The Boys from Brazil

Had I seen the film without reading the back of the video cassette, I would have enjoyed the film a lot more. But for some reason, a major plot point, revealed 1 1/2 hours into the film, is plainly written in black on orange. Since the movie moves in ever decreasing circles to reveal this secret quite efficiently, I don't see why the publicity department chose to sabotage it.

Nevertheless, the plot is more plausible than it sounds when you try to describe it (which, as I have just said, should be avoided anyway), and the leads play beautifully. Especially incredible is Laurence Olivier as the doddering, worldly-wise jewish Nazi hunter, Dr. Lieberman. You'd never expect the frail form in this movie to be the same man as Hamlet. Gregory Peck also plays Dr. Joseph Mengele as suitably and calmly evil. A lesser actor would find playing the part of a Nazi Death Doctor, responsible for some of the worst atrocities in human history, a perfect excuse to ham it up and click into the black-hatted, moustache-twisting token villain.

The less impressive acting of Steve Guttenberg overacting into a telephone and Jeremy Black with a really strange german accent as Erich Doring. This I can forgive. The ending is also comfortable and understated, with a moral instead of a huge explosion, as could have been expected in a 90's movie. Worth seeing, especially if you know nothing about the film.

Mixing real names and real past with unreal present and unreal future can be intriguing and fresh, but can easily become a "porridge" of this and that with ambivalent elements - if not deliberately mocked or twisted as e.g. Quentin Tarantino does. Franklin J. Schaffner, however, has chosen to create a warning movie with "modest" sci-fi tinting, and combination of painful past with scientific opportunities is often odd, at times even doltish. The almost 2-hour-length contained some protracted and unnecessary scenes as well.

Luckily, there are at least good actors even in supporting roles, and Gregory Peck as Dr. Josef Mengele and Laurence Olivier as Ezra Lieberman are pleasant to follow both together and separately. Besides, different venues, both nature and dwellings, provide the movie additional value and opportunity to compare different attitudes and lifestyles.

Thus, a decent creation, but hardly for those willing to keep real historical persons and their imaginary deeds separate.

I had read "The Boys From Brazil" years before I ever saw the movie. When I did see the film, I was amazed how closely it actually tracked the brilliantly-written novel.

This is an excellent thriller. The Nazi's plot is unraveled slowly, first filling you with confusion, then disbelief, and finally, astonishment & terror. As far-fetched as the Nazi's scheme sounds at first, it really is close enough to medical reality for a taste of true horror.

Gregory Peck is disturbingly realistic as the Nazi doctor Mengele, who masterminds the entire fiendish plot. His character in the film is so real and sinister as to be completely believable. In fact, the entire cast does such a great job that the movie's plot strikes even closer to home.

If you like well-written, well acted suspense/thrillers, this is one of the very best. I highly recommend it.

The less you know about The Boys From Brazil the better, A quite well known story based upon a Ira Levin novel. Is a good thriller, which allows two of the greatest actors there has ever been a chance to ham it up a bit.

The plot involves Nazi hunter Ezra Lieberman (Laurence Olivier) trying to unravel a devious plot by Dr Josef Mangele (Gregory Peck). Directed by Franklin J Schaffner of Planter of the Apes fame. Provides us with a nice slow burning build up in setting the story, and keeping me enthralled with it really quite ludicrous but entertaining story line. It has a great score adding dread to certain moments and heightening the tension. The film at times almost slips in to horror with it's certain plot elements, and also containing a horrific confrontation between the two leads at the end.

It is not perfect by any means though, as some accents are all over the place and can become a little distracting, and some may find the films idea to unbelievable to take seriously, which i can't say i had a problem with.

A good film, with two acting powerhouses, worth a watch just for them. But a smart thriller i highly recommend.

THE BOYS FROM BRAZIL opens in scenic and remote Paraguay where Barry Kohler (a young Steve Guttenburg) is on the trail of a mysterious gathering of former Third Reich heavy hitters, including Eduard Seibert (James Mason), now in exile. As his information becomes more detailed, he contacts Ezra Lieberman (Laurence Olivier), a renowned Nazi hunter. In the meantime Dr. Josef Mengele (Gregory Peck) makes the scene and after Kohler's bugging of a secret meeting goes wrong, Lieberman is left with only a thread of a much deeper story, which he sets about to unravel...

Even though the plot is fairly well known by now, I will assume some people are not familiar with Ira Levin's book or the film. In fact the less you know about the plot the better; I think that the dust jacket gives far too much of the story away...Anyway, THE BOYS FROM BRAZIL is a film that toes a very dangerous line, I mean few film makers want to turn a man like Menegele into a camp figure. But the cast and crew handles the material with deft intelligence. The cast is fantastic: Peck, as Mengele, delivers a strong performance that never falters. In the tired yet determined Lieberman, Laurence Olivier creates a wonderful character; a late highlight of a distinguished career. James Mason, as Seibert and Bruno Ganz as a mouthpiece for outdated genetic research, do well to support the action, but are given little to do. It is Peck and Olivier that propel the film along; the violent showdown between the two men is a must see.

Jerry Goldsmith supports the on screen action with a Straussian waltz to tie in the Austrian backdrop. Goldsmith also provide some terse action music for the third act of the film. This is one of the last films that Goldsmith and director Franklin J. Schaffner would collaborate on. On that note, it would seem to me high time for a more detailed retrospective of Schaffner's body of work; which includes THE WARLORD, PATTON, ISLANDS IN THE STREAM, PLANET OF THE APES, PAPILLION, LIONHEART. It is Schaffner's sensibilities that keep THE BOYS FROM BRAZIL from jumping the track. He uses steady camera work and smooth style to create a world the characters can inhabit (something "over" directors of today know little about). Schaffner's style is more subtle, workman like, which may explain why he is not better known among the general populace. He keeps THE BOYS FROM BRAZIL grounded and allows his actors to flesh the characters out, which makes all the difference in the world. 8/10.