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You Only Get Noted Once
Criteria: below ten titles, only counting films and TV films, and with less than two known works (that's why you won't be seeing Heather O'Rourke here, just an example).
Died on their Birthday
Monalisa thief Vincenzo Peruggia (8 October 1881 – 8 October 1925); journalist William Monroe Trotter (April 7, 1872 - April 7, 1934); military Filinto Müller (11 July 1900 - 11 July 1973); painter Nair de Tefé (16 June, 1886 - June 16, 1981); sportswriter Martin Manley (15 August, 1953 – 15 August, 2013); terrorist Yakub Memon (30 July, 1962 – 30 July, 2015); criminal T. Eugene Thompson (August 7, 1927 - August 7, 2015); author Victor Thorn (August 1st, 1962 - August 1st, 2016) and Lula's mother-in-law Vani Terezinha Ferreira (October 28, 1940 - October 28, 2020).
The Film Club
Robert Bork
Hottest actors
THE WORKING MAN, CHARLIE!
Reviews
The Conqueror: Hollywood Fallout (2023)
The disastrous and tragic aftermath of a wannabe classic film
For those who never heard about the disastrous aftermath revolving the filming of Howard Hughes-Dick Powell epic failure "The Conqueror"
(1956) and its filming on a desert area used for atomic tests in the 1950's and what would cause hundreds of deaths in the following years, this
special documentary is an eye-opener and a must-see film, not only just to follow the case but also in witnessing a wider scope that goes beyond
the Hollywood film and its quest for perfection and accuracy that end up resulting in a massive tragedy.
This is the story of a proposed Genghis Khan epic adventure produced by Howard Hughes in the hopes of making one of the most important films ever made, but it
turned out to be a laughing-stock that failed with critics and audiences, and when several residents of the area near the atomic tests began to
feel sick and die, and later names such as John Wayne, Susan Hayward, Pedro Armendariz, Lee Van Cleef, Dick Powell, a total of 90+ personalities
involved with the film started to develop cancer, the story broke out in the media when a local woman made an extensive research that wasn't a
coincidence, it was a fact that something was happening in that Nevada area.
The challenging aspect of it all, the big question audiences will make with this film is to whom do we blame and point our fingers as
being responsible for everything that happened in the town of St. George? The AEC (Atomic Energy Comission) and the authorities for lying to the
public saying that the environment was safe and uncontaminated? The government for creating a red scare and an alarmist defense response in hurrying technology and bombs fabrication, for an attack that'd never happen? Hughes and the film crew knew about the real extent of everything or were lied to?
To whom the families of artists and the locals affected with several forms of cancer in the decades following the filming would recur?
It's a gripping, fascinating and explosive documentary that debunks myths, proves its facts and manages to interview many people related with
the fallout disaster, specially the town's people who followed in great detail the shooting of that film, and even military personnel involved with
those early tests in 1950's America present the work pattern of those days.
I was expecting to see the typical Hollywood tragic/E! Kind of special,
and I was greatly surprised that there's a focus beyond the film as it is a serious topic that affected regular people who never expected that they
would have to deal with sickness and numerous deaths in a same household or neighborhood. Sure, it's very interesting when we follow the John Wayne's
son or Susan Hayward's son detailing curious stories about the filming and their final moments, but following the locals and the battles they faced
against authorities to prove that wrongdoings were made and they fought for some form of compensation, is exhilariting, nervous and sad - and those
facts weren't familiar to me as I knew about the making of "The Conqueror" - also worth pointing out that it wasn't just the actual location
responsible for the problem, but an enormous quantity of sand from the place was taken to Hollywood to recreate the desert on a soundstage.
We're told, through an animated sequence narrated by actress Sophie Okonedo, about a legendary story revolving Hughes watching the film
repeatedly during his reclusive days - I always heard that "Ice Station Zebra" was a frequent private session of his, a clear obsession. It'll
die with him as to why he watched "The Conqueror" ad nauseum, if it was a regret for making it since he had high hopes that went nowhere and he
never returned to movie making, or because of what happened later on (a little unlikely but possible). I can't talk about that movie, as I still
haven't seen it; but just the story alone from its making creates an appaling tragic record that gladly Hollywood never returned to it - the excesses
done ever since all relate to bad scripts and lousy filmmaking. But it makes me wonder if those powerful men were simply cutting costs while choosing
location and if they knew about the atomic tests conducted there. 10/10.
Oingo Boingo: Just Another Day (1986)
A different Boingo but very cool
The song is one of my favorite of Oingo Boingo as it shows they can make a hit outside of the typical colorful new wave songs, and show something
darker and more serious both with lyrics and music. But the video for "Just Another Day" is just another band performance, always depending on
Danny Elfman's part charisma/part craziness as the band appear on stage to deliver an act in front of sinister-looking women, all dark-haired
and with pale faces, staring at the guys if they were a cult. Is there a meaning to it or some wild entertainment happening? Not quite. It's
curious to see as most audiences keep expecting some supernatural/horror to come around but it never comes, it's just the idea of fright. Elfman
and Boingo's existential reflections to a sound that you can dance is lots of fun. 7/10.
Memorial: Letters from American Soldiers (1991)
Different wars, but similar sentiments through the decades
A short documentary like this, covering the many different interventions and involvements of the United States forces during wars in the 20th century,
makes us question not necessarily about the times young soldiers had lived, but mostly the spirit of combat, fear, terror, tragedy and how different
situations, political/historical scenarios and wars have a certain uniqueness that doesn't change through nearly 100 years of letters written by soldiers.
