BRAZIL: How Many Versions?
William R. Cruce
1985 movie BRAZIL. Especially, I am trying to find out if there exists
a 'Made for TV' version (see * below).
In the book 'Battle of Brazil' by Jack Mathews
(1987, Crown, NY) I can find mention of FOUR possible versions:
1) Gilliam's 142 min 'International' version which Fox accepted in late
1984/early 1985 for distribution outside the U.S. and Canada. It opened
in European theatres in February, 1985.
2) Doyle's 132 min version (Gilliam's editor: 'cut any 10 minutes, I don't
give a shit') sent to Universal on March 8, 1985 (p.43-44). Kept
the same sequence of action with trims to speed it up, except for major
cuts in the truck sequence.
3) Gilliam's 131 min 'American' version, first shown at The American Film
Festival in Deauville, France in September, 1985 (p.50). Scheduled for
Arthur Knight's USC class October 18, 1985 but only shown at CalArts
College in Valencia later the same night (p.53-55). The major
difference mentioned between this and Doyle's cut is that Gilliam
restored the truck sequence and cut 'Father Christmas' (p.44). This
is the version that was reluctantly released by Universal for American
theaters in December, 1985.
4) Sheinberg's version done by his editors Bill Gordean and Steve Lovejoy
(p.44). They spent 7 months on it and it sounds like it was
completed though Sheinberg said he never saw it and at the writing of
the book Gilliam and Milchan had not found it (p.92). Sidney J. Sheinberg
was the President and chief executive officer of MCA-Universal; he had
intended his version for American release before events described in the
book dictated otherwise.
Two of these versions are available on home video. Gilliam's 'American'
version is on tape and laserdisc from MCA. Gilliam's 'International'
version is on laserdisc in Japan from Warner/Evergreen. I suspect it
is available on tape in Japan as well as in PAL versions in Europe (the
Japanese laserdisc was standards-converted from a PAL source).
*There have been sporadic claims of a 'Made for TV' version. This was
not mentioned in the book but may have come after it was published.
Does anyone know of such a Beast? Can anyone cite date and station/Network?
Can anyone give me any information about whether or not it differs from the
'American' version of Gilliam and if so, how? Does anyone know of any
versions other than the four mentioned above?
----------------------------------------------------------------------
--
"Between depriving a man of one hour from his life and depriving him of his
life there exists only a difference of degree." -Emperor Paul Muad'dib
Bill Cruce, INTERNET: wl...@uhura.neoucom, VOICE: 216-325-2511
N.E. Ohio Univ. Coll. of Medicine, Box 95, Rootstown OH 44272-0095
David E Coufal
|> I am trying to find out how many versions there are of Terry Gilliam's
|> 1985 movie BRAZIL. Especially, I am trying to find out if there exists
|> a 'Made for TV' version (see * below).
|>
|> In the book 'Battle of Brazil' by Jack Mathews
|> (1987, Crown, NY) I can find mention of FOUR possible versions:
|>
|> 1) Gilliam's 142 min 'International' version which Fox accepted in late
|> 1984/early 1985 for distribution outside the U.S. and Canada. It opened
|> in European theatres in February, 1985.
You have probably already heard this, but this version is currently playing
in the U.S. I know it played earlier this month in NYC, and it will be
shown at the Brattle Theater here in Boston in the first week of November.
|> 2) Doyle's 132 min version
|>
|> 3) Gilliam's 131 min 'American' version
|>
|> 4) Sheinberg's version done by his editors Bill Gordean and Steve Lovejoy
|> (p.44). They spent 7 months on it and it sounds like it was
|> completed though Sheinberg said he never saw it and at the writing of
|> the book Gilliam and Milchan had not found it (p.92). Sidney J. Sheinberg
|> was the President and chief executive officer of MCA-Universal; he had
|> intended his version for American release before events described in the
|> book dictated otherwise.
|>
|> *There have been sporadic claims of a 'Made for TV' version. This was
|> not mentioned in the book but may have come after it was published.
|> Does anyone know of such a Beast? Can anyone cite date and station/Network?
|> Can anyone give me any information about whether or not it differs from the
|> 'American' version of Gilliam and if so, how? Does anyone know of any
|> versions other than the four mentioned above?
