"BRAZIL" : (Enigmatic Video Risk) While whimsical and packaged with high-concept cooler than cool sets providing an almost unending sea of images (many of them brilliant enough for more than one movie), this film is unsettling, and depending on your patience, too much of a mess to leave you satisfied. On the other hand, if you are patient and do not spend a great deal of time trying to unravel the riddle of a story (at least, upon the first viewing), it may be appealing. Certainly, a must see for film buffs and fans of its director, Terry Gilliam.

THE PLOT : Something about a rich kid (Jonathan Pryce of "Tomorrow Never Dies") in a netherworld 20th Century (that looks nothing like our 20th) rebelling against his controlling connected mother. I would agree with many reviewers who compare the story to Orwell's "1984," with a heavy emphasis on weird technology. Oh yeah, there is this odd, even intentionally unconvincing love story, involving Pryce's character finding the woman of his dreams, literally.

THE REVIEW : There is this neat little interview with the Director, Terry Gilliam, in which Mr. Gilliam was asked by the interviewer about the difficulty in absorbing the detail of the film in one sitting. Mr. Gilliam responded as follows:

I actually design it that way so that, I hope, people will go back and see it again and again. Because I find that most films are a little bit like fast food. I mean you have them and it's fine and it's over and done with and that's the end of it. And I like the idea of going back and rediscovering, or discovering new things all the time. copyright © 1986, 1997 David Morgan

One of the advantages I enjoy when writing these articles is that I can draw on the reviews and writings of others. There can be no doubt that "Brazil" is a highly regarded film in many critic's circles. Highly regarded for exactly what is important to note, however.

"Brazil" is replete with wonderfully colorful images that can amuse, shock, and amaze. Above is one amusing turned disturbing image that is pervasive throughout the film. We see the mother of the protagonist, Sam Lowry, having her face surgically manipulated by a surreal plastic surgeon. This image plays humorous at first then the audience is made uncomfortable, especially as the film progresses.

Although clearly taking place in some netherworld, "Brazil," at times, provides timeless biting satire of vice and foolishness in our world--its fascination with plastic surgery, bureaucratic red tape, and the rich/poor gap, are examples. The Orwellian big brother angle is heavy-handed and tired. Beware the humor of the film's first half, you are being set up (and besides its dark humor). The early tragic moments, its best, are hints of things to come. In one early scene, Sam Lowry delivers a "refund" check to the wife of a man who died after being falsely arrested based on mistaken identity resulting from the death of an insect (the film is weirdly imaginative). As he attempts to hand the check to the grief-stricken widow, he expects the widow to be thankful and to concentrate on the breach in procedure associated with the delivery. He even expects her to sign a receipt. He is oblivious to the gravity of the tragedy that has occurred her life. Pryce plays the scene perfectly.

Later in the film, in one outlandish chain of events, Sam's selfish paranoia results in the fiery death of police officers. The expression on Sam's face when he notices the destructive aftermath is effective. Sam is wounded by his activities and reaches a point of no return. His actions will not be excused by some political rationalization. I will not spoil further.

Jesper Bjerg, the fellow whose John Carpenter site helped me with last week's review, told me in an email that he never quite understood "Brazil." I don't understand much of it either, but when a film looks this good and contains so many excellent satiric episodes, it is hard to dislike. One thing for sure, fast food it ain't.

You can read more about Director Terry Gilliam. This site contains great Production Design Sketches .

Jonathan Hickman