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Charged with treason for abusing his newly acquired position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station [[cooling tower]]), to be tortured by his old "friend", Jack Lint ([[Michael Palin]]), who is wearing a mask seen earlier in Sam's dreams and had previously renounced their friendship in favour of loyalty to the Ministry. Sam also learns that Jill had been killed resisting arrest. However, before Jack manages to begin the torture, Tuttle and other members of the resistance break into the Ministry. The resistance shoots Jack, rescues Sam, and blows up the Ministry building as they flee. Sam and Tuttle run off together, but Tuttle disappears amid a mass of scraps of paper from the destroyed Ministry. Sam runs to his mother attending a funeral for a friend who died of excessive cosmetic surgery. Finding his mother now looking like Jill and fawned over by a flock of juvenile admirers, Sam falls into the open casket, falling through an empty black void. He lands in a world from his daydreams, and attempts escape up a pile of flex-ducts from the police and imaginary monsters. He finds a door at the top of the pile and, passing through it, is surprised to find himself in a trailer driven by Jill. The two drive away from the city together.
Charged with treason for abusing his newly acquired position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station [[cooling tower]]), to be tortured by his old "friend", Jack Lint ([[Michael Palin]]), who is wearing a mask seen earlier in Sam's dreams and had previously renounced their friendship in favour of loyalty to the Ministry. Sam also learns that Jill had been killed resisting arrest. However, before Jack manages to begin the torture, Tuttle and other members of the resistance break into the Ministry. The resistance shoots Jack, rescues Sam, and blows up the Ministry building as they flee. Sam and Tuttle run off together, but Tuttle disappears amid a mass of scraps of paper from the destroyed Ministry. Sam runs to his mother attending a funeral for a friend who died of excessive cosmetic surgery. Finding his mother now looking like Jill and fawned over by a flock of juvenile admirers, Sam falls into the open casket, falling through an empty black void. He lands in a world from his daydreams, and attempts escape up a pile of flex-ducts from the police and imaginary monsters. He finds a door at the top of the pile and, passing through it, is surprised to find himself in a trailer driven by Jill. The two drive away from the city together.


However, this "happy ending" is all a product of Sam's delusions: Sam is still strapped to the chair and observed by Jack and Deputy Minister Mr. Helpmann ([[Peter Vaughan]]), who is portrayed along the film as a good "friend" of Sam's family. Realising that Sam has grown catatonic, with a smile on his face and humming "Brazil", the two declare Sam a lost cause, and exit the room as the film ends...the difference between Orwell's ''Nineteen Eighty-Four'' and Gilliam's ''Brazil'' being that Sam Lowry--in his catatonia--did not capitulate, as did Orwell's main character, Winston Smith in ''Nineteen Eighty-Four.''
However, this "happy ending" is all a product of Sam's delusions: Sam is still strapped to the chair and observed by Jack and Deputy Minister Mr. Helpmann ([[Peter Vaughan]]), who is portrayed along the film as a good "friend" of Sam's family. Realising that Sam has grown catatonic, with a smile on his face and humming "Brazil", the two declare Sam a lost cause, and exit the room as the film ends.


==Cast==
==Cast==
Line 77: Line 77:
Gilliam sometimes refers to this film as the second in his "[[Trilogy]] of Imagination" films, starting with ''[[Time Bandits]]'' (1981) and ending with ''[[The Adventures of Baron Munchausen]]'' (1989).<ref name="essay" /> All are about the "craziness of our awkwardly ordered society and the desire to escape it through whatever means possible."<ref name="essay" /> All three movies focus on these struggles and attempts to escape them through imagination&mdash;''Time Bandits'', through the eyes of a child, ''Brazil'', through the eyes of a man in his thirties, and ''Munchausen'', through the eyes of an elderly man.
Gilliam sometimes refers to this film as the second in his "[[Trilogy]] of Imagination" films, starting with ''[[Time Bandits]]'' (1981) and ending with ''[[The Adventures of Baron Munchausen]]'' (1989).<ref name="essay" /> All are about the "craziness of our awkwardly ordered society and the desire to escape it through whatever means possible."<ref name="essay" /> All three movies focus on these struggles and attempts to escape them through imagination&mdash;''Time Bandits'', through the eyes of a child, ''Brazil'', through the eyes of a man in his thirties, and ''Munchausen'', through the eyes of an elderly man.