I have seen the made-for-tv version, and it is my belief that this is identical
to the Sheinberg version. It played on an independent TV station in Los Angeles
ca. 1990. I do not have a taped copy, but a college buddy does have a tape. He
probably has the date and station noted.
It differed in many minor respects, but the major change was the ending.
Believe it or not, the film was reedited to give it a happy ending. Sam's
escape from torture was _real_, not imaginary as in the Gilliam version(s).
The final scene is of Sam and the girl (sorry, her name escapes me) living
happily ever after in a trailer truck. The End. It's the happy ending that
makes me think that this version is Sheinberg's. The total lack of respect
for the film's meaning and integrity has his fingerprints all over it.
--
"One time I removed all the David E. Coufal
hair from a mouse with Nair-Hair BITNET:dcoufal@mitwccf
just to see what it looked like. INTERNET:dco...@athena.mit.edu
And it looked beautiful." - David K. Lynch d...@alumni.caltech.edu
Kyle Karnosh
>
>|> 4) Sheinberg's version done by his editors Bill Gordean and Steve Lovejoy
>|> (p.44). They spent 7 months on it and it sounds like it was
>|> completed though Sheinberg said he never saw it and at the writing of
>|> the book Gilliam and Milchan had not found it (p.92). Sidney J. Sheinberg
>|> was the President and chief executive officer of MCA-Universal; he had
>|> intended his version for American release before events described in the
>|> book dictated otherwise.
>|>
>|> not mentioned in the book but may have come after it was published.
>|> Does anyone know of such a Beast? Can anyone cite date and station/Network?
>|> Can anyone give me any information about whether or not it differs from the
>|> 'American' version of Gilliam and if so, how? Does anyone know of any
>|> versions other than the four mentioned above?
>
>to the Sheinberg version. It played on an independent TV station in Los Angeles
>ca. 1990. I do not have a taped copy, but a college buddy does have a tape. He
>probably has the date and station noted.
>
>It differed in many minor respects, but the major change was the ending.
>Believe it or not, the film was reedited to give it a happy ending. Sam's
>escape from torture was _real_, not imaginary as in the Gilliam version(s).
>The final scene is of Sam and the girl (sorry, her name escapes me) living
>happily ever after in a trailer truck. The End. It's the happy ending that
>makes me think that this version is Sheinberg's. The total lack of respect
>for the film's meaning and integrity has his fingerprints all over it.
>
>
The version with the happy ending is the one that I've seen. My dad
taped it off of either satellite or cable a few years ago.
I'm curious - how does Gilliam's version end?
Kyle
John Reece
> David E Coufal writes
> >|> *There have been sporadic claims of a 'Made for TV' version. This was
> >|> not mentioned in the book but may have come after it was published.
> >|> Does anyone know of such a Beast?
> >It differed in many minor respects, but the major change was the ending.
> >Believe it or not, the film was reedited to give it a happy ending. Sam's
> >escape from torture was _real_, not imaginary as in the Gilliam version(s).
> >The final scene is of Sam and the girl (sorry, her name escapes me) living
> >happily ever after in a trailer truck. The End. It's the happy ending that
> >makes me think that this version is Sheinberg's.
I've seen both the Gilliam cut and the "happy" cut on broadcast TV. Usually there's
no explicit indication in the TV guide as to which one you're going to get. You can
sort of tell from the running time -- the happy cut seems to be around 90 minutes,
the Gilliam cut around 2 full hours or more.
They eliminated virtually all of the samurai dream sequence, except for the
very idyllic scenes in the beginning. Gone too was the business about
delivering the refund check to Buttle's widow. Most of the thread with the lady
disintegrating due to a few minor complications went.
--
John Reece "This lifeboat is full"
Not an Intel spokesman
Deep Six
> The version with the happy ending is the one that I've seen. My dad
> taped it off of either satellite or cable a few years ago.
> I'm curious - how does Gilliam's version end?
How does it end? HOW DOES IT END!? SSHEEESSH.
I hope no one has posted this already or emailed you the answer.