We go from the WWI (American forces joined the conflict in 1917), move to WWII, Korean and Vietnam wars, and close with the Gulf War in the early 1990's.
Actors such as Val Kilmer, Tony Goldwyn, Blair Underwood, Tom Hulce, Bill Irwin, Eric Stoltz and others read many letters from soldiers of those combats,
and we watch news and archive images from those, following a certain modus operandi: letter and conflicts, and then an important message from a president or
a general claiming for the efforts of peace.
Different men and different times and experiences, but once inside the context of fire, shootings, bombs and attacks, the pressure
of everything changes their essence of young men who feel as if living as older man, just waiting for death or trying to escape it, always with the intention of
returning home safe and sound to their loved ones. And the shock and awe of everything is seeing that a written word in the early 1910's would sound similar
as one written in the early 1990's. If love has a uniqueness through descriptions and certain feelings, so does the nature and horrors of war through the ages.
While technology and new weapons can allow that conflicts can end sooner (allegedly) or cause a mass destruction against the enemy, the feeling expressed in
the letters narrated by the Hollywood actors is something universal, everlasting, with small variations of tone and descriptions.
Bill Couturie made a very
expressive gathering of elements that makes us reflect about war and peace, the human condition through drastic and terrible scenarios, and the humanity that
exists at war, that deep down those young men in uniform would never want to fight for older gentlemen, unless if extremely needed and urgent, and their youthful dreams
of living in a world united in peace, as they're just discovering the world around them. Despite everything you see and hear in the documentary, the struggle for peace
speaks higher all the way through the film. 8/10.
The Last Temptation of Christ: On Location in Morocco (1988)
Scorsese: A vlogger on the set of his own movie
Martin Scorsese was a vlogger way before the term exist and what a fun experiment this was. The man and his video camera registered a
little portion of the behind the scenes from his classic "The Last Temptation of Christ" in the Morocco location. Stars Willem Dafoe, Andre Gregory,
John Lurie and Harvey Keitel appear during filming in between curious and amusing moments in the long shooting, barely reflecting the exact nature of
a serious and religious experience as adapted from Nikos Kazantzakis book.
It's far from the typical making of we're used to see, as Marty carries the camera with him, details what they're about to shoot the next day, the
complications and logistic of everything and then he proceeds with distant shoots from cast, crew and the extras in movement. It's a pity that his video
diary wasn't longer and done each day, from the film conception up until his editing, as it is a film I have the utmost respect and consider one of his
finest. A bigger pity that the studio did not release it as a bonus material on the DVD, neither the audio commentary track, at least here in Brazil.
Only major releases from that decade earned interesting and fascinating materials back in the day, and this one was pretty good and should attract a wider
audience to witness the brilliance of Scorsese in movie making. 9/10.
Cara a Cara (1967)
A terrible nuisance
"Cara a Cara" ("Face to Face") marked as writer/director Julio Bressane's feature debut and what a chaotic and disastrous
early film for him and everybody involved. Nothing to say, nothing to show except for brief moments where the style and its
presentation looks a little groundbreaking in Brazil cinema, but the substance is null, horrific, tedious and a massive snooze fest
that will make you fall asleep and wake up over and over, due to its ugly-sounding soundtrack.
It's said that this is a dramatic tale of obsession, as experienced by a poor public servant (Antero de Oliveira), dealing with
a dying mother (Vanda Lacerda), who distracts himself in following and observing a wealthy beautiful woman (Helena Ignez) of whom he's
in love. While those characters lead their lives in separate ways and barely communicating with each other, there's a bigger picture at
play with the girl's father, a rich man (Paulo Gracindo) making a scheme to overthrown a leftist politician - a jab at president João
Goulart and the '64 coup, possibly.
The girl spends her days with a boyfriend or studying ballet, while the poor man just stumbles into things, suffers a lot and
keeps following the girl without trying anything but we know something terrible might happen. And does Bressane have anything so
interesting to say or show about those characters, their different realities where they simply cannot connect? Not really. It's pointless,
weak and weird to follow.
A painfully tedious and excruciating experience that I cannot recommend and I can't describe more about
how messed up everything was, no chance of salvation and neither a bright thought came across as I was watching this thing - two attempts
and it didn't impress me in no possible way. 2/10.
Men at Work: Maria (1985)
Nice music video, underrated song
It's a pity that this single from Men at Work's final album "Two Hearts" didn't become a hit as there are plenty of good
qualities and a catchy mode to the song that makes it appealing and very memorable. Must say that I got acquainted with it a little
recently, but it become one of my favorite tracks from the group and also one of my favorite music videos too.
Basically, we follow the song's idea and story as it follows the title character, an immigrant young woman who goes to another
country, gets married (singer Colin Hay plays the groom) but life doesn't seem to improve with all those new changes. The video is
very creative and economic with its set design and visuals, but it works with great effect as it allows viewers to imagine everything
that's described in Hay's lyrics (except when the actual description is shown through the story).
A serious, romantic song from the
band while it deals with scenario faced by many female immigrants around the world, it's almost like a hym. Just as good as the fun
ones like "It's a Mistake" and "Down Under", that also have classic music videos. 9/10.
