ln the dystopic masterpiece BraziI, 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 Gilliam (Fear and Loathing in Las Vegas), one of the great fiIms of the 1980s, now ranks aIongside antitotalitarian works by the likes of George OrweIl, AIdous HuxIey, and Kurt Vonnegut Jr. And in terms of set design, cinematography, music, and effects, BraziI, a nonstop dazzIer, stands alone. |