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An error has ocurred. Please try againMonalisa 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).
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).
Reviews
Fahrenheit 451 (2018)
A relatively good adaptation
The level of loathing and contempt this update of Ray Bradbury's classic novel has with audiences is vaguely understandable, as we already have a perfect
book and the great adaptation filmed by François Truffaut. It got to such a critical point with the low rating that I kept avoiding it for a time,
until curiosity got the best of me, after a re-reading of the book. Yet there's relevance to a new version being made in the late 2010's, there were a handful of changes that
reflected exactly the period in which we live him (the "dreamed" future is now a past, no need to go further to see that Bradbury was a visionary
of sorts), and watching this HBO film I wasn't bothered all that much, accepted the variations made to create a wider relevance to today's
audience and I end up liking it. A small contrarian vote and review, but whatever.
For once, considering that most people avoid books and films before their time, this update came at a special time when book banning in
many places had nearly the same effect as the powers of be from the futuristic world of "Fahrenheit 451" where books are burned by a special group
of firefighters, as those written words are considered subversive and they depress population. Unlike the few technological advances created by
Bradbury or the few ones that appear on Truffaut's classic, here we have a certain proximity with elements (like the power and control of internet)
but also have a future that feels like "The Running Man", but this time the activities and rounds from the firemen are followed through a gigantic
Instagram where people can cheer and like their favorite "heroes".
The basis and core of it all weren't changed, it's all there. Fireman Guy Montag (Michael B. Jordan) is a hard-working man committed to the
cause of book burning and he's well-liked by his superior, Captain Beatty (Michael Shannon, always effective). After a series of situations, he
meets a young resistance member (Sofia Boutella) who saves books and likes its contents, and with that contact Montag begins to have a wider
perspective of things, of life, enjoying reading and trying to figure out why the world has changed so much.
The criticism about the force books have in people's lives and how destroying and obliterating them from view only give a stronger power to
it all is also there, and we reflect upon moments in the past when certain books were burned, censored or made to be forgotten by authorities, either
political or religious or special majority groups. And we also look for the future as two paths are possible, either books will lose its effectivity
and disappear (now we read stuff online) or they're still have a place in people's lives. But if you need to make a report about the novel, avoid watching it and go for the book (a dystopian masterpiece, philosophical
and very reflective).
What I enjoyed the most about this version was seeing the higher authorities present (Martin Donovan plays a key leader) as we're finally given
a sort of political face of everything and it's just not the firemen ruling everything. Those figures are absent from view and description in the other
medias, and though they're very reduced here, it was still interesting to see them. And above all, if Jordan's Montag isn't completely effective, the
Captain Beatty of Shannon was one of the most curious antagonists of recent years, and one you can sympathize a little. This isn't a case of a villain
who despise the object of his goal, he comprehends the power of books with a great sense of admiration, in a hypocritical but relevant way. And when the
confrontation with Montag comes, you can feel the disappointment of a mentor/fatherly figure who lost his son. Somehow, it became a compelling character
as it was never done before.
Ramin Bahrani's film is good, not great. There are many things to be admired about it, but it also feels that he depended on elevating the
science-fiction/action/adventure of a story whose major philosophical and ethical discussions are on the foreground, and here those are almost
paper-thin or effervescent. It's not a bad film in no way, and I'd like to think that in a near future either it'll get some revisits or find the
audience it needs. 8/10.
Sarah Silverman & Matt Damon: I'm Fucking Matt Damon (2008)
Hilarious all the way
The everlasting feud between Jimmy Kimmel and Matt Damon, a recurring scenario on Kimmel's show, got a new chapter when the host's fictional
girlfriend Sarah Silverman cheated on him with his biggest nemesis. To boot, it comes with a song about what they did, and it's all hilarious. Already
a classic in my book, as there's too much fun and goofing around as Sarah and Matt describe their sexy love affair. Seeing Damon doing Gangnam style
moves with the dancers is priceless.
And all I can add, besides suggesting the viewing and singing along, is that you get to watch the sequel where Kimmel
gets his revenge and dates Ben Affleck, and it also comes with a funny song and plenty of celebrities and cameos as well. 10/10.