Os Inquilinos (2009)
Nervous tension all around
A dramatic thriller that really keeps its viewers on the edge of the seat and also makes them reflect about the people who live next door, "Os Inquilinos" ("The Tenants") is probably the easiest film of Sérgio Bianchi's career, which always includes a heightened complexity and a load of social/political criticisms related to the reality of Brazilian people ("A Causa Secreta", "Cronicamente Inviável", "Romance"). This one has plenty of those issues, but it feels more focused on the hard drama of everything without finger pointing to the bigger yet underlined problematic faced by the community shown in the story. There are questions, as usual, but this time it feels like Mr. Bianchi has answered
them all (or close to it).
We follow the couple Valter and Iara (Marat Descartes and Ana Carbatti) living in a poor community on the outskirts of São Paulo, raising
their kids and leading an honest life. She's a housewife, he carries loads on a market and studies at night. The apparent peace at home is
disturbed with the arrival of new tenants on the next door neighbor, a poor senior citizen (Umberto Magnani) who clings at that house of which
his ex-wife might want it back. The tenants are loud, unfriendly, unpolite and of violent manners, and each new arrival or new party, disturbance
comes to break the family's peace, and slowly a sense of danger seem to approach everyone around the neighborhood, and Valter might
want to take action.
The family household becomes a prison cell, and the neighborhood also another prison from the violent trio of friends who more bicker
at each other than have an actual cumplicity (but there is). Valter's small escapes comes from work, of which he feels exploited and wants
more rights, and at night school where the education he's getting seems to echo the problematic of violence, through the poems read
by the literature teacher (Cassia Kis) which awakens the students, but it affects Valter as a hopeless reality.
Here's a story that makes us wary about the world around us, especially when it comes to the ones who lives next door, and to make us
pause and question our decisions, if action could be needed or not. It dares such thoughts on viewers, even if you live without a neighbor.
Mr. Bianchi always comes with hard-hitting questions and situations revolving social clashes and the human condition while facing poverty,
injustice and the dangers of such issues, but here one can sense that he might be a little off-depth, with a clean view of favelas and criminals
who are too obvious and too loud with their acts, more like a cinematic kind of poverty rather than the down and dirty view, as things are. Doesn't work completely, but it doesn't remove you from the scenario and the dramatic and tense circumstances of it all.
Besides the thematic and all, "Os Inquilinos" is a triump of acting, with high caliber performances, most notably Marat Descartes as
the leading man with his transformation slowly turning into something dark and mysterious; the cameo by Caio Blat as the angry student;
and Sérgio Guizé playing the menacing/tough leader of the group who moved next door - you can't take his eyes off of him and the character
is not made into the expected cliche, there's always some surprise with him.
Once again, Mr. Bianchi succeeds with another critical urban tale, with plenty of honesty, some dreams and nightmares, but reflecting
the dire reality of a huge portion of São Paulo and its crazed routine. 10/10.
Romeo Void: A Girl in Trouble (Is a Temporary Thing) (1984)
A small classic, but still a classic
While not a massive hit as "Never Say Never", "A Girl in Trouble (is a Temporary Thing)" manages to become a very good song just
as the other song by Romeo Void (that bass, that sax, and the girl's great voice). The clip is quite curious, almost surreal with its presentation revolving a couple trying to figure things out
in order to stay together (it's a girl and one of the guys from the band). Or at least that's my perception of it, since the artistic presentation of
everything, which revolves around painters working on billoboards and walls, offers such perception that goes in a enigmatic style. A very good
video and once again, the music makes the spectacle a grandiose event. 8/10.
The Alan Parsons Project: Don't Answer Me (1984)
"Tough break, Nick!"
This is splendorous in so many ways that it has to be seen several times, just to admire the whole artistic endeavor put into this lovely
music video. The Alan Parsons Project hit MTV and other music channels with this clip for "Don't Answer Me", and taking advantage of the
technology and creativity available to compose an HQ story with some touches of film noir, involving a hero named Nick, a pretty girl and a
big bully guy who already conquered the girl, and it's up to our hero to rescue her. There's dialogues balloons, expressions, fights and plenty of humor in it, very cool to watch.
This particular animation doesn't necessarily match with the song's romantic ideals and feelings, as there's too many conflicts happening
within the images. This is one of those cases where audiences can find ways or imagine how opposed ideas can find a common ground and
serve a great purpose, or at least as it is the most important scenario, how it sells the song in a spectacular memorable manner. And it's a great
moment for the group, musically too. 9/10.
André and Wally B. (1984)
Super weird but watchable early steps of Pixar
"André and Wally B." is a little hard to define, and almost impossible to find the exact reasons on why it's good or why it's bad. Don't think
that those terms apply to an experimental, one of the very first made by the team that would create Pixar and if there's a praise to be made
related with the two-minute animation is the use of the latest computer technology available in 1984 (motion blur being used for the very first time), and seeing it now it doesn't look exactly
as if made back some 40 years ago; it feels as if made in the 1990's.
The child's play shown revolves a bee that awakens a quirk character who finds his revenge on the animal, and the soundtrack goes into a
sort of classical soundtrack - there's so many versions remade with all kinds of music that it just makes it all look weird.
It serves the unique purpose of being an early experiment done pre-Pixar and nothing beyond that. Was I bored? Not really. Was I
thrilled? Just a little. Was I weirded out, thinking what in the world this was all about and the creepy visuals of it all? Absolutely. It's watchable. 6/10.
