BRAZIL: A Sci-Fi Wonder
This week's film analysis (watched for class at UCF) was based on the 1985 sci-fi drama Brazil. Gilliam uses wide shots to increase the sense of dystopia and weirdness in this world we have never seen but may have dreamt of before. He uses the mise-en-scene to portray this commotion and craziness with the flailing air conditioning tubes and scary baby masks on the antagonists in Lowry's dreams. The costume design is also something easily noticed and serves as a portrayal of dystopianism. These things both show how Gilliam did not do this by accident, and many of the gags in the film were planned to help create a world we can envision and immerse ourselves in.
Gilliam's favorite lens must be 14-35mm. His use of wide shots is noticeable the more you watch this film. Many of the instances of these shots appear below the subject it is focused on, creating an odd feeling for the viewer. As close as you feel, it is not confidence that is built; rather it is more uncertainty about what may happen next. Some shots, like the peeling back of his mother's skin, feel chaotic and unsettling. For Gilliam, I think this was exactly his intention of using the wide-angle lens, as many shots in other films have a similar effect. The fish eye look makes the viewer question if the perspective can be trusted or if it may be some sort of dream or unknown environment. For example, when Lowry is going into the doctor's office, the wide angle is used to perfection. As he enters, the camera shows little of the room and follows only where he looks. Gilliam creates a sense of a dystopian future using this wide-angle lens. Conversations feel off and unsettling, like the dinner decisions for his mother and friends. The viewer can infer that Lowry does not want to be there when the cuts to him always show him in the background with disgusted looks. He also uses the wide angle to change perspective to a POV shot, like when Lowry is escaping his dream. Gilliam and his cinematography team present us with a film that goes deeper than just the surface and gives us an idea of how to feel about a certain situation with his use of camera lenses, specifically the wide angle.
The most recognizable part of this movie is the mise-en-scene and extravagant costume design. From the beginning, Gilliam uses dark suits to portray the intruders come to realize they are there to arrest the wrong man. The shots of the suit being put on Buttle are amazing and show the intricate design of these futuristic body suits (almost like a futuristic straitjacket). James Acheson, also known for his work on The Last Emperor (Academy Award winner) and the early 2000's Raimi Spider-Man and Doc-Ock suit design, created costumes that top the charts in terms of style and uniqueness. His work creates this feeling of unknown and creativity because some of his costumes feel like something we may see in the distant future. Both the costume design and the mise-en-scene are very dreamlike and out of this world. From a distance, the flaring pipes in Lowry's apartment after Central Services came through to fix the A/C may seem like a bit much or even too weird. In reality, we can see how Gilliam uses this to show the chaos in Lowry's life. His entire house is modded and made to serve him, but one problem with the air conditioning turns his entire apartment upside down. The same parallel is seen with his life, as his life has gotten increasingly odd as he has followed this woman of his dreams.