Beijo 2348/72

A worker gets fired from his job after kissing another colleague worker during working hour. That's the premise of "Beijo 2348/72" ("Kiss 2348/72"), taken from a real case of a man under the same circumstances who decided to go to court against the firm, trying to present his side of the story. The numbers in the title refer to the civil process and the year it was started (1972).

Chiquinho Brandão plays the man, Norival, a slacker individual who flirts a lot, barely works, often makes mistakes until one day he gets caught in action kissing a pretty co-worker (Maitê Proença) of whom he desperately wants, even though she's married. Tricky quicksand of the film: it's never really known if the kissing really happened. At least, that's my point of view. Most of the time when we think the established moment is about to come something happens to interrupt, or when it seems to have happened it appears in form of a dream. The event is described by a female colleague of Norival, played by Fernanda Torres, who is jealous of the whole situation since she has feelings for him, and she testifies against him in court. Clearly, a false testimony.

While the process keeps on going back and forth in one of the most absurd plot holes ever presented on film (Norival's unemployed and still can hire a lawyer to serve him? I don't get it!), the movie focuses on how Norival leads his life, and there's also time to follow the object of his desire, who also got fired for the same incident. The battle in court, at this point of the movie, is far more interesting than the strange comedic sequences involving the main character and all of sudden he's no longer involved with the process, even though his lawyer keeps on running to higher instances up until the Brazilian Supreme Court (the firm decides to appeal after losing one time). The whole discussion of the judges about if such kiss affects the work's ethics is very interesting.

"Beijo 2348/72" is fascinating when it comes to present a truthful and provoking portrayal of how work relations are made, a very poignant reflexion on what many people has to go through day to day to get their payment at the end of the month. Back in the 1970's I don't think TV was so accessible, and so informative as it is now, specially with many special programs (even in between the news) that gives us tips on how to behave during a job interview, how to deal with issues involving working relationships and so and so, therefore, Norival is a victim of his own ignorance that allows him to act on a careless impulse. Since I believe movies are there for us to educate, to contribute with knowledge, this works wonders and better than the shallow TV specials that teaches us things. Movies teach in a better fashion.

While there's many good things to be praised about it, the problematic obstacles are quite concerning. This could have benefited so much more if it were treated seriously, with some sobriety instead of a full focus in the slapstick comedy that seems to be overworked and inopportune at times. The plot holes were the major problem, the dream sequences although brilliantly made and edited are quite out of place, unreasonable, and the lack of a real ending also bothers a little. Out of the movie's department but also involving it, this has to be distinguished with the most pointless award ever given to someone. Appearing for less than two minutes, with no lines at all and only showing up for good in the final minutes, Joel Barcellos won a Supporting Actor award (a minor one but still) for his role as the archivist. Why?

The casting doesn't disappoint. Chiquinho Brandão was an unfamiliar face to me and this was the first film I saw with him and he was very good, with great timing for comedy playing this messy man. He had genuine characteristics of great comic talents of the silent movie age. Too bad he was gone too soon, a little while after this movie was released (made in 1986, shown to the public in 1990 after many budget and distribution problems as well). His best moment in the film is when he flirts with a prostitute by dubbing an old popular song that has the name of the woman in it, leaving her in ecstasy. It's such a memorable scene that stays with you. Antonio Fagundes steals the show as the firm's lawyer, appearing briefly from time to time.

Even with many imperfections and wrong doings, this is still one of the greatest achievements of the Brazilian cinema and it should be more known to people. Reasons already stated. 8/10