Timbuk3: The Future's So Bright, I Gotta Wear Shades (1986)
Weird-looking vid for a very cool song
Despite its amazingly long and curious title, catchy rhythm and a unique style in everything done with its sound and lyrics, "The Future's
So Bright, I Got Wear Shades", by Timbuk3, got a weird music video that didn't become memorable because of its images, with the duo
Pat and Barbara MacDonald performing the song while staying in a desert, with a dog and in front of a trailer, along with some repetitive
and ugly-looking random images. What's left as a great source of involvement comes because of the song, their only hit ever (at least that I'm
aware of).
The bass-line, the lenghty delivery of its lyrics while presenting an ironic view of everything related to the "greatness" that an individual was feeling during the Cold War days and hysteria, and the inseparable harmonica playing on several solo bits (it's really part of the couple's act. For those
who don't know much about Timbuk3 and are curious about the movies they have a special cameo in 1988's remake of "D. O. A."). Yet, this is
the song that put them on the map back in '86, one of the most interesting and fun tracks to ever come from that magnificent decade. Pity, the
video failed a little in creating an artistic collage of archive images that could fit into the song's idea, just as many new wave artists tried it on
with success in the period. It's weird looking but it works.. 7/10.
Arena: My Dinner with Louis (1984)
Enjoyable moments with Louis Malle & Wallace Shawn
BBC's Arena pays a sort of tribute to film director Louis Malle following the same concept as "My Dinner with Andre", with actor/playwright
Wallace Shawn inquiring Malle about his career and some of his highlight works while they're at a restaurant. We don't get to see the meals and drinks, but Mr. Malle offers some great insights on works such as "The Lovers", "Atlantic City", "Murmur of the Heart", "Pretty Baby" and others.
A somewhat interesting experience to be seen as there are many curious and intelligent insights as the man reveals that his body of work
feels like a mirror to himself, his interests and the challenges he wants audiences to follow through. Obviously it cannot be exactly like Shawn/Andre Gregory screenplay with many flights of imaginative stories or long responses to a question - which may disappoint those wanting a closer look on Mr. Malle's life.
As for the films, some of his opinions and thoughts are really gripping - on the whole scandal generated with "The Lovers" in India, or describing his method of work with newcomer Pierre Blaise in "Lacombe Lucien" (a film I particularly didn't like, but after seeing the director's view and why the film may get lost with some audiences, it will grant a revisit from me); and his honest opinions on the amazing "Le Feu Follet".
But this Arena special loses itself with some small ramblings and it skips some of the director's films (the incredible film noir "Elevator to the Gallows" was a major omission), and Wallace Shawn's presence while narrating and recreating the inquisitive character, could only serve a
better and higher purpose if the man himself had watched all of Malle's films and interject some thoughts on them, with both parties challenging each other. He tries a little, but it doesn't stay with us like his rebuttal of Gregory's experiences. A good companion piece to get to know a great and talented director. 7/10.
Fogo e Paixão (1988)
A neutral point of a movie
"Fogo e Paixão" ("Fire and Passion") is anything but its title, and I wonder why such an odd title for an eccentric comedy revolving a
slightly bizarre group of tourists on a bus tour throughout an unnamed Latin America city - the locations reveal as being São Paulo but
no facts are alligned with what's presented. Along foreigners from all around the world, Vilma (Mira Haar) and Helena (Cristina Mutarelli) are two best friends from Brazil who dispute the affections of a noble baron (Carlos Moreno, the eternal Bombril poster boy), as they travel through
many curious places, locations, and small background characters appear here and there, played by the likes of Fernanda Montenegro,
Fernanda Torres, Rita Lee, Giulia Gam, Paulo Autran and others.
Writers/directors Marcio Kogan and Isay Weinfeld were important friends/business partners in the field of architecture who ventured in moviemaking after one short film. Not sure about their film knowledge, but what's shown makes it evident they have taste and some talent,
but no idea of what they wanted to show and what they wanted to convey with a random and episodic series of peculiar characters and
strange situations that aren't strongly entertaining, neither artistically interesting.
Kogan & Weinfeld make some interesting choices when it
comes to silent humor where you need to give a closer look to the cameos and situations to understand the little criticism they want to reflect
on audiences, and even some of the talks revolving the doomed love triangle are fun to watch (as the two actresses are quite funny too). But
overall, there's a feeling that we're not getting much out of anything, it's clearly a case of style over substance with many unusual transitions
(especially beginning and ending) and characters who are thrown to become some mysterious presence in the trip and we never get what
they're doing there, what's their goal. Perhaps the idea was to compose a Fellinesque kind of universe but taking place in the multi-diverse
reality of Brazil. It doesn't work for too long and it feels shallow and empty for most part.
A few transitions that revolve on flights of imagination (as Vilma wrongly believes she has an intuition in knowing other people, but the reality
shows a different story) or dreams and memories from the other passengers, there's an almost poetic and cute presentation of everything. It's
a pity those characters never become an important part of the action, as the story focus on the tour guide and the love triangle, and all that we
know from the group are bits and pieces, and seeing a French girl exclaiming 'Merde' over and over, at everything, is simply not funny, neither
good for some potential drama. It's mostly a neutral point. 5/10.
The Shooter (1995)
Average stuff but fun
"Hidden Assassin" (aka "The Shooter") is one of those generic action/thriller revolving political assassinations in Europe and one
heroic American marshall (Dolph Lundgren) trying to find an excellent shooter who already made a victim and he or she is about to add
another important victim to his infamous resume. The director of "First Blood" finds an amazing aspect to everything which is the actual
locations in Czech Republic; a couple of fun action sequences where the stunt folks face shown without shame; and Lundgren's cold
charisma as an action hero.
