Benefit
Bluelighter
Terry Gilliam seamlessly blends elements of Orwell, Jim Henson and Jonathan Swift in this black comedy which (not counting the Star Wars or Indiana Jones franchises) has to be one of the top 3 movies of the 1980s. And considering how good this film is, I feel a little silly because I had never heard of it until I got it from netflix on a whim. In fact, I realized as I watched it that I've consistently overlooked Gilliam's merits as a director. He deserves more recognition than he gets and I've resolved to conduct a more thorough analysis of his films.
The first hour of Brazil easily ranks with Dr. Strangelove as some of the most brilliant satire ever. The depiction of a bloated bureaucracy is spot on and cleverly approached. Gilliam lacks the same sweeping, almost lyrical aestheticism that distinguishes a Spielberg or a Kubrick, but he knows how to cleverly and imaginatively assemble a cinematic narrative. He also appears to be possessed of a natural genius for sardonic social commentary.
I was very impressed with the set and costume designs for the film, an area of filmmaking which I often overlook. The futuristic-retro look was perfect.
Robert De Niro as a subversive repairman was pure, unadulterated brilliance.
My only criticism is that it might have benefited from having some of the more ridiculous hyperbole trimmed.
Apparently when the film was released there was a lot of haggling with the studio, which wanted to re-edit substantial portions of it, particularly the ending. I hate it when studios try and bastardize films, as they did with Blade Runner, but changing the ending of Brazil is just imbecilic. Gilliam ended up getting his cut out, and the studio version is generally ridiculed now, as it should be. The ending of this movie is superb. It reflects shades of Polanski’s The Tenant, as does much of the movie now that I think about it.
The first hour of Brazil easily ranks with Dr. Strangelove as some of the most brilliant satire ever. The depiction of a bloated bureaucracy is spot on and cleverly approached. Gilliam lacks the same sweeping, almost lyrical aestheticism that distinguishes a Spielberg or a Kubrick, but he knows how to cleverly and imaginatively assemble a cinematic narrative. He also appears to be possessed of a natural genius for sardonic social commentary.
I was very impressed with the set and costume designs for the film, an area of filmmaking which I often overlook. The futuristic-retro look was perfect.
Robert De Niro as a subversive repairman was pure, unadulterated brilliance.
My only criticism is that it might have benefited from having some of the more ridiculous hyperbole trimmed.
Apparently when the film was released there was a lot of haggling with the studio, which wanted to re-edit substantial portions of it, particularly the ending. I hate it when studios try and bastardize films, as they did with Blade Runner, but changing the ending of Brazil is just imbecilic. Gilliam ended up getting his cut out, and the studio version is generally ridiculed now, as it should be. The ending of this movie is superb. It reflects shades of Polanski’s The Tenant, as does much of the movie now that I think about it.
