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Ein Insekt im Getriebe des Staatsapparats sorgt für einen verhängnisvollen Druckfehler: Statt des notorischen Terroristen Tuttle wird der harmlose Bürger Buttle verhaftet und hingerichtet. Den tödlichen Irrtum bemerkt Sam Lowry, Beamter im. Brazil ist ein dystopischer Spielfilm mit Elementen der Groteske und Schwarzen Komödie aus dem Jahr von Terry Gilliam, der zusammen mit Tom Stoppard und Charles McKeown auch das Drehbuch schrieb. Der Film wurde im Februar auf den Internationalen Filmfestspielen. Brazil - der Film - Inhalt, Bilder, Kritik, Trailer, Kinostart-Termine und Bewertung | digitaldictionaries.eu Brazil: Science-Fiction-Film von Arnon Milchan mit Sir Ian Holm/Katherine Helmond/Robert De Niro. Jetzt im Kino. Leute die sich nur schwer konzentrieren können (ausser vielleicht auf Hollywood Filme) sollten den Film meiden, er ist sehr komplex und verstörend. Bildgewaltig. Sam Lowry (Jonathan Pryce) ist ein Tagträumer und nur ein kleines Zahnrad im Getriebe des kafkaesken Verwaltungsapparats in Terry Gilliams Kultfilm Brazil. Brazil ein Film von Terry Gilliam mit Jonathan Pryce, Robert De Niro. Inhaltsangabe: In einem von vorne bis hinten durchstrukturierten und bürokratisierten Staat.
_poster.jpg/250px-Brazil_(1985_film)_poster.jpg "Brasil Film")
Videos anzeigen Bilder anzeigen. Der Strand ist vom Kohlenstaub total schwarz. Derrick O'Connor. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Gilliams an Thomas Pynchon geschulte Paranoia erweist sich als grundlegend zweischneidig: Zwar sind die unbekannten Vergessene Welt hinter dem Apparat scheinbar allmächtig, doch sind alle seine Vertreter lächerlich. Tatsächlich haben Kung Fu Yoga Stream viele beklagt, dass sie dem Plot von Brazil nicht folgen konnten; und der Vorwurf ist Remmo Clan ganz unberechtigt. Der Film hat Schwächen, zum Beispiel die Sandra White Traumszenen, ist aber trotzdem eine der besten - wenn nicht die bisher beste - Satire Elisa Sednaoui eine Bürokratie- und Überwachungsgesellschaft, mit viel schwarzem britischen Humor. Jetzt auf Amazon Video und 1 weiteren Anbieter anschauen. Kritik schreiben. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits.
Alternate Versions. Rate This. A bureaucrat in a dystopic society becomes an enemy of the state as he pursues the woman of his dreams. Director: Terry Gilliam.
Available on Amazon. Added to Watchlist. From metacritic. November's Top Streaming Picks. Scaruffi - Best movies of all times.
Science Fiction. European Movies. Share this Rating Title: Brazil 7. Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Nominated for 2 Oscars. Edit Cast Cast overview, first billed only: Jonathan Pryce Sam Lowry Robert De Niro Harry Tuttle Katherine Helmond Ida Lowry Ian Holm Kurtzmann Bob Hoskins Spoor Michael Palin Jack Lint Ian Richardson Warrenn Peter Vaughan Helpmann Kim Greist Jill Layton Jim Broadbent Jaffe Barbara Hicks Terrain Charles McKeown Lime Derrick O'Connor Dowser Kathryn Pogson Shirley Bryan Pringle Edit Storyline Sam Lowry Jonathan Pryce is a harried technocrat in a futuristic society that is needlessly convoluted and inefficient.
Taglines: Have a laugh at the horror of things to come. Edit Did You Know? Trivia Favorite movie of Doug Walker , a.
Nostalgia Critic Goofs When Harry Tuttle escapes from Sam Lowry's flat, the front door is shown open from the outside and the room is fully lit.
However in the previous and subsequent shots, the flat is almost dark. TV commercial pitchman : Hi, there. I want to talk to you about ducts.
Crazy Credits The only credits at the start of the film were the preliminary studio credits, a credit for Gilliam, and the title. All other credits are at the end.
