In 1978 a now classic political thriller was released, featuring Gregory Peck, Laurence Olivier, Lilli Palmer, and James Mason in the lead roles. Unceremoniously dubbed ‘The Boys from Brazil’, a sublimely crafted film, this Frank Schraffner directed picture still manages to frighten and entertain audiences nearly half a century later – holding up steadfastly despite its age.
With such an unassuming title it’s hard to imagine what the film may be about which was likely the way the filmmaker intended it. The original promotional material tells the viewer next to nothing, beyond the vague tagline:“if they live, will we survive?” plus a few grimy black and white photos contained within a large symbol for the male sex (see the original poster above), implying nothing much beyond a ‘Village of the Damned’ style tale. It must’ve been quite a bait-and-switch to early moviegoers – seeing as you’re thrown headfirst into a mystery involving Josef Mengele, remnants of the Third Reich, Jewish Nazi-hunters, and Hitler clones.
Yes. There are “little Hitlers” in this film.
Before getting into the nitty-gritty of the pint sized Fuhrers – let’s examine the stylings of the investigatory plot – one that presents its mystery in an almost whodunit like fashion; Ezra Lieberman (Laurence Olivier) fills the role eloquently of a Holocaust survivor and Jewish Nazi-hunter who must track down the remaining members of The Third Reich, foiling their plan for world domination before it’s seen through to its unquestionably malevolent end. Without a doubt Gregory Peck gives an unnerving performance as the maniacal Dr. Josef Mengele. After Lieberman’s protege is murdered relaying the whereabouts, and intricacies, of a secret meeting between SS members and head ex-Nazi officials, Lieberman (Olivier) is slowly, inescapably drawn into a surreal web of conspiracy; one that promises to ensnare him in its tendril-like Aryan gossamer if he doesn’t race to uncover and disrupt the infernal machinations of a mad Nazi scientist.
For a film that begins in media res, ‘The Boys from Brazil’ managed to be a flavourful cigar, rather than a utilitarian cigarette a slow burn that keeps you entertained and satisfied – on the edge of your seat from beginning to end. This is due in part to the subtle way that the plot unfolds, akin to the swelling of violins in a well-orchestrated crescendo. The cinematic rhythm slowly builds, swells, and reaches an Everest in the final moments, finishing with a twist: one which offers nuanced social commentary on nature versus nurture or genetics vs environmental pressure, if you prefer. There is transparent intentionality here – in my opinion – as it would make abject sense that the film was intended as a statement on protruding falsities of Phrenology as well as the correlation between intellectual deceit – as it relates to Nazism – falsehoods being characteristically intrinsic to ubermenschian principles.
Put simply:
the National Socialist Movement of 1930s, 1940s Germany chose to hold so-called “genetic purity” in a higher regard than life itself. The climax of the film illustrates that this reasoning is more likely than not – a totally invalid assumption.
Although the ending does hint at a malignancy buried within the boy from Brazil that has the central focus of the film’s ending. A malignancy that was seemingly only averted due to salt-of-the-earth surroundings the most viable Hitler clone grew up in. Strangely enough, he’s seen to have an almost “Clark Kent” like existence – living in a rural homestead with a conservative father.
This is a neat choice considering Superman is the inversion to any idea of an Aryan ubermensch, by two Jewish men as an analogue for Jewish freedom fighters and their unconquerable spirit. Funnily enough, both ‘The Boys from Brazil’ and the first Superman flick to star Christopher Reeve premiered in the same year, 1978.
Hmmm, who’s to say….
The last few seconds of the film make it perfectly clear, that while pre-determined outcomes associated with genetics are not one hundred percent accurate – or even predominant – there is some truth there. It proves to be FAR from a theatrical finish or a “happy ending” where the young boy turns out to be a paradoxically, altruistic individual despite his genetic makeup. No, instead we are treated to shots of him developing photography an aforementioned hobby; the only problem is, they are pictures of a mangled Dr. Josef Mengele after he’s been ripped apart by Doberman Pinschers at the boy’s behest.
