‘Brazil’: Terry Gilliam, covert screenings and a very public battle with Universal Pictures
Although Terry Gilliam has produced many memorable movies, including the likes of Time Bandits and 12 Monkeys, his masterpiece is undoubtedly the 1985 effort Brazil. A sharp satire of modern life set in a dystopian future where bureaucracy and surveillance keep humanity enslaved, it is a spiritual successor to George Orwell’s distinguished warning against authoritarianism – 1984.
Brazil follows the story of Jonathan Pryce’s low-ranking bureaucrat, Sam Lowry, who endeavours to break free from the chains of the system whilst and find a mysterious woman who keeps appearing in his dreams. As well as having clear Orwellian themes, Gilliam’s film is also noted for its Kafka-esque stylings and absurd essence, with the depiction of a dystopian future one of the most terrifying in cinema.
One fascinating aspect of Brazil‘s story is Gilliam’s tense battle with the studio, Universal Pictures, over the US release. Although the movie had already been distributed in Europe via 20th Century Fox in February 1985, Universal demanded a shorter version with a more straightforward ending for the US audience. “Listen, Sid,” Gilliam reportedly said in response to Sidney Sheinberg, the chairman of Universal. “The film we made is the film we all agreed to make. If you want to make another film, you have my support. Just put your name on it.” Understandably, the comment caused a stir.
Not stopping there, Gilliam went public with what Universal Pictures were attempting to do to his film, telling journalists who were sympathetic to his cause. In a stroke of genius, he also placed an advert in Variety that directly asked Sheinberg when he would release Brazil. However, both actions violated a gag order in his contract with the studio, which strangely restricted him from criticising their business operations in public. Famously, Sheinberg would also speak publicly about the dispute, running a counter advertisement in Daily Variety offering to sell the movie.
However, his opponent was Terry Gilliam, a member of the anti-establishment troupe Monty Python, and he would not back down. Duly, he opted to show the movie in clandestine screenings for local critics and film schools, which violated Universal’s contracted right to sole distribution. He and producer Arnon Milchan even debated renting cinemas in Mexico and ferrying Americans across the border in buses. Luckily for the pair, who only wanted their unadulterated cut of Brazil shown in America, the covert screenings would help turn the tide against Universal.
The Los Angeles Film Critics Association named Brazil ‘Best Picture’, with their sister organisations in New York, Washington, Boston, and Chicago all doing the same. Understanding that the Brazil Gilliam and Milchan wanted to release was a hit, Universal changed their stance and released it in all its original glory in December 1985. It eventually won two BAFTAs and was nominated for two Oscars.