Although commonplace today, the lack of full opening credits was still unusual in All versions of the film, including the "Love Conquers All" edit follow this format.
Alternate Versions The Sid Sheinberg Edit, never released but prepared for syndicated television, makes many significant changes. Several lines of dialogue were changed, using many alternative and unused shots.
The movie was edited down to 94 minutes, removing many major scenes, placing more emphasis on Tuttle's character and Sam's relationship with Jill.
The opening Central Services advertisement for ducts stops just before the shop window explodes. It then cuts straight to the restaurant explosion scene, with none of the dialogue leading up to it, beginning only with Shirley offering Sam the salt and the following explosion.
The title "Brazil" then appears and the scene ends. During the prologue in which the fly falls in the typewriter, the scene cuts back and forth to text on a computer screen explaining the plot premise, including a voice over reading it aloud.
All the fantasy sequences are missing, except the scene of Sam flying through clouds - which is shortened and has a glowing effect applied to indicate it is a dream.
The screens change to show Jill as she appears in Sam's dreams. It is never stated that Mr Buttle is dead, only asked by his wife.
Lots of the swearing was dubbed over with tamer dialogue, often very badly. Several of Sam's swears are replaced with "Judas!
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.
In an interview with Salman Rushdie , Gilliam stated:. Brazil came specifically from the time, from the approaching of It was looming.
Unfortunately, that bastard Michael Radford did a version of and he called it , so I was blown. Gilliam sometimes refers to this film as the second in his "Trilogy of Imagination" films, starting with Time Bandits and ending with The Adventures of Baron Munchausen In , Gilliam also called Brazil the first instalment of a dystopian satire trilogy it forms with 's 12 Monkeys and 's The Zero Theorem [30] though he later denied having said this [31].
Gilliam has stated that Brazil was inspired by George Orwell 's Nineteen Eighty-Four —which he has admitted never having read [22] —but is written from a contemporary perspective rather than looking to the future as Orwell did.
In Gilliam's words, his film was "the Nineteen Eighty-Four for Or Cicero, Illinois , seen through the bottom of a beer bottle.
The result is an anachronistic technology, "a view of what the s might have looked like as viewed from the perspective of a s filmmaker" [38] which has been dubbed " retro-futurism " by fellow filmmakers Jean-Pierre Jeunet and Marc Caro.
Heath Robinson , published between and 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 used to mainstream Hollywood productions, Gilliam made the film's wide-angle shots with 14mm Zeiss , 11mm, and 9.
The song is a musical ode to the Brazilian motherland. Geoff Muldaur 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 Terry Gilliam's 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.
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: [47]. 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. 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 " Gilliam's original cut of the film is 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.
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.
The site's critical consensus reads "Brazil, Terry Gilliam's visionary Orwellian fantasy, is an audacious dark comedy, filled with strange, imaginative visuals.
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".
Ebert wrote positively of certain scenes, especially one 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.
In , Total Film named Brazil the 20th-greatest British movie of all time. In , Time film reviewers Richard Corliss and Richard Schickel included Brazil in an unordered list of the best films of all time.
Wired ranked Brazil number 5 in its list of the top 20 sci-fi movies. 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.
The packaging for the and three-disc box sets is identical in appearance, but the latter release is compatible with widescreen televisions.
Except the single-disc version, all versions have the same special features: a minute cut of the film referred to by Gilliam as the "fifth and final cut" , Sheinberg's minute "Love Conquers All" cut for syndicated television, and various galleries and featurettes.
It contains only that version of the film and no extra features. The production design and lighting style of Tim Burton's Batman have been compared to Brazil.
The highly technological aesthetics of Brazil inspired the set design of Max Cohen's apartment in the film Pi. The dystopian premise of the video game We Happy Few was largely inspired by Brazil.
From Wikipedia, the free encyclopedia. Theatrical release poster by Bill Garland. Embassy International Pictures [1] : 1 Brazil Productions [2] [3] [4].
Release date. Running time. Palgrave Macmillan. Monthly Film Bulletin. British Film Institute. British Science Fiction Cinema. British Board of Film Classification.
Retrieved 20 January London: British Film Institute. Archived from the original on 11 July Retrieved 21 August Box Office Mojo. Santa Barbara: University of California Press.
