|Index||9 reviews in total|
Dona Flor, Sonia Braga, ( The Kiss of the Spider Woman and Robert Redford; Milagro Beanfield War) is married to Vadinho, José Wilker ( well known Brazilian Soapopera star). Vadinho likes women and Flor is a subservient wife who gives cooking lessons because she is well known in town for her good cooking. Vadinho never misses a chance to flirt and even to touch other women in front of Flor, who never catches him. Flor is great denial because she loves him and they have a great sex life. Vadinho dies. She remarries the town pharmacist, Mauro Mendonça (another famous Soap opera actor) who is a complete prude. Vadinho then begins to show up as a ghost, and keeps making fun of her prude husband. Well many funny moments of great laughter. Based on a book by Jorge Amado, one of the foremost Brazilian writers ( Gabriela, Cravo e Canela), this is a fun plot and very much into the Brazilian culture. You must give Vadinho a break at the beginning of the movie because machismo is somewhat accepted in the Latin culture, and as the plot develops his machismo will make you laugh. Well directed by Bruno Barreto, who directed ( Four Days in September) movie that was nominated for an Oscar as Best Foreign Film in 1988, Dona Flor will give great insights into Brazilian culture and a flavor to taste Brazilian food. Very spice, and fun Movie. I highly recommend!
In the dawn of the Sunday of the Carnival of 1943, in Salvador, the
thirty-three years old Valdomiro 'Vadinho' Santos Guimarães (José
Wilker) dies, with many internal organs not working well. The widow,
the teacher of culinary art Dona Flor (Florípides) Guimarães (Sônia
Braga), misses him and remember their lives together along seven years
of marriage. Gambler, Bohemian, hard-drinker, "bon-vivant", but also
good lover, Vadinho left Flor in the honeymoon, after the consumption
of his obligations, to gamble in a casino and spend the rest of the
night in a brothel. But he knew how to treat and love Flor, and in the
end she made peace with him. After his death, Flor marries Dr. Teodoro
Madureira (Mauro Mendonça), a good husband and hard- worker, with a
great culture and player of oboe in a local orchestra. Teodoro gives a
comfortable and very stable life to Flor, but without passion in his
love, having boring sexual intercourse with her. After one year of
marriage, Flor misses so much the sex life with Vadinho that she
includes him in her sexual life. "Dona Flor e Seus Dois Maridos" is a
delightful transposition to the cinema of the greatest best-seller of
the Brazilian literature, having more than two millions readers. The
naive and metaphoric story of a woman in the 40's, in the interior of
Brazil, who has a repressed sexual life in her second marriage, and
fantasizes thinking in the love of her former husband, is indeed a
classic in Brazil. Sonia Braga in the beginning of her career, with her
very Brazilian type, is magnificent in the role of Dona Flor, and José
Wilker is the personification of the "Brazilian loafer" of the 40's,
wearing white suit, asking for money to his friends, spending the money
in gamble, women and booze, and having a woman to support him. This
movie was awarded in the "Festival of Gramado (Brazil)" in 1977, and
was nominated to the Golden Globe of 1979 in the category Best
Foreigner Movie. This movie was recently released on DVD in Brazil. My
vote is nine.
Title (Brazil): "Dona Flor e Seus Dois Maridos"
I first saw this film when it was released here in L.A. over twenty years
ago. It was outrageously funny then, and even more so 20 years
Dona Flor is married to Mr Wrong, but she loves him and overlooks his short comings and takes care of him. After his untimely death, she marries Mr. Right who adores and cares for her. Yet, the spark Mr. Wrong ignited within her is missing. That is until the ghost of Mr. Wrong comes back... LOL! Can a woman love and honor two husbands?
Whether you're a stickler for monogamy or you believe having more than one spouse is the only way to go, you'll have fun viewing this beautiful, entertaining, and hilarious film.
One of Bruno Barreto's earliest works, Dona Flor and Her Two Husbands is a comical story about human desires and the need for balance. This movie is for everyone who ever wanted to mix and match the qualities of failed lovers into the perfect partner. You will laugh and see yourself in Dona Flor's struggles.