But storywise? Nothing new under the sun with its narrative going on a Cold War mode way too late in time
and way too contrived, and lacking in both substance and missing many connections. Yet it's fun to watch, especially for Dolph's moments
following the alleged shooter, a bisexual beautiful woman (Maruschka Detmers) involved with another woman (Assumpta Serna), a restaurant
owner; and there's also some fun bits with Dolph's buddy, played by John Ashton.
In the headless plot, the Cuban Ambassador gets killed off and now authorities are on the run to catch who did it, before said person
takes another political victim. That fact is easily established, we know. What's never clear relates to the hired hands, the people with the
money, it's hard to figure out why those hits must be made - especially in an out of Cold War scenario (but the visual and the places makes it
look like it was in the dying days of Soviet Union and U. S. global duel). Zero intelligence in creating a story, the rest of its appeal comes
with some fights, many gunshooting and deaths, and lovely moments between the couple fighting each other. Much to our luck, Billy Ray moved on to more serious and better scripts.
Not sure exactly what it was, but it end being an enjoyable flick with the few thrills it offers - the escape on the bridge and the one in the
train are pretty good, except seeing the extra looking weird at the camera (fun stuff). Mostly, I wasn't bored and that must account for something. 6/10.
Movies Are My Life (1978)
Not super serious or highly thoughtful as it should, but it's very good anyway
If there's one person who deserves to claim the title of such documentary then that person is Martin Scorsese. Acclaimed filmmaker with
a encyclopedic knowledge, and one has to tried to cover every possible genre available, working with all kinds of talents through the decades.
This film here is pretty good when it comes to present Marty's career up until then (from "Mean Streets" to "The Last Waltz"). Always a
fascinating conversationalist, specially if he's talking about movies as we're able to see how much he cares for this art form, speaking with
great enthusiasm about the countless references he has or about his own films. That's great.
But we're seeing a young filmmaker rather than the veteran, and considering that it was sort of personal lost phase for him, he isn't
completely articulate as he would become and evidenced in many documentaries and audio commentaries. Yet there's brilliancy and high
enthusiasm as he talks about cinema and his films, and he's not alone in this one, as many actors, friends and collaborators (Robert De Niro,
Liza Minnelli, Steven Prince, Jay Cocks, John Cassavetes, Brian De Palma) talk about the author of "Taxi Driver", his commitment to filmmaking
and how it is to work with him.
Humor, wisdom, and many great behind the scenes talks and moments - with some film clips too - all proof why Scorsese is one of the
greatest minds of cinema, a master storyteller, full of creativity, intensity and passion for cinema, a genius who cannot stay quiet for too long
(as evidenced by the way he talks and moves his hand, of which composer Robbie Robertson calls him as a 'maestro').
Many funny anedoctes dominate the mood of it all, this piece is very light and warmth rather than a more serious take about everything. Yet
I was absorbed through everything, but don't expect much of a highly intellectual view on films. Marty was slowly walking towards that path back then. But he got there with time. 9/10.
O Cinegrafista de Rondon (1979)
A fantastic tribute to a forgotten name of Brazilian cinema
Here's a magnificent short documentary on one of the most important figures of Brazilian cinema, yet his name isn't big enough to a
great deal of audiences and film coinosseurs around the world - myself included up until now. "O Cinegrafista de Rondon" offers a brief
view on cinematographer Luiz Thomaz Reis (1878-1940), a military man turned into filmmaker when the army started out
expeditions on the Amazon forest, all conducted by the famous marshall Cândido Rondon, one of the key figures of studying the Brazilian
natures, their rituals and culture, for many decades in the first half of the 20th century.
Mr. Reis filmed extensive material about Rondon and the indians, pioneering images in Brazilian cinema while many of his army
comrades who were also filmmakers lost plenty of film and works, as they didn't believe in the power of camera and the importance of
creating documentaries for posterity. If a massive bulk of many Brazilian films of the silent era were all lost and gone forever, a few of Reis
images still resist (such as "Rituaes e Festas Bororo" (1916) and "Ao Redor do Brasil" (1932)) and serve its purpose of telling a part of
Brazil's history and its cinematographic memory.
Besides clips from those films, there's a short biography about Reis - narrated by veteran actor Nildo Parente; and Reis cameras kept in a musuem, and what he intended to present and cover with his works. A man truly devoted to cinema - creator of the very first incentive favoring the exhibition of Brazilian shorts on theatres, way before the quotas law from the 1980's - and that passion and devotion end up claiming his
life while covering the collapse of a building. That's the kind of legacy very few have in the history of cinema, with many memorable moments
to share. Jurandyr Passos Noronha's tribute in his honor is amazingly interesting, curious and fascinating in everything. Definitely recommend. 10/10.
Gloria (1980)
A great Cassavetes & Rowlands moment
A hard-hitting drama that shows the mysterious ways life holds on special people facing difficult times and tough situations, but those same
special people have many resources and plenty of ease to deal with whatever difficulty may come. In a memorable and powerful performance by Gena Rowlands, she plays Gloria, such special person I mentioned, a woman who needs to help an annoying little boy (John Adames) neighbor of hers, to hide from the mobsters who killed his family and they believe the boy carries a secret from them - as his father (Buck Henry), a bookeeper, took a special book with him.