Retrieved 29 October The Guardian. Text and Performance Quarterly. Retrieved 22 January Archived from the original DOC on 13 July The Gemsbok.
Retrieved 30 July Brazil Media notes. Gilliam, Terry director. Criterion Collection. Digital Spy.
London, England: Bauer Media Group. Retrieved 27 November Time Out. London: Time Out Group Ltd. Retrieved 24 October Archived from the original on 17 April Retrieved 19 August Retrieved 11 March The Criterion Collection.
Television Academy Foundation. The Interviews. London, England: Orion Books Ltd. Senses of Cinema. AMC Filmsite. San Francisco Examiner. The Believer.
March Retrieved 23 June London, England: guardian Media Group. Retrieved 7 September Calling it the third part of a trilogy formed by earlier dystopian satires Brazil and 12 Monkeys , Gilliam says Retrieved 16 October 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 Liquid metal: the science fiction film reader. Wallflower Press. Archived from the original on 7 February Retrieved 14 April The Village Voice.
Der Mythos „Brazil“ begann schon lange bevor der Film zum ersten Mal in den Kinos vorgeführt wurde. Als Terry Gilliam dem US-Studio Universal im Jahr . Überladenheit, auf eine sympathische Art, ist das kennzeichnende Merkmal dieses Films. Die Filmzitate laufen hier genauso Amok (und immer ironisch verfremdet. Brazil jetzt legal online anschauen. Der Film ist aktuell bei Amazon, Joyn, Sky Store, iTunes, Rakuten TV, Videoload, CHILI verfügbar. Sam Lowry arbeitet in. Diese Film-Erfahrung sollte nicht prätentiös sein, sondern als Training dienen. Film Brasil & Jorge Am 1. März schrieb Oiticica das Drehbuch für seinen. Wikiquote U 745 quotations related to: Brazil film. Calling it the third part of a trilogy formed by earlier dystopian satires Brazil and 12 MonkeysGilliam says Helpmann Kim Patrizia Polonski Unfortunately, that bastard Michael Radford did a version of and Anna Faris Hot called itso I was blown. Sam is told that Jill was killed while resisting arrest. Crazy Credits The only credits at the start of the film were the preliminary studio credits, a credit for Gilliam, and the title. Jaffe Ian Richardson : Mr. Sam verliebt sich sofort in die attraktive Blonde. Irgendwo im Buttle einen Entschädigungsscheck vorbeibringt, erwartet ihn jedoch eine Überraschung in Form der Nachbarin Jill Kim Greist - in ihr erkennt er die Frau seiner Träume wieder. Namensräume Artikel Diskussion. Dieser berichtet Game Of Thrones Youtube von der geplanten Verhaftung Jills. An seinem neuen Arbeitsplatz angekommen macht sich Sam sofort auf die Suche nach seiner neuen Bekanntschaft. Das könnte dich auch interessieren. Ghostface Killah nur, dass sie eine der Hauptverdächtigen in einer mittlerweile 13 Jahre andauernden Terror-Welle ist. Trending: Meist diskutierte Filme. Barbara Hicks. Brazil - Trailer Englisch. User folgen 6 Follower Lies die Kritiken.Brasil Film Meniu de navigare Video
Vamos falar sobre BRAZIL - O FILME? - 1985 - Crítica It then cuts straight to the restaurant explosion scene, with none of Champions League Morgen dialogue leading up to it, beginning only with Shirley offering Sam the salt and the following explosion. Kinox Hobbit for some great streaming picks? Sign In. Director: Terry Gilliam. However, Jack's mask is never explicitly shown and a different, close-up shot is used when Jack confronts Sam in the chair.Director: Terry Gilliam. Available on Amazon. Added to Watchlist. From metacritic. November's Top Streaming Picks.
Scaruffi - Best movies of all times. Science Fiction. European Movies. Share this Rating Title: Brazil 7. Use the HTML below.
You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Edit Cast Cast overview, first billed only: Jonathan Pryce Sam Lowry Robert De Niro Harry Tuttle Katherine Helmond Ida Lowry Ian Holm Kurtzmann Bob Hoskins Spoor Michael Palin Jack Lint Ian Richardson Warrenn Peter Vaughan Helpmann Kim Greist Jill Layton Jim Broadbent Jaffe Barbara Hicks Terrain Charles McKeown Lime Derrick O'Connor Dowser Kathryn Pogson Shirley Bryan Pringle Edit Storyline Sam Lowry Jonathan Pryce is a harried technocrat in a futuristic society that is needlessly convoluted and inefficient.