Gilliam's ending is that Sam's escape to Brazil in the trailer, etc., is
a DREAM. He is actually still sitting in Jack's torture chamber, completely
freaked out. Everything from Jack getting shot in the head (through the
Chinese Cherub mask) on is just an dellusion Sam is having. Pretty
depressing, but it makes your own sorry existance quite pleasant.
Okay,
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Chadd VanZanten SL...@CC.USU.EDU ``God is love. Love is blind. Ray
Charles is blind. Therefore, Ray Charles is God.'' --Socrates
MICHAEL ROGERS
>In article <1542...@hpspdla.spd.HP.COM>,
> ky...@hpspdla.spd.HP.COM (Kyle Karnosh) writes:
>
>> The version with the happy ending is the one that I've seen. My dad
>> taped it off of either satellite or cable a few years ago.
>> I'm curious - how does Gilliam's version end?
>
>How does it end? HOW DOES IT END!? SSHEEESSH.
>
>I hope no one has posted this already or emailed you the answer.
>
>Gilliam's ending is that Sam's escape to Brazil in the trailer, etc., is
>a DREAM. He is actually still sitting in Jack's torture chamber, completely
>freaked out. Everything from Jack getting shot in the head (through the
>Chinese Cherub mask) on is just an dellusion Sam is having. Pretty
>depressing, but it makes your own sorry existance quite pleasant.
A direct ripoff of "Occurrence @ Owl Creek Bridge" by Ambrose Bierce
Christopher Lishka
>Gilliam's ending is that Sam's escape to Brazil in the
>trailer, etc., is a DREAM. He is actually still sitting in
>Jack's torture chamber, completely freaked out. Everything
>from Jack getting shot in the head (through the Chinese
>Cherub mask) on is just an dellusion Sam is having. Pretty
>depressing, but it makes your own sorry existance quite
>pleasant.
It is funny how this film really brings out things about people.
Especially how the person interprets Terry Gilliam's original ending.
For example, I thought the end of the original _Brazil_ was a *happy*
ending. The powers that be tried to do everything to hold back Sam
and force him into their mold. Yet even as they seem to gain control,
Sam triumphs because in his own reality he is free and happy. At the
very end Sam's friend says something like "I think we've lost him",
sort of an admission of defeat.
Of course, my wife thought it was a depressing ending. Go figure.... ;-)
By the way, the ending in the original European release is subtly
different from the American cinematic release. IMHO, the end of the
European release is *MUCH* better, because it is clearer. The very
last scene (of Sam just sitting in the chair, whistling the song
"Brazil") is much more effective and personal. The tone of
both endings is the same.
.oO Chris Oo.
--
Christopher Lishka
Never drive a car when you're dead... PPE Division, CERN
-- Tom Waits lis...@dxcern.cern.ch
vxaluw::lishka
Andy Bovingdon
> lis...@dxcern.cern.ch (Christopher Lishka writes:
> By the way, the ending in the original European release is subtly
> different from the American cinematic release. IMHO, the end of the
> European release is *MUCH* better, because it is clearer. The very
> last scene (of Sam just sitting in the chair, whistling the song
> "Brazil") is much more effective and personal. The tone of
> both endings is the same
What is the difference in endings. I have heard of the ruined tv ending with
a happy tone, but was not aware of a difference between the US and Europe
versions. And while I am on the subject of Brazil, wouldn't it be wonderful
if a Criterion LD version was produced. Maybe if we all wrote and asked for
one...
Also I wonder if any film companies actually monitor the computer news groups
like these, it would be good for getting ideas and market research info.
Bov!
--
_________________________ _ __ ___ _
IXI Limited | b...@x.co.uk | | |\ / /| |
Vision Park, | * Andy Bovingdon * | | | / / | |
Cambridge, England. |_________________________| |_|/__/_\|_|
William R. Cruce
>
>What is the difference in endings. I have heard of the ruined tv ending with
>a happy tone, but was not aware of a difference between the US and Europe
>versions. And while I am on the subject of Brazil, wouldn't it be wonderful
>if a Criterion LD version was produced. Maybe if we all wrote and asked for
>one...
I talked to a Voyager spokesperson about a week ago and was told that
the Brazil LD is in the 'final stages of negotiation and looks very
real.' So keep your fingers crossed that the negotiations go well
and that the disc actually makes it to market.
