"O Ébrio" ("The Drunkard") is a rare classic from Brazilian cinema that still stands the test of time after more than 60 years of its release. I was deeply amazed by the film's quality despite its simplicity and naivety that comes along with the story. My reference here isn't the edited version but the full version (2 hours) recently restored and the way the movie was intended to be shown - many things were lost during the years but the new print has a great sound and plenty of scenes that were left out of the original 1946 release and I wonder how in the world they manage to show something underdeveloped.
An unusual partnership is established here: first-time director Gilda de Abreu directs her husband the known singer Vicente Celestino (who also wrote the play in which the film is based) in the lead role of Gilberto Silva, a simple man whose family lost all their lands due to poorly managed business and he went to the city wandering through the streets trying to find a solution to his problems, which includes return to college to get a degree as a medical doctor. He finds a church and receives a heart-warming welcome and assistance from a priest (Victor Drummond) who is willing to provide him with food and a roof. But destiny plans a little more for Gilberto. He discovers a radio show that reveals new talents, pays well and there he finds his way to a ephemeral yet rewarding success when he has the chance to sing one of his compositions, the unforgettable song "Porta Aberta" ("Open Door") with an inspirational lyric that reflects his life up until that moment. Sure, it's a musical that needs to showcase Celestino's talents but the script finds a deep problem in showing us how the simple farm guy knew how to compose/sing and understand music - but we can pretend that he knew stuff before going to the city.
With the money earned Gilberto goes back to college and graduates, becomes a doctor and finds love with Marieta (Alice Archambeau), a nurse that vividly remembers his phase as a popular singer. Up until this moment, it all goes all well. But when Gilberto's family formed with ill-spirited cousins and their wives - who turned their backs when he needed the most when he was poor - all of sudden ask for their forgiveness and try to get closer to him, which includes José (Rodolfo Arena), one of the cousins and one who's interested in Marieta and the money Gilberto left her. Not much a spoiler because its quite obvious and one of the reasons why the film is known comes in the third act when Gilberto's marriage is ruined and he goes back to his starting point, but this time worst now that he fakes his own death, without any identity and living as a completely drunkard who keeps on drinking just to forget about how his life was turned upside down. With that, comes some of the most heartbreaking and saddest moments of the film, being the most memorable when he sings at a bar another song that presents something meaningful about his story.
This movie was a poignant and sweet surprise hardly ever presented in Brazilian films or even films from around the world around at that time. I've heard some scholars here comparing it to "The Lost Weekend" since they were released very close to each other in here, and that's a valid point - even though Celestino's play was around for quite a bit. But the sense of transition of a man losing himself, then finding himself again to a more meaningful life and losing it all back again, that full transformation felt real even though the movie was quite colorful, too fast while giving us a real turn-around on Gilberto's good moments. Unlike "The Lost Weekend" which paints a profound and dirty examination of what a drinking problem is, "The Drunkard", at least provides us time to reflect on why that exact addiction seems to be the main solution to many people. It's a decent presentation, with minor troubled outcomes. And except for the drama and the musical bits, there's even room for a good humor specially when it comes to present Gilberto's family and the maids.
Despite some melodrama (common in that era), "O Ébrio" is consistently good, without a lost moment and well-acted despite not having an all-star cast. I've found myself completely immersed with the story and the ways it followed, specially that ending which reveals a lot about the potentiality of cinema when it goes a different way than expected. 8/10
