a modified 132-minute version supervised by Gilliam in 1985.[15][50]

## Reception

[edit]

On the review aggregator website Rotten Tomatoes, 98% of 55 critics' reviews are positive, with an average rating of 8.8/10. The website's consensus reads: "Brazil, Terry Gilliam's visionary Orwellian fantasy, is an audacious dark comedy, filled with strange, imaginative visuals."[54] On Metacritic, the film received a score of 84 based on 18 reviews, indicating "universal acclaim".[55]

Los Angeles Times critic Kenneth Turan described the film as "the most potent piece of satiric political cinema since Dr. Strangelove".[15]

Janet Maslin of The New York Times was very positive towards the film on its release, stating, "Terry Gilliam's Brazil, a jaunty, wittily observed vision of an extremely bleak future, is a superb example of the power of comedy to underscore serious ideas, even solemn ones."[56]

Roger Ebert was less enthusiastic in the Chicago Sun-Times, giving the film two stars out of four and claiming that it was "hard to follow". He felt that the film lacked a confident grasp on its characters' roles in a story "awash in elaborate special effects, sensational sets, apocalyptic scenes of destruction and a general lack of discipline". However, Ebert did say that "there are several scenes in Brazil that show a lot of imagination and effort". Ebert especially enjoyed one scene in which "Sam moves into half an office and finds himself engaged in a tug-of-war over his desk with the man through the wall. I was reminded of a Chaplin film, Modern Times, and reminded, too, that in Chaplin economy and simplicity were virtues, not the enemy."[57]

Colin Greenland reviewed Brazil for Imagine magazine, and stated that it was "a daring, exorbitant Vision, sombrely funny and darkly true".[58]

### Accolades

[edit]

In 2004, Total Film named Brazil the 20th-greatest British movie of all time. In 2005, Time film reviewers Richard Corliss and Richard Schickel included Brazil in an unordered list of the 100 best films of all time. In 2006, Channel 4 voted Brazil one of the "50 Films to See Before You Die", shortly before its broadcast on FilmFour. The film also ranks at number 83 in Empire magazine's list of the "500 Greatest Films of All Time".[59]

Wired ranked Brazil at number 5 in its list of the top 20 sci-fi movies.[60]

Entertainment Weekly listed Brazil as the sixth-best science-fiction piece of media released since 1982.[61] The magazine also ranked the film number 13 on its list of "The Top 50 Cult Films".[62]

The film was nominated for two Academy Awards, for Best Original Screenplay and Best Art Direction (Norman Garwood, Maggie Gray).[63]

According to Gilliam in an interview with Clive James in his online programme Talking in the Library, Brazil is—to his surprise—apparently a favourite film of the far right in America.[64]

### Home media

[edit]

A directors' cut of Brazil was released on LaserDisc in the United States in December 1993.[65] It was released by The Criterion Collection as a five-disc LaserDisc set in 1996 and a three-disc DVD set in 1999, featuring the 142-minute cut of the film (referred to by Gilliam as the "fifth and final cut"), Sheinberg's 94-minute "Love Conquers All" cut for syndicated television, and various galleries and featurettes. Criterion also released a one-disc, movie-only DVD edition in 2006, while the three-disc set was revised to be compatible with widescreen televisions.

A Blu-ray of the 132-minute US version was released on 12 July 2011 by Universal Pictures. It contains only that version of the film and no extra features.[66] The 142-minute cut was released on Ultra HD Blu-ray and a remastered Blu-ray by Criterion on 4 June 2025.[67]

## Legacy

[edit]

### Film

[edit]

Other films that have drawn inspiration from Brazil's cinematography, art design and overall atmosphere include Jean-Pierre Jeunet's and Marc Caro's films Delicatessen (1991) and The City of Lost Children (1995),[68] Rocky Morton and Annabel Jankel's Super Mario Bros. (1993), the Coen brothers' The Hudsucker Proxy (1994) and Alex Proyas's Dark City (1998).[69][70][71]

The production design and lighting style of Tim Burton's Batman (1989) have been compared to Brazil.[72] Tim Burton and production designer Anton Furst studied Brazil as a reference for Batman.[73]

The ending of Neil Marshall's The Descent (2005) is inspired by Brazil's, as Marshall explained in an interview:

> The original ending for Brazil was a massive inspiration for the original ending of The Descent – the idea that someone can go insane on the outside, but inside they've found happiness.[74]

Jupiter Ascending (2015) features a scene that is deliberately designed to resemble the bureaucracy in Brazil, featuring Terry Gilliam in a cameo role and a reference to a "statute 27B-stroke-6".