Gilliam has stated that ''Brazil'' was inspired by [[George Orwell]]'s ''Nineteen Eighty-Four''&mdash;which he has admitted never having read<ref name="CriterionCommentary">Gilliam, in his audio commentary for [[The Criterion Collection]] edition of ''Brazil''</ref>&mdash;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 1984."
Gilliam has stated that ''Brazil'' was inspired by [[George Orwell]]'s ''Nineteen Eighty-Four''&mdash;which he has admitted never having read<ref name="CriterionCommentary">Gilliam, in his audio commentary for [[The Criterion Collection]] edition of ''Brazil''</ref>&mdash;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 1984." Critics and analysts have pointed out many similarities and differences between the two, an example being that contrary to [[Winston Smith]], Sam Lowry's spirit did not capitulate as he sunk into complete catatonia.<ref name="nau">{{cite web | url=http://jan.ucc.nau.edu/rar/papers/RogersTPQ1990.pdf | title=''1984'' to ''Brazil'': From the Pessimism of Reality to the Hope of Dreams | publisher=[[Northern Arizona University]] | date=October 1, 1990 | accessdate=March 28, 2012 | author=[[Richard A. Rogers|Rogers, Richard A.]]}}</ref><ref name="liq">{{cite book | title=Liquid metal: the science fiction film reader | publisher=Wallflower Press | author=Redmond, Sean | year=2004 | pages=66-69 | isbn=1903364876 | url=http://books.google.com/books?id=ha5O_0BCCrgC}}</ref>


===Casting===
===Casting===

Revision as of 11:09, 28 March 2012

For the 1944 film, see Brazil (1944 film).
Brazil
American Theatrical release poster
Directed byTerry Gilliam
Written byTerry Gilliam
Tom Stoppard
Charles McKeown
Produced byArnon Milchan
StarringJonathan Pryce
Robert De Niro
Katherine Helmond
Ian Holm
Bob Hoskins
Michael Palin
Kim Greist
CinematographyRoger Pratt
Edited byJulian Doyle
Music byMichael Kamen
Production
company
Distributed byUniversal Studios (US)
20th Century Fox (Europe)
Release dates
  • 20 February 1985 (1985-02-20) (France)
  • 22 February 1985 (1985-02-22) (UK)
  • 18 December 1985 (1985-12-18) (US)
Running time
143 minutes (Original cut)
132 minutes (American cut)
94 minutes ("Love Conquers All")
CountryTemplate:Film UK
LanguageEnglish
Budget$15 million
Box office$9,929,135

Brazil is a 1985 British science fiction fantasy/black comedy film directed by Terry Gilliam. It was written by Gilliam, Charles McKeown, and Tom Stoppard and stars Jonathan Pryce. The film also features Robert De Niro, Kim Greist, Michael Palin, Katherine Helmond, Bob Hoskins, and Ian Holm. John Scalzi's Rough Guide to Sci-Fi Movies describes the film as a "dystopian satire".

The film centres on Sam Lowry, a man trying to find a woman who appears in his dreams while he is working in a mind-numbing job and living a life in a small apartment, set in a dystopian world in which there is an over-reliance on poorly maintained (and rather whimsical) machines. Brazil's bureaucratic, totalitarian government is reminiscent of the government depicted in George Orwell's Nineteen Eighty-Four,[1][2] except that it has a buffoonish, slapstick quality and lacks a Big Brother figure.