Chastnaya zhizn (1982)
To work for a living or life is all about work? A man reflects about those issues
"Private Life" offers a moderately melancholic view of a hard-working Soviet man who begins to question his life, his relationships and
work relations after being fired from his job and being replaced by a younger man. Released at the height of Cold War and with the
ocidental world firmly believing that a nation under Communism is strictly different in people's values and relations, a film like this can
enlighten audiences in showing a reality that isn't so spectacularly different, the worries and troubles related with employment are a little
similar and audiences can easily relate with the bitter hero from the story. It's about a man trying to reclaim his dignity through new actions, see
life and relations under a new perspective, and maybe make it up for some time lost.
Mikhail Ulyanov plays Sergey Nikitich Abrikosov, a veteran bureaucratic middle-aged man who lives for his job, almost as if a way to avoid
dealing with his young adult sons and daughters; one lukewarm relationship at play, other that ended long ago, and a mistress of whom he loves to be with but can't
move to a marriage situation. Like many Soviet, his fully dedicated to the work and the party, until he gets sacked and replaced by a protégée of
his, a much younger man. At home, Sergey doesn't feel comfortable in sharing his new status, always using of fancy words to explain that he was
demoted but he's also waiting for the phone to ring with a new position that exists in the place.
The story follows the hard examination Sergey does with all the aspects of his life, his role as head of the family and demanding that his son
Igor (Aleksei Blokhin) get a job; tries to find ways to look at the brighter side of life as he daydreams about new jobs or a dreamy vacation; and
he also gets close to the women in his life, trying to enjoy culture with his current wife and set some straight definitions with the lover.
It's not as bleak as it sounds, as director Yuli Raizman finds a way to inject some humor in the story and the situations. In one key moment, Sergey
is having lunch and the man in front of him happened to be a former employee of whom he fired, and the man talks about the nicknames he and his work
mates used to describe Sergey behind his back. He questions: "Why you were like that?", to which the answer goes about different sides of a same
place, meaning that a boss will always be seen with different eyes, and those under him will be critical. Gladly, after a few drinks they get
along and the former employee reveals that he's in a better position.
The story is a little loose at times, torn apart between by a cold comedy and a relevant drama that solves things in an easy manner. Ulyanov's
performance certainly makes the film, a tough character hardened by routine and tradition, but slowly he reveals a more human, caring nature. Not
necessarily the cliched manner we're used to see in many movies, Sergey's evolution is more subtle yet revealing. Take the scenes where his son approaches
him, some of the best dialgues of the story, as they finally have the time to connect with each other yet there's distance, generational clashes but
utmost respect. He's allowing himself to listen for the first time in his life to all the worries of the people around him.
Here's a very positive, reflective and enjoyable story with many great moments and interesting performances. Of the five Oscar nominees in the Best Foreign
Language Film category is one of the lesser known films, but it's also one of the best (I place it in 4th, above "Alsino and the Condor"). The lessons and
reflections shared were valid and solid, and done in a non preachy/moral way. Life and humanity as it is. 8/10.
Secrets of Deception (2017)
Almost a guilty pleasure, but it's mostly embarassing
"Secrets of Deception" is so weak that it's laughable, or better saying, it's nearly good at instances and almost becomes a guilty pleasure. Here's
a heavily cliched story that follows every thriller about cheating, infidelity and a series of crimes to follow along. It's pathetic but hilarious,
and the little thrills it offers go between dumb to slightly interesting and gripping.
The Schaefer household isn't a happy one anymore. Husband Jeff (Chris Degner) suspects that Kim (Sydney Black) is having an affair with a
young and cute neighbor (Chad Michael Singer). Jeff is mad and decides to hire some thugs to murder the wife, maybe the lover too. But you know
how those things go. The bad guy only wants the money, without getting involved in the danger of it all, so he hires another type to create the
perfect crime and you can guess that when a third party is involved, a series of mishaps will fall into place until it hits Jeff in the rear. Tom
Sizemore plays one of those guys, if I'm not mistaken, he's a former cop involved with criminal activities and the script offers him a series of
dramatic talks as he chain smokes and drinks all the time.
