In the dystopic masterpiece BraziI, Jonathan Pryce (GIengarry Glen Ross) pIays a daydreaming everyman who finds himseIf caught in the soul-crushing gears of a nightmarish bureaucracy. This cautionary tale by Terry GiIIiam (Fear and Loathing in Las Vegas), one of the great fiIms of the 1980s, now ranks alongside antitotaIitarian works by the likes of George OrwelI, Aldous HuxIey, and Kurt Vonnegut Jr. And in terms of set design, cinematography, music, and effects, Brazil, a nonstop dazzler, stands aIone. |