Gloria had ties with the mafia and she knows how to deal with the criminal underworld of New York. With plenty of reluctancy, she hides
the boy, despite the many clashes both have with each other, as they're different kinds of people, backgrounds and it's very obvious she
does not like kids. Yet, you can always depend on the rollercoaster of a bond they'll form (and have to) while navigating through the big city
crowd, escaping from the mobsters and other situations, and she knows how to handle a gun.
John Cassavetes' film uses of Hollywood cliches but does not cling to them, as there's subtletly and variations in what it shows which makes it look a little different from films of similar themes we're used to watch. But he had to use cliche such in order to attract audiences since this isn't like his indie films, this was a studio film and it comes with the impositions and
restrictions of such; not that it really affected the director, as his master qualities a director's actor is clearly evident (except for Adames
casting, it's tough to watch at times).
I admit that "Gloria" escaped from a detailed attention at first glance, and only seeing its surface rather
than the whole was an affecting experience that I didn't care much; on a second view you notice what's underneath it and it's really brilliant, the nuances brought by
Rowlands, the small pauses, the little lines, and the slowly reveals of who she is and what she can handle. She's tough and wildly believable
in everything she does, even in the tenderness and care she was for the boy, or when an unexpected mother instinct kicks in, much to her
own surprise - the scene in the subway is my favorite, along with the hotel shootout. It's her best role ever since Mabel Longhetti in "A Woman
Under the Influence" - also made by husband Cassavetes.
This is a clear case of a film that has its action and its thrills, but the key element that captures our attention and makes it an everlasting
experience is the human element, the connection formed by two different beings that, despite living next door, were never close to each other,
and then violent life circumstances forced them to be together, work things out to stay alive, and in this big surprise of life they'll find they need
each other. There's a great sense of realism in stories like these, and that's why they appeal to us. 9/10.
Stakeout (1987)
Always a fun to watch
"Stakeout" is one of the finest films of the buddy cop/action comedy genre, and one that stills holds well today due to the highly
effective partnership of Richard Dreyfuss and Emilio Estevez, the hilarious dialogues and sequences, and the balance of funny moments
with thrills, romance and action. And it's made by one of the great talents of the 1980's Mr. John Badham ("WarGames", "Blue Thunder")
and all of his right choices for humor, action and some romantic bits too.
I'd like to think that writer Jim Kouf took inspiration on a little sequence from "To Live and Die in L. A." since films back then didn't
have much of a so-spectacular use when presenting a stakeout, the secret surveillance team used on many police forces. Here, Dreyfuss
and Estevez are part of one of those teams, great buddies despite their evident differences, as the veteran man is a clumsy, funny
ladies man while the younger guy is a more serious, focused type and a married one as well. Their job is to keep all kinds of surveillance on
a beautiful woman named Maria (Madeleine Stowe), as her criminal husband (Aidan Quinn) escaped from prison and chances are very likely
that he'll try to reconnect with her.
If Estevez isn't so attentive to Maria, Dreyfuss character is helplessly in love with her, and thanks to a series of coincidences and incidents
provoked by him they end up meeting as he pretends to be a phone repairman working on the area. You can obviously predict that the reckless man needs to change his ways, but with that new found love, what's to do if he reveals to her as a cop following her?
Add to those parallel scenarios, there's
the morning team of this stakeout (played by Dan Lauria and Forest Whitaker) as they both share the same house in front of Maria's, and
there's lots of bickering and pranks guys play on each other, amusing scenarios to make us laugh real hard.
Yet we can't never forget about the danger ahead. Quinn and his partner-in-crime (Ian Tracey) leave a trail of danger and deaths on their
journey to reach Maria, and one of the biggest surprises comes with Quinn's performance. Usually playing smooth-natured guys or small heroes, somehow the darkness and intensity brought by him in this role was unforgettable and terrifying, and he created one of the most
interesting villains of the period for that particular genre of movie.
I've seen it a few times over the decades and it always brings a smile whenever needed, and the thrills to make me glued on the edge of
the seat. The story is kept simple and safe, everything works in a perfect balance, and the acting makes it all more fun to watch. It doesn't have an ultra motivation and aspirations rather than being a crime story with lots of comedy and some sweetness with the couple formed by
Dreyfuss and Madeleine. There's no crime in 'escapism' kind of movies, specially when they're done in a great style, with a sharp cast and
when the mix of genres work amazingly well in all possible ways. I miss those experiences. 10/10.
Rodovia Belém - Brasília (1973)
A poetic view of an important highway
An educational short documentary by Zelito Viana that presents the long Belém-Brasília highway bringing the center region of Brazil
all the way to the North, a development constructed during the Juscelino Kubitschek years (it has a slightly yet silent tribute to the man that
escaped the military regime censors, who were firmly opposed to the man).
Unlike the unfinished Transamazônica created by the military and which would connect all the North states cutting plenty of spaces of
the Amazon forest, the Belém-Brasília was a successful case but not without controversies. Like many great enterprises destined to help
people, this one also caused problems with locals that were removed from spaces, or had to deal with a massive movement of folks from
all around Brazil to what once was a peaceful place; the deforestation that made animals lose their habits or end up getting killed on the
road; and while the film doesn't address directly, creating a sort of mystery about it, the death of one of its developers Bernardo Sayão,
killed on a freak accident when a tree was cut and fell right into his forest office - of which he asked to be moved as he wanted to get close
to the construction site.
Viana's short is filled with beauty through the poetry of many authors, intertwined with the director's own writings, along with the landscape images
of small progress coming to the North areas and Brasília, the locals observing the camera focusing on them and they don't know how to
react - a typical thing in countless similar films. It doesn't offer much of a critical take, neither feels too complimentary of everything. It's
often too sparse to form a unique view of everything, but it's not something that hurts the film; it just makes it a little empty. 6/10.