Jack Mathews, film critic and author of The Battle of Brazil (1987), described the film as "satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life".[3] Though a success in Europe, the film was unsuccessful in its initial North America release. It has since become a cult film.

The film is named after the recurrent theme song, "Aquarela do Brasil".

Plot

Sam Lowry (Jonathan Pryce) is a low-level government employee, who has frequent daydreams of saving a beautiful maiden. One day he is assigned the task of trying to rectify an error caused by a fly getting jammed in a printer, which caused it to misprint a file, resulting in the incarceration and death during interrogation of Mr. Archibald Buttle instead of the suspected "terrorist", Archibald Tuttle. When Sam visits Buttle's widow, he discovers Jill Layton (Kim Greist), the upstairs neighbour of the Buttles, and is astonished to see that she has the face of the woman from his recurring dreams. Jill is trying to help Mrs. Buttle find out what happened to her husband, but has become sick of dealing with the bureaucracy. Unbeknownst to her, she is now considered a terrorist friend of Tuttle for attempting to report the mistake of Buttle's arrest in Tuttle's place to a bureaucracy that would not admit such an error. When Sam tries to approach her, she is very cautious and avoids giving Sam full details, worried the government will track her down. During this time, Sam comes in contact with the real Tuttle (Robert De Niro), a renegade air conditioning specialist who once worked for the government but left due to his dislike of paperwork. Tuttle helps Sam deal with two Central Services workers, Spoor (Bob Hoskins) and Dowser (Derrick O'Connor), who later return to demolish Sam's ducts and seize his apartment under the guise of fixing the air conditioning.

Sam discovers that the only way to learn about Jill is to get transferred to Information Retrieval, where he would have access to her classified records. He requests the help of his mother, Ida (Katherine Helmond), vainly addicted to rejuvenating plastic surgery under the care of cosmetic surgeon Dr. Jaffe (Jim Broadbent), as she has connections to high ranking officers and is able to help her son get the position. Delighted that her son has finally shown ambition – having previously turned down similar offers from her – Ida arranges for Sam's promotion. Sam eventually obtains Jill's records and tracks her down before she is arrested, then falsifies her records to make her appear deceased, allowing her to escape the bureaucracy. The two share a romantic night together, but they are quickly apprehended by the government at gunpoint.

Charged with treason for abusing his newly acquired position, Sam is restrained to a chair in a large, empty cylindrical room (the interior of a power station cooling tower), to be tortured by his old "friend", Jack Lint (Michael Palin), who is wearing a mask seen earlier in Sam's dreams and had previously renounced their friendship in favour of loyalty to the Ministry. Sam also learns that Jill had been killed resisting arrest. However, before Jack manages to begin the torture, Tuttle and other members of the resistance break into the Ministry. The resistance shoots Jack, rescues Sam, and blows up the Ministry building as they flee. Sam and Tuttle run off together, but Tuttle disappears amid a mass of scraps of paper from the destroyed Ministry. Sam runs to his mother attending a funeral for a friend who died of excessive cosmetic surgery. Finding his mother now looking like Jill and fawned over by a flock of juvenile admirers, Sam falls into the open casket, falling through an empty black void. He lands in a world from his daydreams, and attempts escape up a pile of flex-ducts from the police and imaginary monsters. He finds a door at the top of the pile and, passing through it, is surprised to find himself in a trailer driven by Jill. The two drive away from the city together.

However, this "happy ending" is all a product of Sam's delusions: Sam is still strapped to the chair and observed by Jack and Deputy Minister Mr. Helpmann (Peter Vaughan), who is portrayed along the film as a good "friend" of Sam's family. Realising that Sam has grown catatonic, with a smile on his face and humming "Brazil", the two declare Sam a lost cause, and exit the room as the film ends.

