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The Boys from Brazil

The Boys from Brazil (1978)

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Average Rating: N/A
Critic Reviews: 3
Fresh: 0 | Rotten: 3

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Average Rating: 3.5/5
User Ratings: 7,390

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Movie Info

This film of Ira Levin's novel The Boys from Brazil wastes no time in establishing the fact that several seemingly unrelated men have been mysteriously murdered. Elderly Jewish Nazi hunter Ezra Lieberman (Laurence Olivier), brought into the case when the clues seem to point to a neo-fascist plot, traces the trail of evidence to Paraguay. Here he finds an unregenerate Auschwitz doctor, patterned on Joseph Mengele and played by -- of all people -- Gregory Peck. Lieberman discovers that the

Dec 14, 1999

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All Critics (26) | Top Critics (3) | Fresh (18) | Rotten (8) | DVD (9)

The plot is less suspenseful than the overacting contest between the two leads, Laurence Olivier and Gregory Peck, who spend most of their screen time one-upping each other in affectations.

March 27, 2009 Full Review Source: Chicago Reader | Comment (1)
Chicago Reader
Top Critic IconTop Critic

With two excellent antagonists in Gregory Peck and Laurence Olivier, The Boys from Brazil presents a gripping, suspenseful drama for nearly all of its two hours -- then lets go at the end and falls into a heap.

March 26, 2009 Full Review Source: Variety
Variety
Top Critic IconTop Critic

The answer should have made a great thriller, but the film is sunk by a series of preposterous performances.

June 24, 2006 Full Review Source: Time Out
Time Out
Top Critic IconTop Critic

Fast-paced, gripping and totally ludicrous.

March 27, 2009 Full Review Source: TV Guide's Movie Guide
TV Guide's Movie Guide

Dark thriller that does its best but ultimately doesn't completely convince.

March 27, 2009 Full Review Source: Empire Magazine
Empire Magazine

It's more a silly and unbelievable pic than a bad one, but very watchable.

March 3, 2008 Full Review Source: Ozus' World Movie Reviews
Ozus' World Movie Reviews

The film loses the little credibility that Ira Levin's potboiler had, but helmer Schaffner was smart to cast Olivier as Nazi hunter Simon Wiesenthal and to surround him with superb actors

April 11, 2007 Full Review Source: EmanuelLevy.Com
EmanuelLevy.Com

Schaffner conduz a trama com segurança absoluta, permitindo que o espectador junte as peças do quebra-cabeças ao mesmo tempo em que seu diligente e improvável herói, vivido de forma espetacular por Olivier (mas Peck também merece aplausos).

November 16, 2006
Cinema em Cena

Silly.

September 24, 2004

Gregory Peck is miscast, but the film is entertaining enough.

January 18, 2004
Juicy Cerebellum

Too funny to dislike.

April 2, 2003
Mountain Xpress (Asheville, NC)

Intriguing tale about nazi war criminals cloning Hitler.

March 13, 2003
eFilmCritic.com

Now, if only Uta Hagen and Rosemary Harris were rolling on the floor next to them, Boys From Brazil would have been an bigger scream.

November 5, 2002 Full Review Source: Slant Magazine
Slant Magazine

...given the caliber of the cast and crew, it should have been a whole lot better.

September 26, 2002 Full Review Source: Reel Film Reviews
Reel Film Reviews

South America is turned into a virtual sci-fi lab for the creation of ninety-four versions of the Der Fuhrer in Franklin J. Schaffner's campy The Boys From Brazil.

August 14, 2001 Full Review Source: Apollo Guide
Apollo Guide

A fun curiosity of a movie.

January 1, 2000 Full Review Source: Filmcritic.com
Filmcritic.com

Audience Reviews for The Boys from Brazil

It benefits from an intriguing mystery (though more ludicrous than disturbing), while Olivier and Peck have both their moments of excellence in a compelling thriller where they mostly seem to be in a hilarious dispute to see who overacts more and devours the whole scenery.
June 10, 2014
blacksheepboy

Super Reviewer

Exciting mystery and action. Olivier was a bit over-the-top and played up stereotypes to the hilt as an aging Nazi hunter.
January 5, 2014
cchclaw

Super Reviewer

From the sadistic Amon Goeth in Schindler's List to the pantomime Gestapo in Raiders of the Lost Ark, Nazis have consistently proven themselves to be Hollywood's most reliable villains. The costumes, accents and mannerisms are so easy to recognise and replicate that a wide range of characters can be created. Nazis on film can be cold, ruthless and heartless, or scenery-chewing cannon fodder - the enemies of democracy, or something more playful and harmless.

Coming three years before Raiders, The Boys from Brazil attempts to have the best of both worlds. It attempts to explore serious ideas about history repeating itself and the dangers of scientific progress, within the confines of a pulpy plot and a great deal of hammy acting. In the end it does veer sharply towards the silly end of things, but even if it can't compete with Steven Spielberg, there is still much to cherish and enjoy.

Considering the context in which it was made, it's fair to assume that The Boys from Brazil carried a great deal more weight than would appear immediately obvious. Coming only 16 years after the capture of Adolf Eichmann, it was still faintly credible to believe that there were dozens of ex-Nazis hiding out in South America, harbouring bitterness and plotting to 'put things right'. Likewise this was nearly 20 years before Dolly the Sheep was created; cloning was still the stuff of science fiction, and the lack of palpable examples in nature made the prospect of a Fourth Reich all the more terrifying.

