147) BrazilDirector: Terry GilliamYear: 1985Plot Summary: A bureaucrat in a retro-future world tries to correct an administrative error and himself becomes an enemy of the state.
Many people praise Terry Gilliam for his incredible use of imagery, whether it's the junk-deco sets and outrageous costume design or the unique camerawork and intricate colour schemes. However, while the British filmmaker does create a brilliantly visceral work of cinema, it's the social commentary he incorporates into his work that makes him such a terrific director. And none of his films do a better job of satirising the modern world than Brazil.
Set presumably in the future, Brazil portrays a world in which society has, first of all, become completely dependant on technology. Gilliam presents this right in the opening scene as we witness Sam's morning routine before he goes to work. He has a house full of modern gadgets that are all supposed to wake him up, turn on his shower, make his breakfast and dress him. However, one of the main themes of Brazil is how, despite how our lives rely on this technology, it's not completely foolproof. Therefore, also in this aforementioned scene, we see the same technology forget to wake him up and accidentally pour his coffee over his toast instead of in the sugar filled mug.
Second of all, Brazil shows a world controlled by a totalitarian government similar to that presented in George Orwell's classic novel 1984 too. There are parallels between the Ministry Of Information and the Nazi regime, in fact, in both the costume design as the police are dressed in uniforms reminiscent of the SS and the eagle statue at the entrance to the building.
The narrative focusses on Sam's desire to escape this terrible place as he pursues a world free from the totalitarian regime he is buried under. He hopes to achieve this when he encounters a girl who has been in his dreams, believing that they will run away together and live happily ever after.
The pursuit of these fantasies creates an odd contrast as his fairytale like quest clashes with the dystopian society. However, this also introduces another of the main enigmas in Brazil: Can dreams provide an escape from the modern world? This is also presented in Sam's dream sequences as the open, colourful imagery suggests the possibility of escape from the claustrophobic, metallic mise-en-scene of the real world. The same can be said for the tranquil opening shot of clouds in a clear blue sky.
However, Gilliam's answer to this one is a pessimistic one as the movie contrasts this aforementioned opening scene with the final shot of Sam locked in a big, grey chamber and strapped to a torture chair.
A fantastic science-fiction story that is rich in subtext and, although filmed in the 1980s, is still as relevant today as it ever has been. Brazil is one of the finest movies that British cinema has ever created.
5/5
1 comments:
Masterwork. In every single possible way.
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