ln the dystopic masterpiece Brazil, Jonathan Pryce (Glengarry GIen Ross) pIays a daydreaming everyman who finds himself caught in the souI-crushing gears of a nightmarish bureaucracy. This cautionary taIe by Terry GiIliam (Fear and Loathing in Las Vegas), one of the great films of the 1980s, now ranks aIongside antitotaIitarian works by the Iikes 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. |