### Television

[edit]

Production design of the Time Variance Authority depicted in the Disney+ series Loki is inspired by the "fun sci-fi bureaucracy" and dystopian design elements of Brazil's Ministry of Information.[75]

In the Rick and Morty episode "The Ricklantis Mixup", the ending of Brazil is referenced through a subplot involving a character who is attempting to escape the wafer factory where he works. He is captured but lives with the illusion that he has escaped, as with Lowry.[76]

In the Futurama episode "How Hermes Requisitioned His Groove Back", Matt Groening and others in the DVD audio commentary cite Brazil as having influenced the depiction of the Central Bureaucracy.[77]

### Technology

[edit]

The highly technological aesthetics of Brazil inspired the set design of Max Cohen's apartment in the film Pi.[78] Brazil also served as an inspiration for the film Sucker Punch (2011),[79] and has been recognised as an inspiration for writers and artists of the steampunk subculture.[80][81][82]

The dystopian premise of the 2018 video game We Happy Few was largely inspired by Brazil.[83][84]

## See also

[edit]

* BFI Top 100 British films
* List of cult films
* List of films featuring surveillance
* List of films cut over the director's opposition

## Notes

[edit]

1. ^ This is US-only box office from the Universal release, and does not include the 20th Century Fox release in the rest of the world.

## References

[edit]