Cast

Production

Writing

Gilliam developed the story and wrote the first draft of the screenplay with Charles Alverson, who was paid for his work but ultimately uncredited in the final film. For nearly 20 years, Gilliam denied that Alverson had made any material contribution to the script. But then when the first draft was published, and original in-progress documents emerged from Alverson’s files, Gilliam begrudgingly changed his story. This was a bit 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.[4] Gilliam, McKeown, and Stoppard collaborated on further drafts. Brazil was developed under the titles The Ministry and 1984 ½, the latter a nod not only to Orwell's original 1984 but also to 8½ by Federico Fellini, a director whom Gilliam often cites as one of the defining influences on his visual style when directing.[5] During the film's production, other working titles floated about, including The Ministry of Torture, How I Learned to Live with the System - So Far,[6] and So That's Why the Bourgeoisie Sucks,[7] before settling with Brazil relating to the name of its escapist signature tune.

Gilliam sometimes refers to this film as the second in his "Trilogy of Imagination" films, starting with Time Bandits (1981) and ending with The Adventures of Baron Munchausen (1989).[3] All are about the "craziness of our awkwardly ordered society and the desire to escape it through whatever means possible."[3] All three movies focus on these struggles and attempts to escape them through imagination—Time Bandits, through the eyes of a child, Brazil, through the eyes of a man in his thirties, and Munchausen, through the eyes of an elderly man.

Gilliam has stated that Brazil was inspired by George Orwell's Nineteen Eighty-Four—which he has admitted never having read[8]—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 1984." Critics and analysts have pointed out many similarities and differences between the two, an example being that contrary to Winston Smith, Sam Lowry's spirit did not capitulate as he sunk into complete catatonia.[9][10]

Casting

Robert De Niro originally wanted to play Jack, but Gilliam had already promised the role to Michael Palin. De Niro still wanted to be in the film, and so was cast as Tuttle instead.[8]

Director Gilliam's daughter, Holly, plays Jack Lint's daughter, Holly.[8] Gilliam himself has a brief cameo appearance as a mysterious smoking man who appears to be spying on Sam during his visit to the Buttle family home.

Art design

Logo of the Ministry of Information

Michael Atkinson of The Village Voice wrote, "Gilliam understood that all futuristic films end up quaintly evoking the naïve past in which they were made, and turned the principle into a coherent comic aesthetic."[11] The result has been dubbed "retro-futurism" by fellow filmmakers Jean-Pierre Jeunet and Marc Caro.[11] Generally called "sci-fi noir," it is "a view of what the 1980s might have looked like as viewed from the perspective of a 1940s filmmaker."[12] It is an eclectic yet coherent mixture of styles and production designs derived from Fritz Lang's films (particularly Metropolis and M) or film noir pictures starring Humphrey Bogart: "On the other hand, Sam's reality has a '40s noir feel. Some sequences are shot to recall images of Humphrey Bogart on the hunt and one character (Harvey Lime) may be named as an homage to The Third Man's Harry Lime."[12] A number of reviewers also saw a distinct influence of German Expressionism, as the 1920s seminal, more nightmarish, predecessor to 1940s film noir, in general in how Gilliam made cunning use of lighting and set designs.[13][14] A brief sequence towards the end, in which resistance fighters flee from government soldiers on the steps of the Ministry, pays homage to the Odessa Steps sequence in Eisenstein's Battleship Potemkin (1925).[8]

This eclectic virtuosity and attention to detail in 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 9.8mm (Kinoptic) lenses, the latter being a recent technological innovation at the time as one of the first lenses of that short a focal length that did not fish-eye.[15] In fact, over the years, the 14mm lens has become informally known as "The Gilliam" among film-makers due to the director's frequent use of it since Brazil.[16]

One visual element which figures prominently in the movie is the ducts, specifically the snakelike "flex-ducts" used in modern construction. The film even opens with an advertisement for different styles of ducting available for homes as seen on a display of television sets in a store front window.