As to the differences in versions, I'm sending you a couple of posted
articles on the subject.
Ulrich Schreglmann
Did I get this right?
There is a version of Brazil with a happy ending?
Or did somebody just misinterpret the normal ending?
Please, somebody confirm or deny this to me...
May the Cool Be with You!
(C)OOL mcmxcii
Michael Graham
to write and I don't want to write to some secretary who will throw my
letter/photo-to-be-autographed away.
Does anyone have reliable (current) addresses for these two. I just HAVE
to have their autographs...I've been putting it off forever.
any help would be greatly app't
thanks
mike (has seen every Diane Keaton movie except 1, and has every Diana Rigg
Avengers episode on tape :) graham
--
**************************************************************************
Bjork sounds so good, that if I were a singer trying to make a living today
I'd shoot myself in desperation of ever equalling her - Barbara Ellen, NME
Lumiere
>Does anyone have reliable (current) addresses for these two. I just HAVE
>to have their autographs...I've been putting it off forever.
Isn't Diana Rigg dead?
--> Just another Avengers fan
Malcolm Austin
>
>Isn't Diana Rigg dead?
>
>--> Just another Avengers fan
Hardly.
She's currently hosting the PBS series MYSTERY, and appeared last year
(or the year before) in one of their productions, playing a murderous
mother.
"George Phblat's new film, 'Benji Saves the Universe,' has brought
the word 'BAD' to new levels of badness. Bad acting. Bad effects.
Bad everything. This film just oozed rottenness from every bad
scene...Simply bad beyond all infinite dimensions of possible
badness. Well maybe not that bad, but Lord, it wasn't good."
--
=Malcolm Austin==w:(212)703-6134==h:(914)633-3966==ma...@fid.morgan.com=====
Bob Erkamp
Hmm...if she is I wonder who that is that 'hosts' Mystery! on PBS
Bob
Andrew Fong
>Isn't Diana Rigg dead?
She visited Australia a year or two ago. So I don't think she's passed away
yet.
>--> Just another Avengers fan
Here in Sydney, their repeating the Diana Rigg Avengers episodes weekly.
YEAH!!!!!!!
Andrew
*------------------------------------------------------------------------*
| Andrew Fong -- itinerent student and programmer |
| and...@kralizec.zeta.org.au |
*------------------------------------------------------------------------*
David B. Hempling
thought I might share the following:
A few months ago, I happened upon a script for Brazil. I looks
like a draft that falls somewhere between Gilliam's idea and
the final script that's in the can. It contains notes listing
scenes that have been cut - their text is not in the script. It
also contains scenes that aren't in the movie and perhaps were
never even filmed. For instance, there are a few dream scenes in
which Sam is a) stored in a filing cabinet, b) explores a sky with
trap doors, and c) enters a large, flying, concrete ship.
At any rate, here's the text of the very last scene, posted
without permission (so sue me):
Scene 154 EXT. HOUSE AND GARDEN MORNING 154
A high shot. Everything in the garden is definitely lovely.
The music tells us. The music swells and the cameral slowly
pulls back, and back. It's a happy ending. And then, in the
foreground, TWO HUGE HEADS appear looking straight at the
camera. It is MR HELPMAN and JACK. They both shake their
heads.
MR HELPMANN
He's got away from us, Jack.
CUT to their POV.
SAM is sitting in the Information Retrieval chair. He is
strapped in. His eyes are open but miles away. His face is
wreathed in a benign and very happy smile.
JACK
I'm afraid you're right, Mr.
Helpmann. He's gone.
A wide shot of the room shows us HELPMANN and LINT turn away
and leave. SAM is left alone. He is humming. The camera
pulls back and back. The Information Retrieval room with SAM
in it floats away into the most beautiful glorious sky ever.
SAM's humming swells into a full orchestra, and we hear...
"Brazil, where hearts were entertained in June,
We stood beneath an amber moon,
And softly murmured, 'Some day soon',
We kissed and clung together,
Then, tomorrow was another day.
The morning found me miles away,
With still a million things to say,
Now, when twilight beams the sky above,
Recalling thrills of our love,
There's one thing I'm certain of,
Return, I will,
To old Brazil."