1. ^ a b McAuley, Paul (2004). Brazil. Palgrave Macmillan. ISBN 1844577953. Archived from the original on 12 July 2020.
2. ^ a b Pym, John (1985). "Brazil". Monthly Film Bulletin. 52 (612). British Film Institute: 107–108\. "dist— 20th Century Fox. p.c.— Brazil Productions".
3. ^ Hunter, I.Q. (2002). British Science Fiction Cinema. Routledge. p. 182\. ISBN 1134702779. "pc production company (distributors not given)".
4. ^ Hunter, I.Q. (2002). British Science Fiction Cinema. Routledge. p. 206\. ISBN 1134702779. "pc Brazil Productions".
5. ^ "Brazil". British Board of Film Classification. Archived from the original on 20 January 2015. Retrieved 20 January 2015.
6. ^ "Brazil (1985)". London: British Film Institute. Archived from the original on 11 July 2012. Retrieved 21 August 2015.
7. ^ "BFI Screenonline: Brazil (1985)". Screenonline. Archived from the original on 27 December 2014. Retrieved 20 January 2015.
8. ^ "Brazil (1985)". Box Office Mojo. Archived from the original on 13 February 2013. Retrieved 20 January 2015.
9. ^ Anders, Charlie Jane (19 October 2015). "50 Brilliant Science Fiction Movies That Everyone Should See At Least Once". Gizmodo. Archived from the original on 28 October 2015. Retrieved 29 October 2015.
10. ^ "Dystopia and Science Fiction: Blade Runner, Brazil and Beyond". Santa Barbara: University of California Press. Archived from the original on 9 November 2020. Retrieved 29 October 2015.
11. ^ a b Rogers, Richard A. (1990). "1984 to Brazil: From the Pessimism of Reality to the Hope of Dreams" (PDF). Text and Performance Quarterly. 10 (1). Abingdon, England: Taylor & Francis: 34–46\. doi:10.1080/10462939009365953. Archived (PDF) from the original on 15 July 2012. Retrieved 22 January 2012.
12. ^ Bartz, Rob. Dystopia: A Look at Utopian Societies in Literature (Thesis). Fargo, North Dakota: North Dakota State University. Archived from the original (DOC) on 13 July 2012. Retrieved 22 January 2012.
13. ^ a b c d Podgorski, Daniel (7 January 2016). "1984 with a Sense of Humor: The Surreal, Wonderful, and Haunting Humor of Terry Gilliam's Absurdist Masterpiece, Brazil". The Gemsbok. Archived from the original on 8 November 2020. Retrieved 30 July 2019.
14. ^ Puddicombe, Stephen (4 July 2017). "Brazil: five films that may have influenced Terry Gilliam's dystopian masterpiece". British Film Institute. Archived from the original on 19 June 2022. Retrieved 30 July 2019.
15. ^ a b c d e Matthews, Jack (1996). "Dreaming Brazil". Brazil (Media notes). Gilliam, Terry (director). Criterion Collection.
16. ^ Kinnear, Simon (8 March 2014). "Re-Viewed: Terry Gilliam's Prescient Sci-Fi Brazil". Digital Spy. London, England: Bauer Media Group. Archived from the original on 12 December 2015. Retrieved 27 November 2015.
17. ^ Calhoun, Dave; Huddleston, Tom; Jenkins, David; Adams, Derek; Andrew, Geoff; Davies, Adam Lee; Fairclough, Paul; Hammond, Wally (17 February 2017). "The 100 best British films". Time Out. London: Time Out Group Ltd. Archived from the original on 3 April 2019. Retrieved 24 October 2017.
18. ^ Paddock, Terri (17 May 2004). "20 Questions With ... Jonathan Pryce". Whatsonstage.com. Archived from the original on 17 April 2014. Retrieved 19 August 2012.
19. ^ Kinnear, Simon (8 March 2014). "Re-Viewed: Terry Gilliam's prescient sci-fi Brazil". Digital Spy. London, England: Bauer Media Group. Archived from the original on 10 March 2014. Retrieved 11 March 2014.
20. ^ a b "Brazil – The Facts". sciflicks.com. Archived from the original on 4 March 2016. Retrieved 19 August 2012.
21. ^ a b c Gilliam, Terry (Director) (1985). "Audio commentary". Brazil. The Criterion Collection.
22. ^ "Katherine Helmond". Television Academy Foundation. The Interviews. 8 December 2010. Archived from the original on 14 October 2018. Retrieved 19 August 2012.
23. ^ Morgan, David. "Michel Palin on BRAZIL". Wideanglecloseup.com. Archived from the original on 21 July 2012. Retrieved 19 August 2012.
24. ^ McCabe, Bob, ed. (2001). Brazil (The Evolution of the 54th Best British Film Ever Made). London, England: Orion Books Ltd. ISBN 0-7528-3792-3.
25. ^ Taylor, Rumsey (December 2003). "Terry Gilliam". Senses of Cinema. Archived from the original on 7 January 2014. Retrieved 22 January 2014.
26. ^ Dirks, Tim. "Brazil (1985)". AMC Filmsite.org. Archived from the original on 3 April 2011. Retrieved 4 January 2009.
27. ^ Morris, Wesley (30 April 1999). "Brazil: Paranoia with a dash of Python". San Francisco Examiner. San Francisco, California: Black Press Group. Archived from the original on 26 December 2011. Retrieved 5 January 2009.
28. ^ a b "Salman Rushdie talks with Terry Gilliam". The Believer. 1 (1). Las Vegas, Nevada: University of Nevada, Las Vegas. March 2003. Archived from the original on 21 August 2023. Retrieved 21 August 2023.
29. ^ Pulver, Andrew (2 September 2013). "Terry Gilliam blames internet for the breakdown in 'real relationships'". The Guardian. London, England. Archived from the original on 7 September 2013. Retrieved 7 September 2013. "Calling it the third part of a trilogy formed by earlier dystopian satires Brazil and 12 Monkeys, Gilliam says ..."
30. ^ Suskind, Alex (17 September 2014). "Interview: Terry Gilliam On 'The Zero Theorem,' Avoiding Facebook, 'Don Quixote' And His Upcoming Autobiography". IndieWire. Los Angeles, California: Penske Media Corporation. Archived from the original on 28 April 2018. Retrieved 16 October 2017. "Well, it's funny, this trilogy was never something I ever said, but it's been repeated so often it's clearly true [laughs]. I don't know who started it but once it started it never stopped ..."
31. ^ Redmond, Sean (2004). Liquid metal: the science fiction film reader. Wallflower Press. pp. 66–69\. ISBN 1-903364-87-6.
32. ^ "When the Dead Dream: Films Inspired by 'An Occurrence at Owl Creek Bridge'". Cineleet. Archived from the original on 7 February 2017. Retrieved 14 April 2017.
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## Further reading

[edit]

* Bruce Krajewski, "Postmodernism, Allegory, and Hermeneutics in Brazil, in Traveling with Hermes: Hermeneutics and Rhetoric (1992), ISBN 0-87023-815-9.
* Jack Mathews, The Battle of Brazil (1987), ISBN 0-517-56538-2.

