Brazil FAQ - Content 3

3. How many versions of Brazil have been released?

Some would argue that too many have. At this point in time, four different versions have been released on the laserdisc format alone (not counting variations in language or letterboxing), and there have been minor changes between the theatrical and video releases. They are as follows:

(ET) The Fox European theatrical release
(AT) The American 132 minute theatrical and video release
(EV) The original European/Japanese video/laserdisc release
(FV) The "Final director's cut" of the film on the Criterion Collection laserdisc box set, DVD and some video releases.
(SE) The Sheinberg edit, also known as the "Love Conquers all" version.

The following is a description of the differences between each version and the other versions. Which is the "real" Brazil? You be the judge.

The European Theatrical Release (ET) contains many items not in the American Theatrical and Video release (AT). These are:

The film opens with the time and location credits over a black background, not over the clouds present in the AT release.
Buttle's daughter inquires as to how Father Christmas will come if they don't have a chimney.
A brief scene involving Sam and his mother Ida entering the restaurant where they meet Mrs. Terrain and Shirley. They have to pass through a metal detector in order to gain entrance, and Ida's present to Sam (one of the "Executive Decision Makers", seen later in the movie) sets off the alarm. In the restaurant, there is extra dialogue about how plastic surgery through an acid method is like a "delicate Rembrandt etching."
After saying "Here's looking at you", there is an extended shot of Sam driving to Shangri-La towers.
In the European Theatrical release, the Samurai sequence is one long sequence (with some additional footage), whereas in the American version it is divided into three separate sequences.
Extra footage of Warren telling Sam to "get a new suit".
There is a brief sequence in Jack Lint's office where Sam nearly enters the torture chamber, but is yelled at by Jack's secretary to use the "other door".
Sam nearly bumps into Lime, wearing a cast, at Information Retrieval. Lime is wearing the cast after being injured in a "desk tug of war" earlier in the film.
There is a small amount of footage of Spoor answering the phone in Sam's apartment as saying "It's for you," then hanging up and indicating that they've requisitioned the apartment.
An "Interrogation" scene, where Sam is charged with all of the violations of the law he committed throughout the film, including "wasting Ministry time and paper."
A "Father Christmas" scene where Helpmann visits Sam after his booking, Helpmann is dressed as Santa Claus. Among other things, Helpmann informs Sam that Jill Layton has been killed... twice.
The film ends starkly in the torture chamber, with no clouds surrounding Sam as he hums Brazil.

The European/Japan Video release (EV) adds the following scene not present in some theatrical prints of the European Theatrical release (ET), and that were never present in the American AT release:

A scene where Sam and Jill lie in bed after the implied consummation of their relationship. Jill has taken off the wig she was wearing in the scene before, and has a pink bow tied around her naked body. She says to Sam: "Something for an executive?" and he unties her.

The American Theatrical/Video Release (AT) adds a few things not found in the European Releases (ET & EV):

There are clouds that open and close the film in the American Release. Some of the footage of these clouds was extraneous footage from The Never Ending Story.
After watching Mrs. Lowry's first plastic surgery treatment, Sam exclaims "My god, it works!"

The "Final director's cut" (FV) is the European/Japan Video release (EV), with a few changes:

The film begins with clouds under the titles, like the American version, yet it ends with the original stark ending without clouds from the EV version.
A cut while Mrs. Terrain is talking about the "delicate Rembrandt etchings" is corrected to be less obvious.
There is extra footage before Spoor answers the phone in Sam's apartment.