Talking about prodigy filmmakers, Xavier Dolan might feel threatened,
at the age of 21, Brazilian director Bruno Barreto's third feature DONA
FLOR AND HER TWO HUSBANDS (adapted from Jorge Amado's namesake novel),
became the most successful film in Brazilian history, a record it would
retain for about 35 years, and it launched its star Sonia Braga onto
international stardom, who would reach the apogee in her iconic turn in
KISS OF THE SPIDER MAN (1985, 9/10) as the embodiment of the titular
Death precipitately befalls during the exotic festivity of a cluster of people dancing and courting a mulatto in a Brazilian town, and the deceased is Vadinho (Wilker), a young man in his early thirties, and the causes of his death are multiple. He is survived by his wife Dona Flora (Braga), and she starts to recollect their seven-year marriage and it turns out Vadinho is a complete good-for-nothing except his amorous sexual desire. He is a chronic gambler, an inherent womaniser, a boozer and whore-monger with a tendency for domestic violence. And Dona is a sultry beauty, but also a religious wife, she puts up with him in spite of all the suffering and abuse, since occasionally she can find the ephemeral satisfaction in their torrid love-making. But in the eyes of others, like Dona's mother and her close friends, who keep grousing about why she is so submissive towards Vadinho's tyranny, their marriage is a total mismatch judging by the face value.
When Vadinho is out of the picture, everyone is hoping for a new bright future for Dona, including herself, she is tormented by his sudden death, but is also looking forward to commencing a brand new chapter of her life. So she marries to a second husband, a middle-age pharmacist Teodoro (Mendonça), the exact opposite of Vadinho, a respectful man with a prospective future, but pedantic and boring, and worst of all, the sex is dreadful, comically marked out by Barreto in their wedding consummation with droll earnestness.
Commendably, the film focuses on a woman's conundrum between two polarised types of men, edifies with the motto "happiness does not equal romance" and then establishes Dona as a token of woman's sexual liberation by creating an imaginary ménage-a-trois situation with no rationale behind it. Barreto affirmatively betrays his young age through mischievousness of twisting the irony of fate and whimsies in engineering its saucy sex scenes with inordinate indulgence. Especially Wilker is not such a hotrod gaging by today's standard, watching him flaunt his flabby body in the buff and ca-noodle Braga again and again only solidifies one thing: she deserves someone much better, and the exploitation of her sex appeal out-paces the requirement for a committed performance, which she invests profoundly in the character development.
As far as the film is concerned, although sometimes verbosely executed, but who can resist its fetching charm of a strange land with all its whistles and bells function in full mode, plus a hindsight of Barreto's young age can only attribute more to his precocious expertise, a creditable achievement indeed.
This priceless old film contains brilliant performances, not only by
the great Sonia Braga, and the Moliere Award-winning Jose Wilker, but
also by the entire supporting cast.
The gossipy neighbors, the uptight mother, the casino and whorehouse friends of Vadinho, are all played to absolute perfection! Mauro Mendonça deserves honorable mention for his spot-on portrayal of the bassoon-playing dork of a second husband. I've seen this at least a dozen times, and I still can't stop laughing.
Few films create a masterpiece out of a masterpiece of fiction, which both this film and Jorge Amado's novel certainly are. Here, you get not only erotic art, but a hilarious and splendid comedy of manners, in a fantastic period setting, perfect in every detail. If that were not enough, the soundtrack of Francis Hime and Chico Buarque de Hollanda, with the theme song, "O que sera sera," sung by the great Simone, serves you an auditory feast worthy of Dona Flor's immortal moqueca.
A treasure to savor, over and over and over again!
When I first saw it, it was one of the most sexiest movies I had ever seen. Sonia Braga back in the late seventies was a beautiful woman and now as a 57 year old she still has that look. After seeing the movie I wanted to see more of Brazil, so much I went to Rio. I was not disappointed. From very rich ex-patriot Germans to super poor mixed race Brazilians, it was an eye opener. Brazilian women were so sexy in dress and manner but don't let the eye candy fool you. There character was top rate. As one Brazilian woman put it, "We dress like this because we celebrate life and sex, but to get these pants off a wedding ring is the key."
As a confirmed Brazilophile who has visited that charming country many times, I can easily affirm that this film will come as close as any other to providing you with the authentic flavor of Brazil. What keeps this from being a really good film is its essential silliness. Another reviewer has recapitulated the plot fairly well, so I don't need to do that here. Suffice it to say that I don't find it incomprehensible that Flor would put up with her first husband's peccadillos as the price for passionate sex. What I do find incomprehensible is that a woman as passionate as Flor would put up with her second husband's ineptitude at lovemaking. He wears both his pajamas and his underwear to bed and keeps them on when he makes love, and she keeps her nightgown on as well. Why doesn't she rip all of the clothes off and teach him something? Oh well..........
Sonia Braga's beauty and charm is sure to captivate most male viewers of this film, but even they will probably notice that the whole thing DRAGS along at a slow-as-molasses pacing and feels incomplete, as if the filmmakers couldn't come up with a truly satisfying ending. The basic story is clever, but I'm afraid this film too often borders on boredom. (**1/2)
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