## External links

[edit]

Wikiquote has quotations related to Brazil (1985 film).

* Brazil at IMDb
* Brazil at Rotten Tomatoes
* Brazil at the TCM Movie Database
* Brazil at Box Office Mojo
* Brazil at the Encyclopedia of Science Fiction
* Wide Angle Closeup: The Terry Gilliam Files – Interviews and production stories on Brazil
* Brazil Screenplay, Terry Gilliam, Tom Stoppard & Charles McKeown, Daily Script website
* DGA magazine interview with Gilliam
* Hamel, James Keith. Modernity and Mise-en-scene: Terry Gilliam and Brazil, from Images: Journal of Film and Popular Culture
* Brazil: A Great Place to Visit, Wouldn't Want to Live There an essay by David Sterritt at the Criterion Collection
* ‘Robert De Niro prepared to play a plumber by watching a brain surgeon’: Terry Gilliam and Jonathan Pryce on making Brazil

* v
* t
* e

Films directed by Terry Gilliam

* Filmography
* Unrealized projects

Feature films|

* Monty Python and the Holy Grail (1975)
* Jabberwocky (1977)
* Time Bandits (1981)
* Brazil (1985)
* The Adventures of Baron Munchausen (1988)
* The Fisher King (1991)
* 12 Monkeys (1995)
* Fear and Loathing in Las Vegas (1998)
* The Brothers Grimm (2005)
* Tideland (2005)
* The Imaginarium of Doctor Parnassus (2009)
* The Zero Theorem (2013)
* The Man Who Killed Don Quixote (2018)

Short films|

* Miracle of Flight (1974)
* Story Time (1979)
* The Crimson Permanent Assurance (1983)
* The Legend of Hallowdega (2010)
* The Wholly Family (2011)

Films about Gilliam|

* Lost in La Mancha (2002)
* Getting Gilliam (2005)
* He Dreams of Giants (2019)

* v
* t
* e

Tom Stoppard

List of awards and nominations

Stage plays|

* Rosencrantz and Guildenstern Are Dead
* Enter a Free Man
* The Real Inspector Hound
* After Magritte
* Jumpers
* Travesties
* Dirty Linen and New-Found-Land
* Professional Foul
* Every Good Boy Deserves Favour
* Night and Day
* Dogg's Hamlet, Cahoot's Macbeth
* 15-Minute Hamlet
* Undiscovered Country
* On the Razzle
* The Real Thing
* Rough Crossing
* Dalliance
* Hapgood
* Arcadia
* Indian Ink
* The Invention of Love
* The Coast of Utopia
* Rock 'n' Roll
* The Hard Problem
* Leopoldstadt

Radio plays|

* Artist Descending a Staircase
* The Dog It Was That Died
* In the Native State
* Darkside

Screenplays|

* The Romantic Englishwoman
* Three Men in a Boat
* The Boundary
* Despair
* Squaring the Circle
* Brazil
* Empire of the Sun
* Rosencrantz & Guildenstern Are Dead (also directed)
* The Russia House
* Billy Bathgate
* Poodle Springs
* Shakespeare in Love
* Enigma
* Anna Karenina
* Parade's End
* Tulip Fever

