Brazil (1985) and Blade Runner (1982)

Brazil Movie Poster


Blade Runner Movie Poster

As I document the influence that Gilliam's earlier career as an animator and illustrator has on each of his live action films, I will discuss principally, arguably his greatest film, Brazil.

I will post my blog on Brazil itself soon but as my research is ongoing I will post my latest findings. After having seen Blade Runner (Ridley Scott's 1982 sci-fi movie) many years go I recalled a similar attempt as Gilliam at creating a new world through visuals and strong character realisation. I have often read Gilliam's comments on the film, of it being one of the greatest films he'd ever seen . . . until the ending. He HATED the ending. Not being one for the Hollywood happy ending we can understand why. In his own 'other world vision' of Brazil, set "somewhere in the 20th Century," the hero of the film has to endure torture at the hand of his closest friend before escaping into insanity to finally, truly, be free. But there is a love story in there somewhere! However that did not have the same success as the love of Blade Runner's hero either.

My aim of re-watching Blade Runner was to show how another film of this time, as close to Brazil as I could get (as impossible as that is), differed entirely in terms of the power of the visuals.

From the very opening scene I noted how the whole thing looked like a George Lucas Star Wars set, the buildings were futuristic in the same way as we had already seen in the sci fi films of the seventies. However, as we were shown the close up of the city, a new visual world opened up. The streets are mix of Eastern and Western citizens in equal measure, with the inclusion of a few punks to bring home the possible reality of this bleak planet.

The corporations- on every scene of the city we can see Tokyo-esque huge electronic advertising boards and huge space cars with the same adverts displayed on them, flying through the ever-dark cityscape. These images are clearly expensive special effects and fit into Scott's futuristic "reality". The corporations such as Coca-Cola and Budweiser appear to be the only recognisable belongings of a forgotten 20th century. A daunting prospect, and a message by Scott as to the corporate world.

It is this "reality" that sets Blade Runner apart from Brazil. At no point in Brazil is anything created to appear realistic or true. Sam's mother does not walk around with various shoes on her head because Gilliam thinks this is how people will look in the future or in an alternate universe. This is how people look in HIS world.

Due to the attempt by Scott to create a truly unique visual land, his successes lie here and here lies the success in the eyes of Gilliam. In terms of the nature of the plot, Blade Runner follows a clear story line, often in real time. There is clever camera work, intelligent lighting and generally a refreshing piece of cinema. But it’s no Brazil.

Gilliam, in Brazil, has also created a world where the elite (upper classes) are exempt from the perils the working classes have to endure. Sam Lowry's mother dines in a restaurant with friends while discussing the prospect of handing out surgical gift tokens for Christmas gifts. Again, this is not a reality, but a humorous message and symbol of an elitist society. As one of her guests sits there in all her jewels and finery, she also sports a bloodied head bandage, fresh from her latest facial surgery. It is visuals such as this that remind us of Gilliam's days as a cartoonist. An illustrator.

This sort of imagery would not fit into the plot of Blade Runner. In fact, this way of directing would never occur to Ridley Scott, nor any other director. It is something completely unique to Gilliam, even his special effects are dreamlike, not realistic, it is his visual world that IS the story, not an intricate plot or storyline. His greatest visionary film is loaded with years of ideas and nagging pet hates, of observations and realisations. It is a piece of animated cinema. An animation with people, not drawn characters. But they are still created, not taken from real life, but designed to the point of creation. To me Brazil is a truly brilliant creation of cinema that shows fans of Gilliam's animation that he has simply evolved, not forgotten his teenage talent as an illustrator.



Scene from Blade Runner



Scene from Brazil