Бразилия: антиутопия Терри Гиллиама

1985 film by Terry Gilliam

Brazil is a 1985 science fiction dystopian black comedy film directed by Terry Gilliam and written by Gilliam, Charles McKeown, and Tom Stoppard. The film stars Jonathan Pryce and features Robert De Niro, Kim Greist, Michael Palin, Katherine Helmond, Bob Hoskins, and Ian Holm. 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 apartment, set in a dystopian world in which there is an over reliance on poorly maintained (and rather whimsical) machines. Brazils satire of technocracy, bureaucracy, hyper surveillance, corporate statism, and state capitalism is reminiscent of George Orwell's 1949 novel Nineteen Eighty Four, and it has been called Kafkaesque as well as absurdist. 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. Though 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.

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 discovers the wrong bank account had 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 then 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 works illegally 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 then appears in secret and helps Sam enact revenge on the two Central Services workers by filling their hazmat 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 is told that Jill was killed while resisting 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 find himself 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.

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

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. Michael 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 use it in contexts that have little to do with Brazil and more to do with Gilliam's dystopian vision. Kamen, who scored the film, originally recorded "Brazil" with vocals by Kate Bush. This recording was not included in the actual film or the original soundtrack release; however, it has been subsequently released on re pressings of the soundtrack. Gilliam recalls drawing the inspiration to use the song as follows:
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 upon 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".

The film was produced by Arnon Milchan's company Embassy International Pictures. Gilliam's original cut of the film is 142 minutes long and ends on a dark note. This version was released in Europe and internationally by 20th Century Fox without issue. However, US distribution was handled by Universal, whose executives felt the ending tested poorly. At one point, there were two editing teams working on the film, one without Gilliam's knowledge. As with the science fiction film Blade Runner (1982), which had been released three years earlier, a version of Brazil was created by the studio with a more consumer friendly ending. After a lengthy delay with no sign of the film being released, Gilliam took out a full page ad in the trade magazine Variety urging Sheinberg to release Brazil in its intended version. Sheinberg spoke publicly of his dispute with Gilliam in interviews and ran his own advertisement in Daily Variety offering to sell the film. Gilliam conducted private screenings of Brazil (without the studio's approval) for film schools and local critics. On the same night Universal's award contender Out of Africa premiered in New York, Brazil was awarded the Los Angeles Film Critics Association awards for "Best Picture", "Best Screenplay", and "Best Director". This prompted Universal to finally agree to release a modified 132 minute version supervised by Gilliam, in 1985.

On review aggregator Rotten Tomatoes, the film holds an approval rating of 98% based on 50 reviews, with an average rating of 8.7/10. The website's critical consensus reads, "Brazil, Terry Gilliam's visionary Orwellian fantasy, is an audacious dark comedy, filled with strange, imaginative visuals." On Metacritic, the film received a score of 84 based on 18 reviews, indicating "universal acclaim". Los Angeles Times critic Kenneth Turan described the film as "the most potent piece of satiric political cinema since Dr. Strangelove". Roger Ebert was less enthusiastic in the Chicago Sun Times, giving the film two out of four stars and claiming that it was "hard to follow". He felt 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." Colin Greenland reviewed Brazil for Imagine magazine, and stated that it was "a daring, exorbitant Vision, sombrely funny and darkly true."

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. Wired ranked Brazil number 5 in its list of the top 20 sci fi movies. Entertainment Weekly listed Brazil as the sixth best science fiction piece of media released since 1982. The magazine also ranked the film No. 13 on their list of "The Top 50 Cult Films". The film was nominated for two Academy Awards, for Best Original Screenplay and Best Art Direction (Norman Garwood, Maggie Gray). 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.

A directors' cut of Brazil was released on LaserDisc in the United States in December 1993. It has also been released several times by The Criterion Collection, as a five disc LaserDisc set in 1996, a three disc DVD set in 1999, and a two disc Blu ray set in 2012, all with the same special features: a 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 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 of the movie was released in the US on 12 July 2011 by Universal Pictures. It contains only that version of the film and no extra features.

Production design of the Time Variance Authority depicted in the Disney+ series Loki was inspired by the "fun sci fi bureaucracy" and dystopian design elements of Brazil Ministry of Information. In the Rick and Morty episode "The Ricklantis Mixup", the ending of Brazil is referenced through a subplot involving a character attempting to escape the wafer factory where he works. He is captured, but lives with the illusion he has escaped, as with Lowry.

The highly technological aesthetics of Brazil inspired the set design of Max Cohen's apartment in the film Pi. Brazil also served as an inspiration for the film Sucker Punch (2011), and has been recognised as an inspiration for writers and artists of the steampunk subculture. The dystopian premise of the 2018 video game We Happy Few was largely inspired by Brazil.