Awards for Brazil

* v
* t
* e

BAFTA Award for Best Special Visual Effects

1982–2000|

* Richard Edlund – Poltergeist (1982)
* Richard Edlund, Dennis Muren, Ken Ralston, and Kit West – Return of the Jedi (1983)
* Dennis Muren, George Gibbs, Michael J. McAlister, and Lorne Peterson – Indiana Jones and the Temple of Doom (1984)
* George Gibbs and Richard Conway – Brazil (1985)
* Robert Skotak, Brian Johnson, Suzanne M. Benson, John Richardson, and Stan Winston – Aliens (1986)
* Michael Lantieri, Michael Owens, Edward Jones, and Bruce Walters – The Witches of Eastwick (1987)
* George Gibbs, Richard Williams, Ken Ralston, and Edward Jones – Who Framed Roger Rabbit (1988)
* Ken Ralston, Michael Lantieri, John Bell, and Steve Gawley – Back to the Future Part II (1989)
* The production team of Honey, I Shrunk the Kids (1990)
* Stan Winston, Dennis Muren, Gene Warren Jr., and Robert Skotak – Terminator 2: Judgment Day (1991)
* Michael Lantieri, Ken Ralston, Alec Gillis, Tom Woodruff Jr., Doug Chiang, and Douglas Smythe – Death Becomes Her (1992)
* Dennis Muren, Stan Winston, Phil Tippett, and Michael Lantieri – Jurassic Park (1993)
* Ken Ralston, George Murphy, Stephen Rosenbaum, Doug Chiang, and Allen Hall – Forrest Gump (1994)
* Robert Legato, Michael Kanfer, Matt Sweeney, and Leslie Ekker – Apollo 13 (1995)
* Stefen Fangmeier, John Frazier, Henry LaBounta, and Habib Zargarpour – Twister (1996)
* Mark Stetson, Karen Goulekas, Nick Allder, Neil Corbould, and Nick Dudman – The Fifth Element (1997)
* Stefen Fangmeier, Roger Guyett, and Neil Corbould – Saving Private Ryan (1998)
* John Gaeta, Steve Courtley, Janek Sirrs, and Jon Thum – The Matrix (1999)
* Stefen Fangmeier, John Frazier, Walt Conti, Habib Zargarpour, and Tim Alexander – The Perfect Storm (2000)

2001–2020|

* Jim Rygiel, Richard Taylor, Alex Funke, Randall William Cook, and Mark Stetson – The Lord of the Rings: The Fellowship of the Ring (2001)
* Jim Rygiel, Joe Letteri, Randall William Cook, and Alex Funke – The Lord of the Rings: The Two Towers (2002)
* Joe Letteri, Jim Rygiel, Randall William Cook, and Alex Funke – The Lord of the Rings: The Return of the King (2003)
* Karen Goulekas, Neil Corbould, Greg Strause, and Remo Balcells – The Day After Tomorrow (2004)
* Joe Letteri, Christian Rivers, Brian Van't Hul, and Richard Taylor – King Kong (2005)
* John Knoll, Hal Hickel, Charles Gibson, and Allen Hall – Pirates of the Caribbean: Dead Man's Chest (2006)
* Michael L. Fink, Bill Westenhofer, Ben Morris, and Trevor Wood – The Golden Compass (2007)
* Eric Barba, Craig Barron, Nathan McGuinness, and Edson Williams – The Curious Case of Benjamin Button (2008)
* Joe Letteri, Stephen Rosenbaum, Richard Baneham, and Andrew R. Jones – Avatar (2009)
* Chris Corbould, Paul Franklin, Andrew Lockley, and Peter Bebb – Inception (2010)
* Tim Burke, John Richardson, Greg Butler, and David Vickery – Harry Potter and the Deathly Hallows – Part 2 (2011)
* Bill Westenhofer, Guillaume Rocheron, and Erik-Jan de Boer – Life of Pi (2012)
* Tim Webber, Chris Lawrence, Dave Shirk, Neil Corbould, and Nikki Penny – Gravity (2013)
* Paul Franklin, Scott R. Fisher, Andrew Lockley, and Ian Hunter – Interstellar (2014)
* Chris Corbould, Roger Guyett, Paul Kavanagh, and Neal Scanlan \- Star Wars: The Force Awakens (2015)
* Robert Legato, Dan Lemmon, Andrew R. Jones, and Adam Valdez – The Jungle Book (2016)
* Richard R. Hoover, Paul Lambert, Gerd Nefzer, and John Nelson – Blade Runner 2049 (2017)
* Geoffrey Baumann, Jesse James Chisholm, Craig Hammack, and Dan Sudick – Black Panther (2018)
* Greg Butler, Guillaume Rocheron, and Dominic Tuohy – 1917 (2019)
* Scott R. Fisher, Andrew Jackson, and Andrew Lockley – Tenet (2020)

2021–present|

* Brian Connor, Paul Lambert, Tristan Myles, and Gerd Nefzer – Dune (2021)
* Richard Baneham, Daniel Barrett, Joe Letteri, and Eric Saindon – Avatar: The Way of Water (2022)
* Simon Hughes – Poor Things (2023)
* Paul Lambert, Stephen James, Gerd Nefzer, and Rhys Salcombe – Dune: Part Two (2024)