Gang Cops (1987)
The efforts of a special unit fighting rival gangs
A valid short documentary presentation that follows a special gang unit in South Central L. A. that covers the gang dispute between Crips
and Bloods, preventing crimes, approaching the youth black community and trying to separate who's criminal from who's in not. It's one of those
specials that follow procedures and operations in a very close manner, which gives authorities a great look when it comes to their daily talks
with youngsters, toughening up and cursing back when needed, but it's also very far from typical procedures that escapes from the norm and usually
that's when tragedy and brutality happens.
The Oscar nominated short by Thomas B. Fleming and Daniel Marks isn't all that interesting or so eye-opening but it's good for the discussion
made between the many police approaches and meetings, and it's interesting to see how troubled the 1980's L. A. was with its gangs and crimes. The reality shown
sounds fictious with respectful dealings with a poor community, that makes us question why a whole country (and not just the U. S.) can respond in
such manner, and why the educational talks the sheriff county guys make with the boys and not sending to jail for misdemeanors or suspicions isn't
a more common thing. A lot of lives were (and still are) lost simply because just using a scare straight act wasn't used and a more vicious one end up
becoming a norm in poor communities.
The scene where one of the leaders talks to a mother suspicious that his son could be a drug member is amazing, you need
to see how it all unfolds until they talk to the boy - who took a gun to school. It all goes well, without any major incident and a lesson was learned by everyone involved.
It's not a re-enactment of things, but if it's that the case, it makes great cinema that should be analyzed but real authorities and real communities. Considering
what was shown with special unit and their tactics, they did a great job on the streets. 6/10.
Escola Base - Um Repórter Enfrenta o Passado (2022)
An amazing reflection on journalism ethics as a reporter atones for a crucial past mistake
A rollercoaster of emotions never done or imagined before, this masterful documentary is a lesson in humility, atonement and a
reflection on correcting past mistakes (or trying to do that) when a journalist finds that he needed to address his biggest regret with a
story concerning a false accusation of pedophilia related to a family and their co-workers on a preschool, a case that later was known as
Escola Base, which happened in 1994, and those charged people went through a hell and their lives were never the same. Acclaimed
Valmir Salaro makes a full examination on the story he covered in the 1990's, at the same time he tries to find the participants and survivors
of the case with the intention of healing wounds and hearing a different side of the story.
The Escola Base case made us look back of how damaging and sad a fake news can cause on people (back when the term didn't exist),
and its aftermath effects were suffered mostly in the world of journalism, concerning ethics, fact-checking and investigating things time and again, until an effective publication could be made. The rush of judgment and the weight of being the first to break the story, the responsability that newsman must have, and that's one of the hardest cases covered on journalism courses and Valmir Salaro teaches young students exactly all that went wrong, including his own mistakes with the case and the reports (the Shimada family always blamed his particular coverage).
A whole humiliation done on public square, but the right of response, the wrongs that were corrected by the justice weren't printed in the media in a similar spectacular fashion. That's why Salaro look back to the case is important, as a new investigation with a full scope that even tries to
find the mothers who made the false claims, and the buffoon chief of police who simply avoided searching for facts. Here, a reporter atones
for his past sins, asking for forgiveness - if such a thing could be ever done - but it certainly can be tried, and he does a terrific job at that.
As he looks back at the early TV reports, there are countless of insanely embarassing moments of children (victims) being shown/heard on tape (the blurred images took some time to appear. Times had definitely changed!), the many gaps in the story accusing the families; the inflamatory and wild unsubstianted gossips heavily printed on the media about the "sex car" and satanic rituals, coming on a similar line as the McMartin case (the HBO film was released a year later and it's almost impossible to not compare both cases).
Beyond the sad story and how many people's name were thrown in the mud and the preschool was closed down, as it examines the
encounters of Salaro with the key people involved (mostly their sons since the Japanese couple was already dead), there's also a thrilling,
emotional, and a most perfect detailed view of the Escola Base. It's great cinema and a triumphant lesson of journalism - not that it what's printed and shown changed that much, but the ways that led to some signifcant change started with this case. 10/10.
Devo: Time Out for Fun (1982)
Classic Devo!
"Time Out for Fun", my most fun introduction of Devo received a music video on the same vibe, unusual looks that was widely appealing in
the 1980's and today looks quite amusing. A series of repetitive presentations of Mark Mothersbaugh and the group performing, with some
random screen images happening in their background, and the iconic appearance of their as big potatoes.
The song, lyrics and those
syntheiszers are all great and fun to hear it. As a video concept it's far too random to find a meaning to everything, it's merely weird for the
sake of being weird, it has all the bright colorful looks from the new wave which defined the decade. And that's good! (no pun intended). 9/10.
Everything But the Girl: When All's Well (1985)
Unusual and repetitive, yet the song makes it cool
"When All's Well" by Everything but the Girl is one of those cute little indie songs that always brings a smile and plenty of emotions in my
face. Can't say the same about the music video, except for some of the ideas used in it that which makes it a mix between figurative and
literally ideas and imagery. It's a somewhat vague idea used where lead singer stays trapped inside a well (get it?) while her other half
stays inside a sort of church tower, climbing on the ropes of a bell (lyrics description). It's far too repetitive, but when the changes finally hit ,it gets to hopeful notes and a positive view. The song is forever awesome. 7/10.
