Editing Brazil (1985 film) (section)

===Music===
[[Geoff Muldaur]] performed a version of [[Ary Barroso]]'s most famous 1939 song "[[Aquarela do Brasil]]" ("Watercolor of Brazil", often simply called "Brazil" in English). The song is a musical ode to the Brazilian motherland. [[Michael Kamen]] uses the song as a [[leitmotif]] in the film, although other background music is also used. Kamen's arrangement and orchestration of Barroso's song for ''Brazil'' made it more pliable to late 20th-century tastes, to the extent that film trailer composers often used it in contexts that had little to do with Brazil and more to do with Gilliam's dystopian vision.<ref>{{cite book|last1=Goldschmitt|first1=Kariann|chapter=From Disney to Dystopia: Transforming "Brazil" For A U.S. Audience|title=The Routledge Companion to Screen Music and Sound|chapter-url=https://hcommons.org/deposits/item/hc:16523/|date=2017|pages=363–374|isbn=978-1-138-85534-2|publisher=Routledge|ref=57|access-date=25 December 2023|archive-date=25 December 2023|archive-url=https://web.archive.org/web/20231225014115/https://hcommons.org/deposits/item/hc:16523/|url-status=live}}</ref>

Kamen, who scored the film, originally recorded "Brazil" with vocals by [[Kate Bush]]. This recording was not included in the film nor on the original soundtrack release. However, it has been subsequently released on re-releases of the soundtrack. Gilliam recalls drawing the inspiration to use the song:<ref>{{cite journal|last1=Vugman|first1=Fernando Simão|title=From master narratives to simulacra: analysis of Orwell's 1984 and Terry Gilliam's Brazil|url=https://repositorio.ufsc.br/xmlui/handle/123456789/157973|website=repositorio.ufsc.br|year=1995|publisher=Universidade Federal de Santa Catarina|access-date=16 February 2018|archive-date=7 January 2019|archive-url=https://web.archive.org/web/20190107015741/https://repositorio.ufsc.br/xmlui/handle/123456789/157973|url-status=live}}</ref>
{{Blockquote|This place was a métallurgie city, where everything was covered by a gray metallic dust... Even the beach was completely covered by dust, it was really dusky. The sun was going down and was very beautiful. The contrast was extraordinary. I had this image of a man sitting there in this sordid beach with a portable radio, tuned in those strange escapist Latin songs like Brazil. The music took him away somehow and made the world seem less blue to him.}}

Sylvia Albertazzi, in her article "Salman Rushdie's 'The Location of Brazil': The Imaginary Homelands of the Fantastic Literature", stresses even further the importance that the soundtrack had on the movie's plot and meaning. She suggests, "... the opening question 'where is Gilliam's Brazil?', may be answered, quite literally, 'in a song'; just as it is in a song that there is to be found that world where 'all fall down' in children's games."<ref>{{Cite journal|last=Albertazzi|first=Silvia|date=16 December 2014 |title=Salman Rushdie's "The location of Brazil": the imaginary homelands of fantastic literature|journal=Acta Neophilologica |volume=47|issue=1–2|pages=25–30|issn=2350-417X|doi=10.4312/an.47.1-2.25-30|doi-access=free}}</ref>