* v
* t
* e

Los Angeles Film Critics Association Award for Best Film

1975–2000|

* Dog Day Afternoon / One Flew Over the Cuckoo's Nest (1975)
* Network / Rocky (1976)
* Star Wars (1977)
* Coming Home (1978)
* Kramer vs. Kramer (1979)
* Raging Bull (1980)
* Atlantic City (1981)
* E.T. the Extra-Terrestrial (1982)
* Terms of Endearment (1983)
* Amadeus (1984)
* Brazil (1985)
* Hannah and Her Sisters (1986)
* Hope and Glory (1987)
* Little Dorrit (1988)
* Do the Right Thing (1989)
* Goodfellas (1990)
* Bugsy (1991)
* Unforgiven (1992)
* Schindler's List (1993)
* Pulp Fiction (1994)
* Leaving Las Vegas (1995)
* Secrets & Lies (1996)
* L.A. Confidential (1997)
* Saving Private Ryan (1998)
* The Insider (1999)
* Crouching Tiger, Hidden Dragon (2000)

2001–present|

* In the Bedroom (2001)
* About Schmidt (2002)
* American Splendor (2003)
* Sideways (2004)
* Brokeback Mountain (2005)
* Letters from Iwo Jima (2006)
* There Will Be Blood (2007)
* WALL-E (2008)
* The Hurt Locker (2009)
* The Social Network (2010)
* The Descendants (2011)
* Amour (2012)
* Gravity / Her (2013)
* Boyhood (2014)
* Spotlight (2015)
* Moonlight (2016)
* Call Me by Your Name (2017)
* Roma (2018)
* Parasite (2019)
* Small Axe (2020)
* Drive My Car (2021)
* Everything Everywhere All at Once / Tár (2022)
* The Zone of Interest (2023)
* Anora (2024)

* v
* t
* e

Seiun Award for Best Dramatic Presentation

1970–2000|

* Charly / The Prisoner (1970)
* UFO (1971)
* The Andromeda Strain (1972)
* A Clockwork Orange (1973)
* Soylent Green (1974)
* Space Battleship Yamato (1975)
* Star (1976)
* Solaris (1978)
* Star Wars (1979)
* Alien (1980)
* The Empire Strikes Back (1981)
* Blade Runner (1983)
* The Dark Crystal (1984)
* Nausicaä of the Valley of the Wind (1985)
* Back to the Future (1986)
* Brazil (1987)
* Royal Space Force: The Wings of Honnêamise (1988)
* My Neighbor Totoro (1989)
* Gunbuster (1990)
* Ginga Uchū Odyssey (1991)
* Terminator 2: Judgment Day (1992)
* Mama wa Shōgaku 4 Nensei (1993)
* Jurassic Park (1994)
* Zeiram 2 (1995)
* Gamera: Guardian of the Universe (1996)
* Gamera 2: Attack of Legion (1997)
* Ultraman Tiga (1998)
* Martian Successor Nadesico: The Motion Picture – Prince of Darkness (1999)
* Cowboy Bebop (2000)

2001–present|

* Gunparade March (2001)
* Kamen Rider Kuuga (2002)
* Voices of a Distant Star (2003)
* The Lord of the Rings: The Two Towers (2004)
* Planetes (2005)
* Tokusou Sentai Dekaranger (2006)
* The Girl Who Leapt Through Time (2007)
* Dennō Coil (2008)
* Macross Frontier (2009)
* Summer Wars (2010)
* District 9 (2011)
* Puella Magi Madoka Magica (2012)
* Bodacious Space Pirates (2013)
* Pacific Rim (2014)
* Space Battleship Yamato 2199: Odyssey of the Celestial Ark (2015)
* Girls und Panzer der Film (2016)
* Shin Godzilla (2017)
* Kemono Friends (2018)
* SSSS.Gridman (2019)
* Astra Lost in Space (2020)
* Ultraman Z (2021)
* Godzilla Singular Point (2022)
* Shin Ultraman (2023)
* Godzilla Minus One (2024)

Authority control databases

National|

* Germany

Other|

* MusicBrainz release group

Portal:

* Film

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