Sam's apartment is dominated by a wall consisting entirely of metal panels which conceal a woefully outdated and complex air-conditioning system – the guerrilla engineer Tuttle is the only person able to tame it. Later, Sam lunches in a restaurant dominated by a giant centerpiece where the "flowers" are actually flex-ducts. Still later, when Sam makes a potentially seditious nighttime visit to his office, the emptiness of the government building's gigantic lobby is set off by maintenance men's floor buffing machines, trailing long cords of flex-duct.

In the working-class Buttle home, the families have to live their lives while giving way to ducts that in fact hinder their daily activities. In Sam's home, the ducts are not visible initially, but make their presence felt as an undertone when they break down. In the Department of Records, the ducts are a visible part of the environment, but above everyone's heads. Finally, in the dreaded Ministry of Information, there are very few ducts.

The reference to form 27B-6, without which no work can be done by repairmen of the Department of Public Works, is a reference to George Orwell, who lived at 27B Canonbury Square Apartment 6, while writing Nineteen Eighty-Four.[17][18]

Music

Ary Barroso's 1939 song "Aquarela do Brasil" ("Watercolor of Brazil", often simply "Brazil") in a version specifically performed by Geoff Muldaur is the leitmotif of the movie, although other background music is also utilized. Michael Kamen, who scored the music, 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.

Releases

The film was produced by Arnon Milchan's company Embassy International Pictures (not to be confused with Joseph E. Levine's Embassy Pictures). Gilliam's original cut of the film is 142 minutes long and ends on a dark note. This version was released internationally outside the US by 20th Century Fox.

US distribution was handled by Universal. Universal executives thought the ending tested poorly, and Universal chairman Sid Sheinberg insisted on dramatically re-editing the film to give it a happy ending, a decision that Gilliam resisted vigorously. As with the cult science fiction film Blade Runner (1982), which had been released three years earlier, a version of Brazil was created by the movie 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. Eventually, after Gilliam conducted private screenings (without the studio's approval), Brazil was awarded the Los Angeles Film Critics Association award for "Best Picture", which prompted Universal to finally agree to release a modified 132-minute version supervised by Gilliam, in 1985.[3][19]

Home media

In North America, the film was released on VHS and Laserdisc in the 132-minute US version. A slightly modified 142-minute version of the original European cut was first made available in a 5-disc Criterion Collection laserdisc box set in 1996, and is currently available on DVD (referred to in the director's commentary as the "fifth and final cut", it uses the American cloud opening instead of a stark blank screen setting the time and place).[8]

Sheinberg's edit, the 94-minute so-called "Love Conquers All" version, was shown on syndicated television and was first made available for sale to consumers as a separate disc in the Criterion laserdisc box set, and subsequent DVD three-disc set in 1999 (both of which also featured a special video documentary version of Jack Mathews' book, with new Gilliam interviews and tape-recorded interviews from Sid Sheinberg for the original book).

The box set presents the feature film in its correct aspect ratio for the first time, but the version on the original DVD release is not enhanced for newer widescreen TVs. New 16:9-enhanced editions of the film in both a complete set and separate film-only disc were re-issued on DVD by Criterion on September 5, 2006.

A Blu-ray release was released in the U.S. on July 12, 2011 from Universal.[20] However, this release contains only the 132 minute US version of the movie.

Critical response

The film has a 98% on the Rotten Tomatoes Tomatometer, with 39 out of 40 reviewers giving positive reviews. It has received a score of 88 on Metacritic, based on 12 reviews.[21]

Chicago Sun Times film critic Roger Ebert disliked it, giving it 2 out of 4 stars, saying it "I was reminded of a Chaplin film, Modern Times, and reminded, too, that in Chaplin economy and simplicity were virtues, not the enemy."[22]

Los Angeles Times critic Kenneth Turan described the film as "the most potent piece of satiric political cinema since Dr. Strangelove".[3] Janet Maslin of The New York Times was very positive towards the film upon its release, stating "Terry Gilliam's Brazil, a jaunty, wittily observed vision of an extremely bleak future, is a superb example of the power of comedy to underscore serious ideas, even solemn ones."[23]

