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. —The Criterion Collection
Terrence Vance Gilliam was born in Minnesota on 22 November 1940. After eleven early years of a Huckleberry Finn/Tom Sawyer-type childhood (his description), his family moved to LA. There he was a witness to the Hollywood system, from the fringes. As a kid, his drawing and cartooning skills developed. After graduating from school where he apparently excelled at pole vaulting, Gilliam went to the Occidental College, studying Physics, which he later changed to Politics. In his last year at college, Gilliam sent copies of his college magazine work to comic maestro Harvey Kurtzman in New York.
Kurtzman was running a magazine called Help!, and was impressed. When writer Charles Alverson left the magazine, a vacancy arose, and Gilliam took a job there. He spent the next three years there – writing, designing and drawing – but being paid very little. During the time at Help!, he met John Cleese, who was roped in to star in a photo-story spoof – as a guilt-ridden man involved in an… read more
Un 1984 in versione Monty Python.Gilliam traspone il capolavoro di Orwell in chiave fumettistica,caratterizzando il tutto con la sua regia movimentata e con un umorismo che forse a volte esagera e infastidisce la linearità della trama.Cmq il risultato è notevole,le allegorie sono evidenti così come le numerose citazioni cinefile.Bellissimo il finale.Lo stile verrà ripreso dai Coen con "Mister Hula Hoop".Grande Terry.
Excellent sets, a few nice scenes but the rest of the movie was a chore to sit through. The comedy didn't work for me, the drama had its moments but then it went nowhere. A real disappointment.
[Spoiler] On second viewing, it appeals more to my production design tastes than it does to those concerning character development or script; the romance is forced and unbelievable, and De Niro always threatens to unbalance the film every time he appears. The film dazzles, but the impressive world it creates, grounded far more in Kafkaesque absurdity than Orwellian horror, is curiously at odds with its bleak ending.
"Ein ewiger Pechvogel?" asks Frank Noack in Der Tagesspiegel. Loosely translated, Noack's wondering out loud whether Terry Gilliam, who turns
During a brief and unsuccessful attempt at becoming a flaneur, and working off some excess weight, I found myself in an unfamiliar part of
“Triplets? God. How time flies.”
Terry Gilliam directed one of the most allegorically comprehensive movies I’ve ever seen with his creation of Brazil. Hot off the tail of Michael Radford’s adaptation… read review
Gilliam is a messy, messy director. In this film, he comments on bureaucracy run amok, superficiality, corporate mindlessness, urban ugliness, action movie clichés, and government that has lost sight… read review
I wanted another viewing before reviewing one of my favorite films of all time. As expected, It’s a masterpiece. After the first viewing I had mixed feelings about it because it is absolutely ridiculous… read review