The cultural powers that be determined long ago that a film needn’t deal directly with the Nativity of our Lord and Savior to qualify as a “Christmas movie.”
Many films apparently qualify simply by virtue of their plot events’ proximity to December 25, their festive backdrops, and their occasional visual reference to Coca-Cola Claus, starred pines, and/or the birth of God.
In a way, the Christmas imagery does visually what the movie’s eponymous theme song does sonically: tease at something lovely and wonderful beyond the nightmare.
Rest assured as the bare-footed cop wastes German terrorists at his estranged wife’s office party; as the two burglars repeatedly fall prey to an abandoned adolescent’s mutilatory traps; and as the inventor’s son unwittingly turns his Chinatown-sourced present into a demon infestation — these are indeed Christmas movies.
Given the genre’s flexible criteria, Terry Gilliam’s 1985 masterpiece “Brazil” also qualifies.
State Santa
In truth, the Python alumnus’ film about a bureaucrat’s maddening investigation of his totalitarian government’s execution of the wrong man is a far stronger entry than “Die Hard,” “Home Alone,” “Gremlins,” and other such flicks.
Not only is there Christmastime imagery throughout, but such visuals are also of great importance, providing insights both into the treachery of the film’s principal antagonist — the state — as well as into what appears missing in Gilliam’s dystopian world.
In the opening scene, a man pushes a cart full of wrapped presents past a storefront window framed by tinsel and crowded with “Merry Christmas” signage, television sets, and baubles.
Next we enter an apartment where a mother reads “A Christmas Carol” to her daughter, a father wraps a present, and a boy plays at the foot of a well-dressed evergreen.
After numerous scenes featuring gift exchanges, mutterings of “Happy Christmas,” and Christmas trees, we meet a kindly faced man dressed as Santa.
Jingle hells
This is, however, no feel-good Christmas movie.
The storefront window is firebombed.
Armored police storm into the family’s apartment, jab a rifle in the father’s gut, and take him away in a bag while his wife screams in horror.
The gifts exchanged and piling up throughout the film — besides the offers of job promotions and plastic surgery — appear to all be versions of the same novelty device, a meaningless “executive decision-maker.”
The kindly faced man dressed as Santa is a propaganda-spewing government official who rolls into the protagonist Sam Lowry’s padded cell on a wheelchair to inform Lowry — played by Jonathan Pryce — that his fugitive lover is dead.
With exception to the heart-warming domestic scene interrupted by the totalitarian bureaucracy’s jackboots at the beginning of the film, the Christmas imagery rings hollow and for good reason.
Extra to dehumanizing workplaces, purposefully meaningless work, bureaucratic red tape, and paperwork that’s so bad it ends up killing Robert DeNiro’s character — at least by the tortured protagonist’s account — the regime’s population-control scheme relies on consumerism.
The regime has, accordingly, done its apparent best to empty Christmas of the holy day’s real significance and meaning, donning it as a costume to sell and control.
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Beyond the nightmare
“Brazil” is not, however, an anti-Christmas film.
The emptiness of the costume prompts reflection about its proper filling — a reflection that should invariably lead one to Christ.
In a way, the Christmas imagery does visually what the movie’s eponymous theme song does sonically: tease at something lovely and wonderful beyond the nightmare Gilliam once dubbed “Nineteen Eighty-Four-and-a-Half.”
“I had this vision of a radio playing exotic music on a beach covered in coal dust, inspired by a visit to the steel town of Port Talbot. Originally the song I had in mind was Ry Cooder’s ‘Maria Elena,’ but later I changed it to ‘Aquarela do Brasil’ by Ary Barroso,” Gilliam told the Guardian.
“The idea of someone in an ugly, despairing place dreaming of something hopeful led to Sam Lowry, trapped in his bureaucratic world, escaping into fantasy.”
Whereas the recurrent theme from the samba references a fantasy the regime can crush, the various indirect reminders that Christmas is about more than presents and half-hearted niceties reference a hidden truth and source of eternal hope: that God was born in Bethlehem.
Brazil, Terry gilliam, Entertainment, Culture, Christmas movies, Faith, Christianity, Merry christmas