In 2004, Total Film named Brazil the 20th greatest British movie of all time. In 2005, Time film reviewers Richard Corliss and Richard Schickel named 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 magazines list of the 500 Greatest Films of All Time.[24]

Wired ranked Brazil number 5 in its list of the top 20 sci-fi movies.[25] Entertainment Weekly listed Brazil as the sixth best science-fiction piece of media released since 1982.[26] The magazine also ranked the film #13 on their list of "The Top 50 Cult Films".[27]

The film was nominated for two Academy Awards; for Original Screenplay and Best Art Direction (Norman Garwood, Maggie Gray)[28] According to Gilliam in an interview with Clive James in his online programme Talking in the Library, to his surprise Brazil is apparently a favorite film of the far Right in America.

American Film Institute Lists

Influence

Other films that drew inspiration from Brazil's cinematography, art design, and/or overall atmosphere include Jean-Pierre Jeunet's and Marc Caro's films Delicatessen (1991) and The City of Lost Children (1995),[32] the Coen brothers' The Hudsucker Proxy (1994),[33][34] and Alex Proyas' Dark City (1998).[35][36]

Cinematographer Roger Pratt worked on Tim Burton's Batman, the production design and lighting style of which have been compared to Brazil.[37] Burton and production designer Anton Furst studied Brazil as a reference for the look of their film.[38]

The technology of Brazil inspired the design of Max Cohen's apartment in the film Pi.[39] Brazil also served as an inspiration for the film Sucker Punch (2011).[40]

Brazil has also been recognized as an inspiration for writers and artists of the steampunk sub-culture.[41][42][43]