Justified?
Yes. A sign of his inner sadism? Also, yes.
What I’m saying, without completely spoiling this forty-eight-year-old film, is this: the director intentionally left the question of whether the child is innately evil – open for interpretation. He’s certainly proven to not be the villain everyone assumes, at least in a thematic sense – yet his personality is roads and roads, and even valleys, away from heroic.
There’s an illuminating scene between Laurence Olivier and one of the day players, filling the role of a geneticist whom Lieberman meets with, in an attempt to fill in his gaps on Nazi Science; particularly Josef Mengele’s experiments on twins and how those twisted experiments relate to the two relatively new scientific fields of cloning and embryonics. After meeting with a few of the boys from Brazil, he begins to suspect a conspiracy (mostly due to their identical appearance) involving the near-literal resurrection of Adolf Hitler. This conspiracy being perpetuated through the use of cutting-edge, scientific advancements: expressly, the embryonic implantation of Hitler doppelgangers. Or more accurately – carbon copies using the late Fuhrer’s preserved blood. The similarities are not just skin deep.
Towards the end of an exposition drop, this mistaken scientist expresses his idea of a utopia, remarking “…wouldn’t you want to live in a world full of Mozarts and Picassos?”. There’s only a brief pause in dialogue – but a response in the form of a mildly distressed look on the seasoned Nazi-hunter’s face says it all, this line of reasoning is exactly what leads to superfluous ideals of supremacy. Ezra Lieberman, unimpressed by the man’s philosophical and intellectual fallibility makes use of the information while simultaneously mulling the skewed ethics of such technological advancements.
The reasoning espoused here seems egalitarian, nay perhaps merely optimistic in nature: but in truth that sort of logic always harbours an insidiously malignant and rotten core – which in turn houses a small granule of validity. A tiny, miniscule kernel of truth. The delusion of superiority feeds off visions of “utopian” grandeur; parading as moralistic positioning by those willing to delude themselves. This line of thinking often exists as ideological quicksand…entrapping those who seek to bring perfection to an imperfect world.
At least that’s my take.
AFTER NOTES:
Foreshadowing:
A mirror placed opposite of another mirror delivers a multiplied reflection that symbolizes his duplicates. This the first Hitler clone who Ezra Lieberman interviews, making it clear to the observant movie goer – that there are multiple boys who have DNA identical to Adolf Hitler’s.
Observations:
Mengele is such a methodical douchebag, it’s suggested that he takes as much satisfaction in putting check marks on a white board as he does taking part in his other favourite pastime – inhumane and sadistic pursuits – disguised as science.
The final scene has a speech by Josef Mangele, during which he claims since cinema has chosen to explore the goings-on of WW2, specifically the horrific exploits of the Axis powers, the time is now ripe for the return of the Nazi movement.
“…interest is at an all time high!” he proclaims, as if it were a simple, harmless sales pitch in front of a board of cautious shareholders and NOT a ludicrous argument that calls for the return of a callously manipulative heinous and vampiric empire – the worst ever known to exist.
The not-so-subtle subtext here evinces an idea that any, and all cinema, detailing Nazi exploits, may lead (or at least contribute) to the rise of Neo-Nazism itself.
This is, in actuality, a common critique of media that depicts the worst aspects of history; even if said media goes great lengths to avoid unintentionally condoning or promoting the evils portrayed. Effectively, the statement here ascribes to a school of thought which supports censorship (over mere censure) at least when it comes down to material deemed too dangerous for public consumption.
Point in case – this is why most countries have banned Mein Kampf.
Good riddance.
Rating:
10/10
If you have a fear of dogs or want to buy a doberman at some point, be warned… ‘The Boys from Brazil’ may not be for you!
(Cynophobia: a fear of dogs.)
