Morrer Como Um Homem (2009)

Director:

João Pedro Rodrigues

Writers:

Rui Catalão (written by)
João Pedro Rodrigues (written by)

Release Date:

15 October 2009 (Portugal)

Genre:

Biography

Plot:

A transvestite tries to erase any past history of herself as a male. She dies tragically before this is accomplished and her male identity is engraved on her headstone. |

Plot Keywords:

Transvestite | Sex Change | Gay Interest

Cast

Alexander David	...	Rosário
Gonçalo Ferreira De Almeida	...	Maria Bakker
Fernando Gomes	...	Teixeira
Jenni La Rue	...	Jenny
Miguel Loureiro	...	Paula
Chandra Malatitch	...	Zé Maria
André Murraças	...	Dr. Felgueiras
Fernando Santos
Cindy Scrash	...	Irene

Also Known As:

Mourir comme un homme (France)
To Die Like a Man (International: English title)

Runtime:

France:133 min

Country:

France | Portugal

Language:

Portuguese

Color:

Color

Certification:

Portugal:M/16

Company:

Rosa Filmes

Dogs, aquariums, killer sons, druggie lovers, and a sex change

You can't help thinking there's a good movie here somewhere. But things get out of hand from the start. Two young soldiers on maneuvers in camouflage outfits have anal sex in the woods. It's too dark to see which is which, but shortly afterward one shoots the other dead, apparently in an extreme form of homosexual panic. That's before the opening titles. But it's a plot line that's largely dropped.

'To Die As a Man' ('Morrer Como Um Homem'), a film from Portugal, is a bizarre patchwork of scenes, some of which resort to spins or whiteouts or extreme blue or red filters, and it doesn't need to do all this, because its account of a would-be transsexual who lives with a young drug addict and shelters her assassin son is quite bizarre enough. And ought to be interesting. And as the drag queen, Tonia, Fernando Santos is watchable. But the 138-minute running time makes this quite another kind of drag. You could easily excise 30 or 40 minutes; but the story line would still ramble too much.

A drag queen who's getting too old and is asked to leave the show. Haven't we seen that before somewhere? That's Tonia. She has competition from a younger black performer, Jenny (Jenni La Rue). That sounds familiar too. The hesitating to get the sex change operation: done. The young druggie lover: done. The haughty ex-drag star met by chance who struts her stuff, reciting German poetry: done.

But despite the familiarity of themes, there's life here. Drag queens are so camera-ready. Rodrigues has a gift for odd or arresting moments, like the switch blade snapping into a transparent shower curtain, a chicken bone and a high-heeled shoe dropped into the aquarium, a man committing suicide on the beach seen only from behind. There is a welcome willingness to experiment and take risks. Despite the camera tricks being out-there campy, the visuals are generally very nice. Only the director keeps killing things by stopping the action for a lengthy song or musical number, or going off on some new tangent and losing the momentum. Or sinking into subject matter that seems too derivative.

I lied: the killer soldier theme isn't completely dropped. He lies waiting for Tonia in her house one night, and turns out to be her long-lost son Zé Maria (Chandra Malatitch). Tonia agrees to hide Zé Maria, who destroys her aquarium. But she's more interested in helping her young boyfriend Rosario (Alexander David, who's pretty convincing) stay off drugs. And more than that, she's interested in her little dog.

One or two moments that have nothing to do with AIDS, or Christianity, or sexuality, like the time when Tonia and Rosario wander in a woods and find wild forget-me-nots, seem more natural than anything else. It is possible to care about these people. And wish they were in a better movie.

This will play well to the some specialized LGBT cinema audiences. Jason Anderson of Eye Weekly speaks of "searing melodrama with great moments of formal audacity" and says that Rodrigues' "three features to date are throwbacks to a far more radical era for queer cinema and 'To Die Like a Man' is no less extraordinary than its predecessors." Shown (and seen by me) as a part of the main slate of the New York Film Festival 2009.