Oscar Quitak Movies

Brazil constitutes Terry Gilliam's enormously ambitious follow-up to his 1981 Time Bandits. It also represents the second installment in a trilogy of Gilliam films on imagination versus reality, that began with Bandits and ended in 1989 with The Adventures of Baron Munchausen. To create this wild, visually audacious satire, Gilliam combines dystopian elements from Orwell, Huxley and Kafka (plus a central character who mirrors Walter Mitty) with his own trademark, Monty Python-esque, jet black British humor and his gift for extraordinary visual invention. The results are thoroughly unprecedented in the cinema.

Jonathan Pryce stars as Sam Lowry, a civil servant who chooses to blind himself to the decaying, drone-like world around him. It's a world marred by oppressive automatization and towering bureaucracy, and populated by tyrannical guards who strongarm lawbreakers. And Lowry is stuck in the middle of this nightmare. Whenever real life becomes too oppressive, Sam fantasizes (to the tune of Ary Baroso's 1930s hit "Brazil") about sailing through the clouds as a winged superhero, and rescuing beautiful Jill Layton (Kim Greist) from a giant, Samurai warrior. The omnipresent computer that controls everything in the "real" world malfunctions, causing an innocent citizen to be arrested and tortured to death. When Sam routinely investigates the error, he meets - and pursues Jill , literally the girl of his dreams. But in real life, she's a tough-as-nails truck driver who initially wants nothing to do with him. It turns out that she is suspected of underground activities, in connection with a terrorist network wanted for bombing public places. The price Sam pays for his association with her is a close encounter with the man in charge of torturing troublesome citizens (Michael Palin). He is rescued - at the last minute - by maintenance man Harry Tuttle (Robert de Niro) who moonlights as a terrorist, but that only represents the beginning of his plight, for now the "system" is onto him.

Gilliam ran into enormous problems with Brazil. Universal - which produced the picture - originally slated it for release in 1984, but the studio - intimidated by the film's whopping length of 142 minutes - demanded that Gilliam trim the film to bring it in under two hours and alter the pessimistic ending. Gilliam refused; Universal shelved the picture for a year. In response, the director took out a full page ad in Variety asking studio president Sid Sheinberg when the film would be released. Sensing tremendous pressure, Universal bowed to Gilliam's insistence on fewer cuts but still demanded a happy ending. Gilliam trimmed only eleven minutes and altered the conclusion just slightly (instead of cutting to black, it fades into puffy white clouds on a blue sky, with a reprise of the title tune). It was thus released in early 1985 at 131 minutes, and of course became a seminal work; many critics regarded it at the time as the best film of the eighties. ~ Nathan Southern, All Movie Guide

This British horror spoof was conceived as a star vehicle for then-popular TV comedian Kenny Everett, who plays an occult scientist whose team of paranormal researchers are measuring psychic disturbances at a rural English estate called "Headstone Manor." Once the site of a bloody massacre, the house is haunted by the very real presence of a moronic devil-worshipping coven and their exasperated leader, "The Sinister Man" (Vincent Price, who seems to enjoy serving up the ham). The inept Satanists are determined to prevent the so-called psychic experts from completing their task. Despite a few clever gags and some very funny asides from the mugging Price, viewers expecting a Monty Python-style satire of horror films will be rather disappointed. ~ Cavett Binion, All Movie Guide

Previously seen on two episodes of the original Avengers, those malevolent metallic menaces, the Cybernauts, are at large again. This time, the man behind the Cybernaut invasion is Kane (Robert Lang), a crippled and disfigured double agent who has a score to settle with John Steed (Patrick MacNee). Part of the scheme involves the "rebirth" of the supposedly dead Kane with a new Cybernautic body--and the superpowers that go with it. ~ Hal Erickson, All Movie Guide

Made for British television, The Death of Adolf Hitler covers ground previously explored in such films as The Last Ten Days and The Bunker. Frank Finlay stars as Hitler, a trembling shell of a man who tries to put on a brave front as his Third Reich topples all around him. Sequestered in his private Bunker in April of 1945, Hitler, his mistress Eva Braun, and his most trusted associates continue to lie to themselves that their defeat at the hands of the Allies is only temporary. Though the story is a familiar one, the film avoids the standard cliches, even expanding upon the known facts with recently unearthed historical tidbits concerning Hitler's last days on earth. The Death of Adolf Hitler is underplayed throughout, rendering the sick spectacle of Der Fuhrer's fall disturbingly realistic. ~ Hal Erickson, All Movie Guide

A fine cast highlights this entertaining British mystery derived from The Unholy Night (1929). The plot concerns a reunion of World War II spies at the home of distinguished Col. Price (Donald Wolfit). The veterans are murdered one by one by a traitorous former Nazi in their midst. Anton Diffring and Karel Stepanek co-star with Christopher Lee, who plays Neumann, a Jewish doctor. ~ Robert Firsching, All Movie Guide

Town on Trial! begins with the murder of a good-time girl in a small suburb of London. Scotland Yard inspector John Mills is called on the scene, immediately launching his investigation by bullying everyone in sight. Mills is particularly aggravated by the prejudicial, hypocritical attitude of most of the suspects. He is so determined to blame the whole town for the poor girl's death that he nearly lets the actual killer slip through his fingers. Town on Trial! was based on a series of magazine articles by Francis Durbridge, published under the umbrella title The Nylon Murders. ~ Hal Erickson, All Movie Guide

A remake of the 1937 British comedy Where There's a Will, Top of the Form top-bills perennial comic relief Ronald Shiner as a Bilko-like bookmaker. Circumstances dictate that Shiner find himself in charge of a boys' school, where all the students show a natural affinity for gambling. Taking the boys on a tour of the European gaming tables, Shiner gets entangled in a plot to steal a Mona Lisa (not so far-fetched; such a theft actually took place in 1913). With the help of his young charges, Shiner rescues the Da Vinci classic from artnappers. Among Shiner's students are such future luminaries as Anthony Newley and Ronnie Corbett. ~ Hal Erickson, All Movie Guide

The British Something Money Can't Buy offers a few smaller-scale variations on themes previously explored in the 1946 Hollywood Oscar-winner The Best Years of Our Lives. Harry Wilding (Anthony Steel), a high-ranking wartime military officer, has trouble adjusting to his go-nowhere civilian job and the monotony of his home life. Harry's wife Anne (Patricia Roc) tries to make things easier for her husband, but there are no easy answers to his plight. The inherent drama of the situation is leavened by moments of gentle humor, not to mention the warm rapport between stars. The supporting cast includes hirsute comic actor (and longtime David Niven crony) Michael Trubshawe and the venerable A. E. Mathews, at the time billed as England's oldest working actor. Director Pat Jackson co-authored the perceptive screenplay of Something Money Can't Buy with James Lonsdale Hudson. ~ Hal Erickson, All Movie Guide