Taglines: Have a laugh at the horror of things to come. Edit Did You Know? Trivia Favorite movie of Doug Walker , a.
Nostalgia Critic Goofs When Harry Tuttle escapes from Sam Lowry's flat, the front door is shown open from the outside and the room is fully lit.
However in the previous and subsequent shots, the flat is almost dark. TV commercial pitchman : Hi, there.
I want to talk to you about ducts. Crazy Credits The only credits at the start of the film were the preliminary studio credits, a credit for Gilliam, and the title.
All other credits are at the end. Although commonplace today, the lack of full opening credits was still unusual in All versions of the film, including the "Love Conquers All" edit follow this format.
Alternate Versions The Sid Sheinberg Edit, never released but prepared for syndicated television, makes many significant changes. Several lines of dialogue were changed, using many alternative and unused shots.
The movie was edited down to 94 minutes, removing many major scenes, placing more emphasis on Tuttle's character and Sam's relationship with Jill.
The opening Central Services advertisement for ducts stops just before the shop window explodes. It then cuts straight to the restaurant explosion scene, with none of the dialogue leading up to it, beginning only with Shirley offering Sam the salt and the following explosion.
The title "Brazil" then appears and the scene ends. During the prologue in which the fly falls in the typewriter, the scene cuts back and forth to text on a computer screen explaining the plot premise, including a voice over reading it aloud.
All the fantasy sequences are missing, except the scene of Sam flying through clouds - which is shortened and has a glowing effect applied to indicate it is a dream.
The screens change to show Jill as she appears in Sam's dreams. It is never stated that Mr Buttle is dead, only asked by his wife. Lots of the swearing was dubbed over with tamer dialogue, often very badly.
Several of Sam's swears are replaced with "Judas! Alternative dialogue in the scene in Jack's office. In this version, Sam puts on the suit earlier before having a conversation with Jack about Tuttle, and Jack's daughter is never shown on screen.
A cut of Casablanca featuring the line "Here's lookin' at you, kid. Extended dialogue between Jill and Sam in the truck.
You don't see the guard on fire when the Police vehicle crashes after the truck chase. When armed guards manhandle Jill after the apartment store explosion, Sam simply picks up a plastic arm from a shop dummy and prepares to fight.
The giant samurai warrior is not seen at all in this version. Extended, more romantic dialogue between Sam and Jill after Tuttle switches the pipes at Sam's flat.
Jill explains to Sam that she "looked him up" to find out where he lived. After Sam is arrested, it cuts straight to the torture chamber scene, as in the US theatrical cut.
However, Jack's mask is never explicitly shown and a different, close-up shot is used when Jack confronts Sam in the chair.
It has since become a cult film. In , a poll of actors, directors, writers, producers, and critics for Time Out magazine saw it ranked the 24th best British film ever.
In a dystopian, polluted , over consumerist , hyper-bureaucratic alternative present day , Sam Lowry is a low-level government employee who frequently daydreams of himself as a winged warrior saving a damsel in distress.
One day shortly before Christmas a fly becomes jammed in a teleprinter , misprinting a copy of an arrest warrant it was receiving resulting in the arrest and accidental death during interrogation of cobbler Archibald Buttle instead of renegade heating engineer and suspected terrorist Archibald Tuttle because Buttle's heart condition didn't appear on Tuttle's medical files that were provided to Information Retrieval.
Sam discovers the mistake when he discovers the wrong bank account had been debited for the arrest and visits Buttle's widow to give her the refund where he encounters the upstairs neighbour Jill Layton, and is astonished to discover that she resembles the woman from his dreams.
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.
Sam approaches Jill, but she avoids giving him full details, worried the government will track her down. Sam reports a fault in his apartment's air conditioning.
Central Services are uncooperative, but then Tuttle, who used to work for Central Services but left because of his dislike of the tedious and repetitive paperwork, unexpectedly comes to his assistance.
Tuttle repairs Sam's air conditioning, but when two Central Services workers, Spoor and Dowser, arrive, Sam has to fob them off to let Tuttle escape.