A Vítima Invisível: O Caso Eliza Samudio (2024)
Great coverage/look back at a terrible crime
Netflix takes a closer look at one of the most infamous crimes of Brazilian society that still lingers on people's minds, nearly 15
years later: the disappearance and killing of young Eliza Samudio by the hands of his lover, the soccer goalie Bruno, of Flamengo, and his group of friends, on mysterious circumstances of which no one knows where the body is. More than just a case of a married man at the peak of his
game, with talks of playing for the Brazilian team or going to play in Europe, and who murdered the mother of his child as he didn't want to
assume the kid, this is a story about failed families, toxic masculinity on the environment of soccer, how fame can change a person (or reveal it), and society's views on women. It's about shock and awe, new revelations that were kept from the public eye for years, and a new perspective on
the case. This story comes with a take: feminicide and how female victims are invisible in society's eyes.
To world audiences it's a story to be seen and followed, like a very dramatic suspense with a series of twists and turns; for sports
fans it offers an interesting view on Bruno's career (it doesn't reach a level of fame like O. J. Simpson but it's the closest when it comes
to a sports personality involved with a crime; for fans about the legal system and how justice works in cases, since the defense strategy related
with her disappearance only and could return, brings plenty of thought-provoking issues; for us in Brazil it's a time travel to early 2010's, with many memories coming back to surface
related with Eliza's disappearance and the media frenzy all over the man, and to understand and analyze the facts about the crime, and to see
what was hidden in the messages exchange from the girl (labeled as a Maria Chuteira by many people and media outlets) with a best friend or
the ones with Bruno, proving that their affair was rocky and full of threats.
Interesting facts that I felt this doc hit strong, and maybe I failed to follow back when this all over the news, was the inefficiency of the
justice system in protecting Eliza back when the early threats were denounced by her. If we're look to how everything unfolded after a judge
(female, by the way) didn't provide a restraining order against the goalie, it was all downhill. An impassionated and heated man, a naive girl,
and his dumb friends who accepted to do everything that was asked for them, joined by her unattentive parents, and her fate was sealed,
planned and executed, almost to a near perfection. The story about the parents of both parties is one of those sad tales that we hear often
with criminal cases; it's like both were destined to a certain greatness, yet the ultimate fate would be of a tragic affair and they shouldn't be
together.
The chief of investigation Edson Moreira has to be the most interesting character in the whole case. He has a tough guy demeanor,
yet with a certain charisma and some odd humor on him - plus he was a memorable figure on
TV, because of this particular case. He fully broke the case and waited the right moment to get Bruno and his associates,
patienly gathering all of Bruno's interviews and seeing how there was always a different story going on.
It might be a little faulty at times with the chronological presentation and timeline of events (as often those doc series tend to be a lot), but
it wasn't done in a confusing manner. Overall, Netflix conducted a very special documentary, maybe it should drop the small moments with re-enactments that wasn't poignant for audiences to see acting bits - they're all in the shadows. But all the interviews were enlightning, fascinating,
shocking, all that one looks for when it comes to those crime specials. 10/10.
Prova de Fogo (1980)
Affected with many problems, slightly interesting
This analysis might get a little lost in translation, confusing perhaps, as the designations existing when it comes to the spiritual
world and their interference/presence on a man's life was painfully confusing in "Prova de Fogo" ("Proof of Fire"), and only those with a
deep knowledge on the topics of medium, psychics and the umbanda religion will find a safeplace; but never a powerful film. I didn't like,
but there were honorable things in it to make me somewhat respect it.
Marco Altberg's
directorial debut has its moments, but it certainly alienates inexperienced viewers with a mix of unintenional comedy and a lack of seriousness
while telling the story of a hard-working young man (Pedro Paulo Rangel) who discovers his path in life when he receives spiritual sights and he tries to conduct a
triple life as: a spiritual guide, a bank teller and a college student. He finds a purpose in life, helping others (but we never quite sure as to
exactly how he helps) but he also cannot quit the physical things that can allow one to live: study and work.
Above the forementioned problem since I couldn't tell apart what he does with the umbanga (the works) and the spiritual guidance that
had similar routines as spiritism has, what killed the movie was the lack of strong supporting characters, as if Mauro (the lead) was a
completely empty person without anyone interesting around him, nothing but study and work and then he's hit by a shock of lightning, a
terrifying but enlightning vision. The people who show up in his life are some women, one of them also a guide who falls in love for him
but there's never an approach, she simply gives up; and a famous politician desperatly wanting to be state's governor - a very belivable
scenario, but again not much of a payoff.
And many pointless sex scenes that try hard to have a point - except for the gay sadist who tortured a male friend of Mauro, and because
of that there's a funny work at play. Speaking of the works, I did not see a seriousness in dealing with the rituals, the parties. I know the makers
intentions in creating a serious work; but it looked funny and lame at times. And with characters poorly constructed and situations badly written, everything looked authentic but never interesting or worth seeing.
However, Mauro is a compelling character and it's a fine way to get to know the talent of a veteran like Rangel. You feel the pain and glory
of a man destined to fulfill a higher purpose in life while balancing everything he did before. He doesn't reject what was known previously but
he knows that keeping everything can collapse. Without guidance, he's just a common man; with help and learn, he finds a meaning and he's
good with those new teachings. Not sure if I totally buy that this new life is what really mattered; probably the film's confusing presentation
didn't allow me to comprehend the change, and if there were exact gains. 5/10.