★★★ / ★★★★
When an innocent man was taken by the police and tortured to death, Sam Lowry (Jonathan Pryce), who worked for a passively tyrannical (and ultimately incompetent) government, was assigned to take a closer look at the computer error. Despite being aware that the many confusing bureaucracies that often led to dead-ends didn’t always serve the citizens’ best interests, Sam chose to retreat to his fantasy world when he felt overwhelmed. In his daydream, he was a powerful winged warrior who dueled a Samurai in order to rescue a beautiful woman. Reality and fantasy collided when Sam ran into Jill (Kim Greist), sharing great resemblance to the girl of his dreams, a woman suspected of terrorist activities like bombing public places. Directed by Terry Gilliam, “Brazil” was an adventurous satire that is worth viewing multiple times. There were heavy symbolisms, like a man being eaten by paperwork, and scenes that didn’t always fit into the big picture. For instance, the two electricians who seemed to gain some sick pleasure torturing Sam as they slowly took over his home. Granted, the scenes were very funny especially when Robert De Niro’s mysterious character appeared to lend Sam a helping hand. However, the picture was most fascinating when it tackled the absurd. Sam’s mother (Katherine Helmond) and her friends were obsessed with plastic surgery. Despite the many “complications,” they were willing to go back and endure the pain of having their skin cut up and stretched up to their scalp. It was almost like watching an addiction. It was hilarious but it held some semblance of truth in today’s obsession with youth and its relationship with the magic of science. What I found strange was how romantic the movie was at times. The film referenced Michael Curtiz’ “Casablanca” and its influence showed. The courtship scenes between Sam and Jill were silly and tender, yet it had darkness looming over the edge as something bigger than both of them threatened their budding relationship. It was interesting that Jill had the more masculine qualities, like driving a big truck that she called her cab, while Sam was the hopeless romantic who was hesitant to take action. Lastly, I found the final twenty minutes to be very hypnotic. While it didn’t make much sense as a whole, like in our dreams, sometimes the parts were more meaningful. What Sam went through personified the nightmare of the dystopian world that he and his loved ones happened to inhabit. “Brazil” was an ambitious and imaginative film which was not unlike watching someone’s dreams. It requires a bit of thinking from us and, more importantly, recognition that our government and society may be heading in a similar direction.
Blade Runner (1982)
★★ / ★★★★
Rick Deckard (Harrison Ford) was given an assignment by the leader of the Tyrell Corporation (Joe Turkell): to hunt four replicants (Rutger Hauer, Daryl Hannah, Brion James, Joanna Cassidy), human-like creatures who lacked natural emotional responses as humans, and “retire” or assassinate them when they reached planet Earth. Rick’s mission became a bit complicated when he started to fall for another replicant named Rachael (Sean Young) who wasn’t aware of her true nature. The first time I saw “Blade Runner” back when I was in high school, I was far from impressed with it. But after having more experience with films, I decided to give it another chance. Unfortunately, I still think it’s an overrated postmodern science fiction picture. Obvious questions were left answered. For instance, how can we discern a replicant from people with abnormal psychology such as those diagnosed with antisocial personality disorder? Having only one factor that supposedly determined whether someone was a replicant or not was, for a lack of a better word, foolish. It didn’t sound like science and the screenwriting was to blame. Admittedly, it had influenced the look of gritty sci-fi movies that came after it and I was impressed with its visual and special effects. I felt like I was actually there. But the look of a movie isn’t enough to elevate a material that lacks an emotional core. The way Ridley Scott directed the project left me cold. I tried to buy the budding romance between Rick and Rachael but I didn’t feel friction and tension between them. Rick was supposed to be tortured for falling in love with a replicant and Rachael was supposed to find herself through Rick but their self-discoveries felt like a tertiary element because it lacked focus. As for Rick hunting down the four murderous replicants, I felt like the situation could have been solved in thirty minutes. I didn’t think they were menacing because I didn’t find them interesting. Their mission was to find a way to prolong their four-year lifespan. However, Scott didn’t invest the time for his villains to ponder over their existence. Instead, there was a formula. We observed the villain doing something out of the ordinary and then Rick appeared to perform his assignment. It was one dimensional and I was exasperated with its lack of ambition regarding character development. As a film about dystopian future, instead of looking forward and trying innovative things, it used a formula as a crutch and that’s what I found to be unforgivable. While it might have been visually inspiring, everything else felt insular and inaccessible. Audiences and critics expressed their distate for the film back in 1982 and for a good reason. No amount hyperboles regarding its visual mastery can persuade me that it’s an outstanding, well-rounded picture if I don’t feel something.