Short stories revolving around a bar and a hotel in Recife, unveil a mosaic of exotic characters living in the Brazilian underground: a butcher married with an evangelical woman, a ... See full summary »
Womanizer suddenly finds a woman who makes him change the way he looks at women. He falls in love, and believes she is in fact all women in one. Because of that, he has to face an important... See full summary »
Following a newspaper ad, ordinary women tell part of their life stories to director Eduardo Coutinho, which are then re-enacted by actresses, blurring the barriers between truth, fiction and interpretation.
There are many concurrent plots in this film. The main one being the one in which a desperate guy kills his parents with an open razor and then goes to the movies. At the same time, other ... See full summary »
Antero de Oliveira
Documentary about Santiago, a peculiar man who used to work for the director and his parents as a butler. The material was filmed in 1992 but, for some strange reason, the director felt he ... See full summary »
The story of a famous Brazilian criminal, called The Red Light Bandit because he always used a red flashlight to break in the houses during the night. Working alone, he also used to rape his female victims.
This movie is about one of the worst periods for the Brazilian people. Shows the days of military dictatorship when the Brazilian people against the government were put in jails, tortured, ... See full summary »
Class struggle in the living room -- Carnival style!
Juarez Barata (Paulo Gracindo) and his wife Elvira (Fernanda Montenegro), a middle-class, middle-aged couple from Rio de Janeiro, decide to renovate their Copacabana apartment and chaos is installed. Through a series of vignettes, director/co-writer Arnaldo Jabor exposes -- with explosive humor and sharp criticism -- the social, political and cultural differences that separate (but not quite) Brazilian social classes in this operatic, frantic, Carnival-like film that is a rarity among Brazilian comedies: it's not slapstick, it's not vulgar (though it has its share of scatological jokes), it's witty and it's hilarious -- you laugh while keeping your brain working. Who can ask for anything more?
Jabor aims his machine-gun at various issues: fascism, capitalism, imperialism, mysticism, chauvinism, racism, the bourgeoisie, the military regime, the mixed-up relations among social classes in Brazil, etc -- and it's sad to realize they haven't dated at all. There's really no proper plot: the renovation is just a pretext to get the characters together, tease them and start the cockfight. Jabor -- who abandoned his successful film career altogether in 1990 and has since used his bombastic, independent, incisively ironic style to become one of the top Brazilian political/cultural press/TV columnists -- -- manages to combine in "Tudo Bem" a piercing analysis of Brazilian politics and society with his flair for good dialog and interesting musical choices on the soundtrack (including Juarez's fixation on Brazilian birdsong records - "Ah, o uirapuru!!!").
The film benefits immensely from a great cast: veteran Gracindo gives a tour-de-force performance (probably his best on film), alternating a respectable façade when he's sober with nostalgic bravura when he's drunk, at once funny and pathetic; Montenegro (Oscar-nominee for "Central do Brasil") shines as the hysterical Elvira with her inimitable vocal delivery and on-target comic tempo; Luiz Linhares, Fernando Torres and especially Jorge Loredo make a terrific trio of ghosts; Stenio Garcia, José Dumont and Anselmo Vasconcellos have a ball as the workers; Zezé Motta gets to show her callipygian nudity, fascinating energy and fine singing voice. Then-beginners Regina Casé (in her film debut) and Luiz Fernando Guimarães (his 2nd film) sometimes fall back to stage tricks, but they already knew how to strut their stuff and it's nice to see them so young and thin!
Allegoric, loud, intelligent, funny, fast and furious, "Tudo Bem" got a DVD release with so-so quality (they could have remixed the sound: some dialogs get lost under loud music or the workmen's whamming and pounding), but it's one of the best Brazilian comedies of the 1970s and one of Jabor's best -- only the ending is rather flat and disappointing (and Paulo César Pereio hamming it up doesn't help). My vote: 8 out of 10.
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