The workers later return to demolish Sam's ducts and seize his apartment under pretence of fixing the system.
Sam discovers Jill's records have been classified and the only way to access them is to be promoted to Information Retrieval.
He has previously turned down a promotion arranged by his mother, Ida, who is obsessed with the rejuvenating plastic surgery of cosmetic surgeon Dr Jaffe.
Having obtained Jill's records, Sam tracks her down before she can be arrested, then falsifies the records to indicate her death, allowing her to escape pursuit.
The two share a romantic night together, but are apprehended by the government at gunpoint. 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.
Sam is told that Jill was killed while resisting arrest. 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 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 excessive 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.
Guards disrupt the funeral, and Sam falls into the open casket and 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: in reality, he is still strapped to the chair.
It is implied that he has been lobotomised by Jack. Sam remains in the chair, smiling and humming " Aquarela do Brasil " to himself. 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.
In an interview with Salman Rushdie , Gilliam stated:. Brazil came specifically from the time, from the approaching of It was looming.
Unfortunately, that bastard Michael Radford did a version of and he called it , so I was blown. Gilliam sometimes refers to this film as the second in his "Trilogy of Imagination" films, starting with Time Bandits and ending with The Adventures of Baron Munchausen In , Gilliam also called Brazil the first instalment of a dystopian satire trilogy it forms with 's 12 Monkeys and 's The Zero Theorem [30] though he later denied having said this [31].
Gilliam has stated that Brazil was inspired by George Orwell 's Nineteen Eighty-Four —which he has admitted never having read [22] —but is written from a contemporary perspective rather than looking to the future as Orwell did.
In Gilliam's words, his film was "the Nineteen Eighty-Four for Or Cicero, Illinois , seen through the bottom of a beer bottle.
The result is an anachronistic technology, "a view of what the s might have looked like as viewed from the perspective of a s filmmaker" [38] which has been dubbed " retro-futurism " by fellow filmmakers Jean-Pierre Jeunet and Marc Caro.
Heath Robinson , published between and 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 used to mainstream Hollywood productions, Gilliam made the film's wide-angle shots with 14mm Zeiss , 11mm, and 9.
The song is a musical ode to the Brazilian motherland. Geoff Muldaur 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 Terry Gilliam's 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.
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: [47]. 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. 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 " Gilliam's original cut of the film is 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.
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.
The site's critical consensus reads "Brazil, Terry Gilliam's visionary Orwellian fantasy, is an audacious dark comedy, filled with strange, imaginative visuals.
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".
Ebert wrote positively of certain scenes, especially one 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. In , Total Film named Brazil the 20th-greatest British movie of all time.
In , Time film reviewers Richard Corliss and Richard Schickel included Brazil in an unordered list of the best films of all time. Wired ranked Brazil number 5 in its list of the top 20 sci-fi movies.
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.
The packaging for the and three-disc box sets is identical in appearance, but the latter release is compatible with widescreen televisions. Except the single-disc version, all versions have the same special features: a minute cut of the film referred to by Gilliam as the "fifth and final cut" , Sheinberg's minute "Love Conquers All" cut for syndicated television, and various galleries and featurettes.
It contains only that version of the film and no extra features. The production design and lighting style of Tim Burton's Batman have been compared to Brazil.
The highly technological aesthetics of Brazil inspired the set design of Max Cohen's apartment in the film Pi. The dystopian premise of the video game We Happy Few was largely inspired by Brazil.
From Wikipedia, the free encyclopedia. Theatrical release poster by Bill Garland. Embassy International Pictures [1] : 1 Brazil Productions [2] [3] [4].
Release date. Running time. Palgrave Macmillan. Monthly Film Bulletin. British Film Institute. British Science Fiction Cinema.
British Board of Film Classification. Retrieved 20 January London: British Film Institute. Archived from the original on 11 July Retrieved 21 August Box Office Mojo.
Santa Barbara: University of California Press. Retrieved 29 October The Guardian. Text and Performance Quarterly. Retrieved 22 January Archived from the original DOC on 13 July The Gemsbok.
Retrieved 30 July Brazil Media notes. Gilliam, Terry director.
die sehr ausgezeichnete Idee und ist termingemäß