See also

References

  1. ^ Rogers, Richard A. "1984 to Brazil: From the Pessimism of Reality to the Hope of Dreams" (PDF). Northern Arizona University. Retrieved January 22, 2012.
  2. ^ Bartz, Rob. "Dystopia: A Look at Utopian Societies in Literature". North Dakota State University. Retrieved January 22, 2012.
  3. ^ a b c d e Matthews, Jack (1996). "Dreaming Brazil" (essay accompanying The Criterion Collection DVD release).
  4. ^ Brazil (The Evolution of the 54th Best British Film Ever Made). Orion books Ltd, 2001, edited by Bob McCabe. ISBN 0-7528-3792-3
  5. ^ Terry Gilliam at Senses of Cinema
  6. ^ Tim Dirks: Brazil (1985) on filmsite.org (The greatest films: The "Greatest" and the "Best" in Cinematic History)
  7. ^ Wesley Morris: "Brazil': Paranoia with a dash of Python, San Francisco Examiner, April 30, 1999
  8. ^ a b c d e Gilliam, in his audio commentary for The Criterion Collection edition of Brazil
  9. ^ Rogers, Richard A. (October 1, 1990). "1984 to Brazil: From the Pessimism of Reality to the Hope of Dreams" (PDF). Northern Arizona University. Retrieved March 28, 2012.
  10. ^ Redmond, Sean (2004). Liquid metal: the science fiction film reader. Wallflower Press. pp. 66–69. ISBN 1903364876.
  11. ^ a b Michael Atkinson (1998): "Bravo New Worlds", September 1st 1998
  12. ^ a b James Berardinelli: Brazil on reelviews.net
  13. ^ C. Jerry Kuttner (1994): "Beyond the Golden Age: Film Noir Since the '50s", Bright Lights Film Journal, no. 12 (Spring 1994)
  14. ^ Brazil on Cinemania Movie Reviews
  15. ^ Sheehan, Henry (2006). "A shot to remember: Terry Gilliam on Brazil's rescue scene". DGA Quarterly: Craft Journal of the Directors Guild of America. II (3). Retrieved 2009-10-31. {{cite journal}}: Unknown parameter |month= ignored (help)[dead link]
  16. ^ Stubbs, Phil: "Terry Gilliam talks Tideland," Dreams
  17. ^ Orwell, George (2000). The Collected Essays, Journalism, & Letters, George Orwell: As I please, 1943-1945. Vol. 3. David R. Godine. p. 400. 27b Canonbury Square, Islington, London N1, 18 August 1945 [as return address in correspondence] {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  18. ^ Jura, Jackie (July 14, 2003). "Canonbury Photos". Orwell Today. Retrieved October 24, 2011.
  19. ^ The clashes between Sheinberg and Gilliam are also documented in Matthews' book The Battle of Brazil (1987, ISBN 0-517-56538-2).
  20. ^ http://www.blu-ray.com/news/?id=6116
  21. ^ [1]
  22. ^ Ebert, Roger. "Brazil". Chicago Sun-Times.
  23. ^ Maslin, Janet (December 18, 1985). "The Screen: 'Brazil', From Terry Gilliam". The New York Times. Retrieved November 27, 2010.
  24. ^ "The 500 Greatest Movies Of All Time". Empire. Bauer Media Group. Archived from the original on August 17, 2011. Retrieved August 17, 2011. {{cite web}}: Check date values in: |accessdate= and |archivedate= (help); Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  25. ^ Wired Magazine, Issue 10.06, Jun 2002 (http://www.wired.com/wired/archive/10.06/scifi.html?pg=6)
  26. ^ Josh Wolk (2007-05-07). "The Sci-Fi 25". Entertainment Weekly. Retrieved 2007-06-21. {{cite news}}: Italic or bold markup not allowed in: |publisher= (help)
  27. ^ "The Top 50 Cult Films". Entertainment Weekly. May 23, 2003. {{cite news}}: Cite has empty unknown parameter: |coauthors= (help)
  28. ^ "NY Times: Brazil". NY Times. Retrieved 2009-01-01.
  29. ^ AFI's 100 Years...100 Movies Nominees
  30. ^ AFI's 100 Years...100 Movies (10th Anniversary Edition) Nominees
  31. ^ AFI's 10 Top 10 Ballot
  32. ^ Ximena Gallardo C.; C. Jason Smith (2006). Alien Woman: The Making of Lt. Ellen Ripley. Continuum International Publishing Group. p. 158. ISBN 9780826419101.
  33. ^ Ronald Bergan (2000). The Coen Brothers. New York City: Thunder's Mouth Press. pp. 148–162. ISBN 1-56025-254-5.
  34. ^ James Berardinelli. "The Hudsucker Proxy". ReelViews.net. Retrieved 2008-11-20.
  35. ^ Hicks, Adrienne. "DARK CITY (1998): Critical Review and Bibliography".
  36. ^ Dunne, Susan (2006)."Welcome To Dystopia At Trinity's Cinestudio," Hartford Courant, February 23, 2006
  37. ^ Kehr, Dave (1989-06-23). "Effects Make Batman A Stylized, Dark Adventure". Chicago Tribune. Retrieved 2011-02-06.
  38. ^ Jones, Alan (November 1989). "Batman in Production". Cinefantastique. {{cite news}}: |access-date= requires |url= (help)
  39. ^ Adams, Sam (1998-07-23). "Pi Brain". Philadelphia City Paper. Retrieved 2008-03-10.
  40. ^ Boucher, Geoff. "'Sucker Punch': Zack Snyder says 'big, crazy fairy tale' influenced by 'Brazil'". Los Angeles Times.
  41. ^ Ruth La Ferla "Steampunk Moves Between 2 Worlds" Newsweek, May 8, 2008
  42. ^ Peter Bebergal "The age of steampunk Nostalgia meets the future, joined carefully with brass screws" Boston Globe, August 26, 2007
  43. ^ Brian Braiker "Steampunking Technology A subculture hand-tools today's gadgets with Victorian style." The New York Times, October 31, 2007

Further reading

  • Jack Mathews, The Battle of Brazil (1987), ISBN 0-517-56538-2.
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