The Age of Commercialism

Excellent but underrated film

Absolutely brilliant

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Had no idea what to expect when I decided to watch this movie. I searched for good dystopian movies and this showed up. It was surprisingly great! The concept connected very well to me. This movie has a lot of good jokes and gags that seemingly aren't very funny at face value, but after a minute or so (or after you re-watch the whole movie) actually turns out to be very funny!There are some visually interesting shots, and I actually cared for the main character when I watched this movie. Something that occurs rarely at this level for me. Recommended if you like dystopian sci-fi. You know what, watch it anyways.

In the wake of 1984 and with the work of Kafka in mind, the former Monty Pyton Terry Gilliam realises a load of movie Hume black and surprising in dramatic structure as in that view. Rich in Cinefile quotations but above all to find very successful comic and pungent satirical ideas, Brazil is a complex and original, sometimes confused but often brilliant. The ability to Gilliam to build the stage space and resume it as efficiently as possible is still unsurpassed, and his idea was to present the film as a work of the early sixties psychedelic culture is what allows the film to have the charm that has, to the boundless imagination of its director. But it is also what convinced the executives at Universal to keep it long in the drawer, then distributing it in the cut version in the United States.The hero of "Brazil" is Sam Lowry (Jonathan Pryce), a meek, desperate little man who works at a computer terminal all day. Occasionally he cheats; when the boss isn't looking, he and his fellow workers switch the screens of their computers to reruns of exciting old TV programs. Sam knows his life is drab and lockstep, but he sees no way out of it. His only escape is into his fantasies - into glorious dreams of flying high above all the petty cares of the world, urged on by the vision of a beautiful woman.His everyday life offers no such possibilities. Even the basic mechanisms of life support seem to be failing, and one scene early in the movie has Robert De Niro in a walk-on as an illegal free- lance repairman who defies the state by fixing things. De Niro makes his escape by sliding down long cables to freedom, like Spider-Man. For Sam, there seems to be no escape. The scene of Brazil, Jonathan Pryce offers what is probably the best performance of his career and Robert De Niro is little more than a cameo, however managing to draw their own character as the only true hero of the film, much more important than the dream Sam.All of this is strangely familiar; the outlines of "Brazil" are much the same as those of 1984, but the approach is different.Just as George Orwell's 1984 is an alternate vision of the past, present and future, so "Brazil" is a variation of Orwell's novel. The movie happens in a time and place that seem vaguely like our own, but with different graphics, hardware and politics. Society is controlled by a monolithic organisation, and citizens lead a life of paranoia and control. Thought police are likely to come crashing through the ceiling and start bashing dissenters. Life is mean and grim.Nominated for an Oscar for Original Screenplay (Gilliam, Tom Stoppard and Charles McKeown) and set design (Norman Garwood), as well as music, sound and song.Steven Soderbergh used the name of the protagonist of this film, Sam Lowry, as a pseudonym of his work as a screenwriter for Schizopolis , the film narrative experimental-ism Brazil should certainly something.

The bureaucracy applied to the fiction that conveys the real, how wrong a science fiction movie that has as its theme the most boring thing in the world could go wrong? Many, did not give, quite the contrary, he can criticize at the same time that bothers and enchants for his wealth of detail and his ironic black humor completely enthralling. Terry Gilliam participated in the script of the film, which is said to be confused in his actions, but he is linear and despite creating a dystopian future austadoramente verosimílimo and incredible, where it shows the totality of a state on the market and its Society, sunk in bureaucracy, damaging public service, inhibiting private initiative, turning servers into numbers, demanding goals without working conditions, and living the paranoia of a terrorist attack, its future is appalling and annoying. - Who said the future will be fun? Within this universe we have Sam Lowry (Jonathan Pryce), a public servant who after falling in love with a woman turns out to be confused with a state enemy, Terry comes from month payton, so his humor is black, funny, rough and critical and completely Absurd, may even be swollen, but it is pleasant. Terry's criticism of the totality of the perfect state, for it shows the difficulty of small acts, beyond the search for love, lose of indignity amid state control, the absurd search for beauty, and control. With a gray photograph reminiscent of Blade Runner, he is almost sensuous in his cyberpunk aesthetic mixed with the ordinary, with a wealth of incredible detail reminiscent of "2001- A Space Odyssey" you notice the care of Terry and his team in Every minute of the movie, alias, the art direction of this film is something completely unbelievable, its soundtrack is also touching, and too much house with the movie, its rhythm talks and marries the screen. The performances in general I think weak, Jonathan Pryce even has its moments but does not get to excite Kim Greist is pessima and of niro does not pass feeling some, although its character is great. "Brazil" can be fat, and you will feel the time, but admire the beauty of your art direction and contemplate a complete and sensational criticism putting itself as one of the best black humor movies I have ever seen in my life.

This review does contain a spoiler to the ending! Please watch the movie Brazil before reading this review! Enjoy! Reality and Fantasy… these concepts are heavy themes in the movie Brazil (just look at the film's poster artwork!). Cross-references are predominant at critical shifts. One example is when Sam leaves Jill's apartment and the word REALITY is graffitied in the ally. This at the same time the fantasy theme music "Brazil" can be heard playing over the radio in his car. This is clue to the audience, telling us we must be careful what we believe is truly going on. This fight between fantasy and reality on screen is sometimes called "magical realism." This is how director Terry Gillian chose to describe the film given it presumably takes place in our real world but with everything imagined so differently. The world as it would look under an oppressive, secretive government.In most dystopia films the hero tends to believe in his fantasies of a better life so powerfully that it launches him to combat his reality. It's that fantasy that gives him the courage to become a hero. This is nowhere more true than in Sam. His life is so out of balance that he often will voluntarily gets lost in his fantasy of flying high in the clouds where he meets a beautiful woman. This is true for some people, although it tends to go by the term, Delusion. I often wonder, If you sit in your bed for hours and dream about your fantasies, then is it true that your fantasy is your reality for the time you spend sitting there? Fantasy & reality, the cycle of life and death, and the concept that life is just a dream are fundamental ideas in most secret societies. The Ministry of Information is a type of secret society. The symbols of secret societies are often in plain view and will reveal many truths to those who are inducted into the society, or those who are able to analyze the messages themselves. I believe the shape of the letter "i" is indicative of two things. One, it's a cross-reference to the "all seeing 'eye'" and two, its in the shape of a coffin. The information that differentiates us from animals, the knowledge of our own death.Sam's dreams are his way of escaping his reality. If he consumes himself in his fantasy long enough then in essence that becomes his reality and the horrific presence the Ministry plays in his life. This is true in the final torture scene as well. He checks out of the real world and fantasizes what he would have liked to have had happened. This is how he escapes the pain of his torture. but even that fantasy crumples apart into a nightmare.Gillian also pays attention to the different ways people observe their fantasies. Sam's mother, for example, fantasizes about being young and has every plastic surgery she can to maintain a "youthful" appearance. She is actually truly altering her appearance. She looks in the mirror and is so satisfied, but is she really beautiful? And again, some people do this only it tends to be called Body Dysmorphia. But this is true for Sam too. In his fantasy himself and Jill are both much more good looking then they actually are.