Diogo Álvares, a Portuguese map illustrator, reaches the Brazilian coast, after his caravel sinks. He is saved by the Indian chief Itaparica and his two daughters, Paraguaçu and Moema. They...
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Renata de Lélis,
Diogo Álvares, a Portuguese map illustrator, reaches the Brazilian coast, after his caravel sinks. He is saved by the Indian chief Itaparica and his two daughters, Paraguaçu and Moema. They call him Caramuru and together they engage in a happy love triangle. But the chance to return to Portugal arises, and it is clear this amoral arrangement cannot last. Written by
FYI I should advise, I find the current darlings of Metropolitan Opera & Hollywood tycoons (namely Mr. & Mrs. Baz Luhrman) simply abominable. It follows that I would be inconsistent with my aesthetic abominations if I did not I rank Mr. Guel Arraes of the Brazilian TV net Globo among other dreadful would-be geniuses. Actually, to be fair Arraes was the real pioneer here. His video-clip aesthetics came forward long before the Luhrmans even perpetrated 'Moulin Rouge.' Such similar Weltanschaung is also based on coarse humour plus quick editing cuts plus total indifference to period fidelity. 'Caramuru' is therefore rather typical. It ridicules Brazilian colonial history. Supposedly, it is therefore a farce. Quite unfunny, though. Its action is in the 16th century but the film emphasizes 20th-century Carnival pageants. Inaccuracy on purpose? Clothes are ridiculous. On purpose? Anyway, Bad humour + an Awkward narration by Mr. Nanini (rather displaced herein, though) + Excessive histrionics + a Pseudo-genius touch equals low-brow audience success plus middle-brow critical commendation, with (maybe I should add) a little touch of toadyism.
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