BRAZIL (1985) - Terry Gilliam

Terry Gilliam once again brings his weird and absurd vision to the screen in his 1985 film, Brazil. Gilliam's warped vision of the future is of a society where bureaucracy has run amok. Everything requires paperwork, and even the simplest procedure is wrapped up in red tape. Sam Lowry (Jonathan Pryce) is a bureaucrat working in the Ministry of Information. It's a boring job of paperwork and procedure. There is nothing exciting for Lowry, except for trying to sneak in a movie under the nose of his weak and slightly dumb boss (Ian Holm). However, Lowry lives a second life, one in his dreams, where he is an armored super hero, complete with Icarus-like wings. He soars a beautiful and vibrant skyline, where he sees visions of a woman, whom he must free from imprisonment in a cage. One night, Lowry's air-conditioning breaks down. He calls Central Services, but due to a recent series of terrorist attacks, they are unable to see to him. On the scene arrives Harry Tuttle (Robert DeNiro), a renegade handy-man and anarchist to boot, who fixes Lowry's AC and disappears into the night. And in Lowry, a sense of adventure is born. He begins to see his woman in his dream in reality and sets about hunting down the mystery girl down.



Gilliam's films are always a visual feast, and none so more as here. His vision of the future is a cold, sanitized retro-futuristic mix. Every image and scene is rich in detail, and although this is my first viewing, I will definitely be checking it out again, as I'm sure I missed plenty following the plot. What's remarkable about the film is how prophetic it is, and how much of the themes in Gilliam, Tom Stoppard and Charles McKeown's screenplay resonate today. The government is obsessed with knowing everything about everyone. Privacy is almost non-existent. When someone is arrested, they have a sack placed over their heads and are locked up indefinitely without trial. Sound familiar? This leads to an underground movement of terrorists determined to free the people. But the film is about Lowry, so these details serve the film rather than being the entire focus of the story.



Jonathan Pryce plays Lowry as a meek, almost cowardly character. He turns down promotion and is quite happy to live a quiet, anonymous existence. It's only his obsession that drives him to become proactive. The cast is peppered by familiar faces, including Holm, Michael Palin and Jim Broadbent. However, Robert DeNiro's cameo as Harry Tuttle is the standout in the crowd. His manic anarchist handyman is a kind of paranoid James Bond, turning up, getting the job done, and disappearing without thanks or payment. It's great to see a comedic DeNiro role that doesn't leave you rolling your eyes.
Gilliam's film, is as always, incredibly beautiful. I can understand some not really taking to his 1984-esque vision of things to come. However, the film is quite accessible (unlike the recently released Tideland) and holds plenty for those willing to give it a shot.

8/10

THE GOOD SHEPHERD (2006) - Robert DeNiro

Robert DeNiro returns to the director's chair for his second film since 1993's A Bronx Tale (although he did some uncredited work on 2001's The Score). The Good Shepherd charts the formation and early days of the Central Intelligence Agency through the eyes of Edward Wilson, a man who values discretion and patriotism, qualities that bring him to the attention of the big wigs at the OSS, the predecessor to the CIA. Set in 1961, the film opens with the planning and subsequent failure of the Bay of Pigs incident. Edward Wilson, head of Counter Intelligence in the CIA, and one of the architects of the disastrous mission is brought under suspicion, as a mole is discovered within the CIA. As the events unfold, the story is intercut with the events that lead Wilson to his position in life, from his induction to Yale's Skull and Bones society, his recruitment to the OSS, and the evolution of the OSS into the CIA. Wilson is a fictitious character, but is present for most of the real life events that surrounded the evolution of the CIA. We also witness Wilson's personal life. His marriage to Margaret Ann Russell, a woman he doesn't love, and the birth of his only son who he never connects with.

The film rests on the shoulders of Matt Damon who plays Wilson. I've enjoyed Damon's performances in the Bourne films and The Departed, but here, he is directed to act like a statue. This is the nature of the character of Edward Wilson, but it also prevents us from ever really engaging with the character. We remain as removed from Wilson as his family and friends, and never get inside his head. This is not Damon's fault, but because of the nature of the role, you cant help but feel disconnected from the film. The supporting cast, including John Turturro, Alec Baldwin, William Hurt, and Michael Gambon are on fine form. But they are given supporting roles, and as such they're never really given the screen time to give us something to cling to. Angelina Jolie seems totally miscast, playing Wilson's wife. Her role is to simply turn up now and again and complain that she doesn't know the man she is married to. I dunno about you, but I cant really accept an actress with her presence playing someone so weak.

The film is really about tone and atmosphere, and DeNiro does a good job of creating a sense that something big is happening during the flashbacks. However, there is very little plot as such, and the film feels drawn out at times. The mole plot that bookends the film seems hackneyed. We never really get the impression that a mole inside the CIA is anything more than a trivial matter. This is essentially a history lesson told through fictitious characters, but with little to do, you could be forgiven for getting a little bored. And at almost three hours in length, you get the impression DeNiro's film could really have benefited from a little more editing. Intriguing if you're interested in the evolution of the CIA. Lacking a great deal if you're looking for a spy adventure.