This feeling of weight is compounded by the talent on both sides of the camera. The film is based on a novel by Ira Levin, whose previous works, Rosemary's Baby and The Stepford Wives, had captivated the public both in print and on the big screen. Franklin J. Schaffner had demonstrated his ability to combine politics and populist entertainment in both the original version of Planet of the Apes and the Oscar-winning Patton. And then we have the two male leads, one a beloved Hollywood veteran, the other hailed as the greatest actor ever to grace the English stage.

With the bar set so high, you could be forgiven for reacting badly to the finished film. There is a conflict between the serious talent involved and the essentially pulpy, trashy nature of the story, which means the film has neither has the grace or poise to be a truly 'serious' work, nor the knowingness needed to take it into Flash Gordon territory. Some of the sillier moments of the film may produce the same belly-laughs and face-splitting grins that Mike Hodges achieved, but for the most part it is sadly unintentional.

Part of this silliness, as has been mentioned, comes from innate contrivances in the plot. While there is great potential in the idea of old Nazis cloning Hitler to bring back their great empire and enslave the world all over again, the idea falters when the actual technology is examined. We are asked to believe that the cloning technology we see on screen is both cutting-edge - according to Bruno Ganz - and would have been available some 25 years ago, so that Gregory Peck's Dr. Mengele could have come up with such a scheme in the first place.

If you manage to get beyond this initial trifle, there are various other contrivances and plot holes surrounding the mystery element of the film. Even if Ezra Lieberman were the most highly-skilled Nazi hunter in the world, it seems unfeasible that he could pick up the trail so quickly simply by sorting through newspaper clippings of civil servants. Furthermore, if Mengele's plan is to condition the young Hitler clones, why does said conditioning start with the fathers being murdered? Surely to be properly effective, the boys would have to be encouraged to be artistic rather than just assuming that they would be genetically? Finally, there is the small matter of the money - for all the stories about Nazi gold hidden in Swiss bank accounts, it's hard to imagine James Mason and his associates living quite so lavishly without detection.

Then there are the performances to consider. Peck had recently returned to public prominence through his role in The Omen, which avoided becoming preposterous by the gravity and subtly of his performance. In this, however, he is hamming it for all his worth, scowling at the camera, chewing the scenery and spitting out his lines in a German accent which, to be kind, comes and goes. Laurence Olivier is equally ripe, although his accent is more ridiculous and wanders more obviously. The fact that he was Oscar-nominated for his performance is proof that the film, and perhaps the Academy, had gotten sillier with age.

In a way, though, the performances hold the key to enjoying or understanding the film. Once you accept the hammy tone both Peck and Olivier are going for, your opinion slowly adjusts from one of mild disappointment to embracing the film as a piece of trashy fun. From this point of view the two leads are enjoying themselves, and in their final confrontation much of that enjoyment rubs off on us. Considering that both actors were well over 60 (and Olivier was recovering from kidney surgery), it's a thrill that they could actually do the fight scene, let alone do it so well.

If the fight scene is a case of 'spot the stunt double', then the supporting cast is one of 'spot the famous face'. One of the murdered fathers is played by Michael Gough (Batman's butler), and his wife is Prunella Scales, best known for playing Sybil in Fawlty Towers. Walter Gotell, famous for his role as a Soviet agent in the Bond films, makes an appearance as one of Mengele's oldest allies. He gets one of the funniest lines in the film early on, when he remarks: "And by killing this old mailman I will be fulfilling the destiny of the Aryan race?".

Bruno Ganz, who would ironically play Hitler in Downfall years later, shows up later on as a professor specialising in cloning. He makes the most of what is essentially the Basil Exposition role: his job is to explain how cloning works so we and Olivier can join the dots and unleash the twist. There is also a very good performance by Jeremy Black, who goes through a multitude of accents and one very bad haircut to convincingly play all the different clones of Hitler.

The film also has its fair share of B-movie special effects which somehow make it more endearing. Aside from fairly standard acts, like a dummy being thrown off a dam and Bobby's dad falling strangely after being shot, we have the sequence of Peck being mauled to death by several Alsatians. Here we get false arms dangling off Peck's body, obvious make-up (with scars that are raised up off his forehead) and bucketloads of giallo-red blood.

Within these final scenes The Boys from Brazil attempts - and partially succeeds - to touch on the serious issue at the heart of its story. It explores the danger of fascism or other tyranny returning if people forget about it; Mengele's experiment is possible because even those charged with bringing Nazis to justice have lost faith in their cause. There is also an argument about pre-emptive justice, i.e. should the clones be killed for what they may become, or should they be left to develop and choose their own destinies. The film does well in showing both sides of the argument; Lieberman destroys the list of the 94 boys, but then in a classic Levin twist, we see Bobby Wheelock in his dark room, staring with a morbid fascination at Mengele being ripped to shreds...

The Boys from Brazil is an interesting and enjoyable if completely silly film, which brings several interesting issues to the fore while providing ample in the way of entertainment. It's not as successful as Rosemary's Baby or The Stepford Wives, either as an adaptation of Levin's work or as a deeply disconcerting piece of filmmaking. But once we have embraced its hammy exterior, and forgiven its more obvious shortcomings, it emerges as something with bombast, brio, and just a little bite.
May 21, 2011
Daniel Mumby
Daniel Mumby

Super Reviewer

A criative and intriguing story. This Ira Levin's The Boys From Brazil chilling adaptation have a good screenplay and acting from Peck and Oliver. Fresh.
May 19, 2011
Lucas Martins

Super Reviewer

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  • The Boys from Brazil (1978) (UK)
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