The Sheinberg Edit (the "Love Conquers All" version") makes a number of very major changes to all of the above versions:

After the (AT) cloud intro and the Central Services ad, the movie shifts to a highly edited version of the restaurant sequence. After the explosion, the Brazil logo appears.
Man in white labcoat, instead of seeing interview with Helpmann, sees an "Arrest and detainment" broadcast regarding Tuttle. Footage of eye-level view as the man in the white lab coat stands on the file cabinet.
Shot of nameplate on Buttle's door before storm trooper showing Buttle and family in his apartment.
Chimney comment, as per European version, shown right before "bust". "Psycho" strings missing from soundtrack during bust. One of the storm troopers issues a sarcastic "Happy Holidays" line after the receipts are signed.
Music missing from "gunshot" scene. Extra shot of clerks watching gunfight while Kurtzmann calls Lowry. Kurtzman calls up a different part of the movie than in any other release (a man on a horse). Brief edit of clerks watching movie before Kurtzman leaves office. Kurtzman stutters before calling "Has anyone seen Sam Lowry?"
An iris shot of Sam's head to indicate dream sequence before going into the sequence where he flies in the clouds. Cloud sequence is surrounded by a big, opaque border as though to say "This is a dream! Make no mistake!"
Shots in soggy toast breakfast sequence rearranged.
Music as Sam enters information retrieval different, with an emphasis on the harp line. Shots, again, are rearranged. No police officer showing nuns a 9mm machine gun. Christmas muzak is emphasized. Dialogue between Sam and Jack is more stunted and abrupt. Sam sees his "dream girl" on the video screen, and Jack stutters as he notices that something is wrong. Fade to commercial after sequence.
Dialogue between Sam and Kurtzmann is truncated. Sam spills his tea more graphically on the paper indicating he's been promoted.
Music and some foley work is missing from "mother's surgery" scene. The line "My god it works" present in the American version is changed to a more emphatic "My GOSH it works!"
The edit skips over restaurant and dream sequences to Sam waking up late at night with the heating problem. Music cues from truck "chase" sequence play over "This has not been a recording" message. Sam hangs up the phone with an emphatic "Oh, damn!" Harry Tuttle theme plays over Harry Tuttle's entrance. Tuttle says to Lowry, "There aren't many like you left" after scaring off Spoor and Dowser. Instead of humming when asked why he's wanted, Tuttle gives the response "Setting a bad example. Ya know, little guys like us don't usually fight back. Fight back, Sam. We all gotta fight back." Fade to commercial after Tuttle slides down the rope.
Ridiculous muzak-style music over second clerk pool scene. Kurtzmann shows much more apathy towards situation with Buttle's refund check. No Messerschmidt scene as Sam drives through the towers.
In the sequence where he returns the check to Mrs. Buttle, Sam seems genuinely bewildered by Mrs. Buttle's reactions, and doesn't seem to know anything about Buttle's death. Instead of a grueling "What have you done with his body sequence," Mrs. Buttle tears up some newspaper. Cuts straight from Sam spotting Jill in the above flat to him exiting the Shangorilla Towers. Sam appears to say "Judas Priest!" as the Messerschmidt falls on the blocks.
Film cuts directly to Sam calling up Jill's record. then shows Sam taking the transport home, skipping all dream sequences... as well as the singing telegram girl. Sam basically leaves work, takes the transport to his mother's apartment, and joins the party.
Sam does not see a vision of Mrs. Buttle et al in mirror at party.

Sam doesn't meet Shirley at the party, and it goes straight to the "false ears" joke.
Film cuts straight from helping Mr. helpmann to the elevator in information retrieval. Time is compressed after Sam steps out of the elevator.
There is additional "cute" footage between Jill and Sam as they drive in the truck. "Where are you taking me?" she asks.
When Sam visits Jack Lint's office, Lint's daughter Holly is nowhere to be seen (this is footage from an earlier take of this scene, which was re-done).
After Sam blows up the Ministry of Information, a piece of paper flutters down. It's got a wanted message for Sam on it.
In the "something for an executive" scene, the camera is panned strategically to show less of Jill's backside.
At the end of the film, Jill is seen walking into the house in the valley, and looks at Sam, who is dreaming. He dreams about Jill and himself soaring through the heavens. The film cuts straight to clouds over the credits.