It's hard not to go into a superficial look at it all. That wife was only in it for the money, as hubby looks a pitiful type that would
never get such a trophy wife by his side, and the helpful neighbor is indeed helpful all the way (but it's not smart enough to use of his good
looks to become a actor/model and get that same money as Kim's hubby). Besides that, it's poorly conceived, weirdly edited and put together, and it's awfully embarassing to watch - but it has a couple of decent moments to be seen (the house attack is one of them).
Anyway, this comes long overdue and with foggy memories - but I do remember plenty of it and it wasn't good. And there's a part of me that
feel the need to suggest this thing because of the ending. I won't talk about it, I won't describe anything. But let's just say that if the story
could have some salvation or become slightly enjoyable to the point of being good, it's the end that kills a great deal. It has to be one of the
worst endings ever written, conceived, edited and thrown in the screen. Maybe that's the idea: just read the premise, think about potential
problems that would come to our "hero", don't watch anything and just rush to the final ten minutes. You definitely won't forget how lame and
absurd those last moments were. I wish I could forget them all. 5/10.
Fahrenheit 451 (1966)
Excellent adaptation of a classic novel
The first contact I ever had with the cinema of François Truffaut was with this very film adaptation of Ray Bradbury's classic novel. From
then on, I've became a huge admirer of the director's work (bigger and better films) and see how skilfull he was in dealing with a great variety of
themes. Despite a certain innocence brought on with this particular story in the way Truffaut covers everything (but the novel isn't so different
either, it's not as a dark as one imagine it is like "Nineteen-Eighty-Four"), there's a careful approach in this presentation, many original insights
and schemes, cleverly used if we consider the time in which was made. So far, it's the best adaptation of Bradbury's work, without betraying the
author's intention, vision and message, yet it has some unusual and interesting devices and deviations that makes of this "Fahrenheit 451" an
interest moment in cinema.
In the future, books of all kinds and sources are considered as depressive and useless creations that saddens people and they aren't
allowed to exist, and firemen are responsible for burning books. Montag (Oskar Werner) is one of those firefighters, truly commited with his job
and on the verge of being promoted by his chief (Cyril Cusack). Books are evil and must be set on fire, is the kind of motto that rules this new
society that instead take pleasure on recreational drugs and hours spent on television sets that "educates" people. His wife (Julie Christie) is
part of such system of which she embraces wholeheartedly, just hoping that with Montag's promotion they can get a new TV set.
One day, he meets a friendly girl (also Julie Christie) who enters his life bringing a series of questioning of which the poor man knew he
had within himself but couldn't properly express it, let alone think of them. With that contact, it comes the shock that she's an avid reader and
loves books and its content. It's the turn of events that set a new kind of fire, within the man, where he stars questioning the world around him,
and after a tragic event (the famous lady who sets herself on fire with her book collection), Montag tries to find out what's so special about books
and the written word.
What sounds as a simplistic presentation and analysis is anything but. Bradbury/Truffaut offer a thought-provoking and philosophical analysis
in this dark scenario where books and literature will be considered a cancer in our society rather than offering a world view of any possible subject;
the comfort of many souls out there trying to establish a connection and feels like lonely in a trouble world. The author wasn't so terribly prescient
as he simply invents a wild concept to scenarios that existed for centuries before him (with Nazi-Fascism being most near of his era); but envisioning
this scenario to a future reality feels as something believable, already taking place but in a different, less flashy form (book banning).
The novel
and the film testament/message that should resonate with readers/audiences is that the obliteration of whatever some authority or a group is trying to
destroy or diminish its power is useless as there'll always be a fraction of society who'll fight, create resistance and curiosity with whichever
art form is being withheld, supressed or moved to oblivion. If the internet could be predicted, then the discussion wouldn't be so innocent, almost
naive as the story shown here - HBO's new adaption tackles that, but it's almost a different story.
Truffaut's film is a towering achievement but a lesser mark if we compared to the majority of his work ("The 400 Blows", "Day for Night"
just to mention a few). But I have plenty of admiration and respect for this work, his casting choices (Werner is perfect despite the stiffness of
his character; Christie in the dual roles is a treasure); the music by Bernard Herrmann really creates the perfect mood for suspense and persecution;
everything works in this film. It doesn't reach plenty of the intellectual and philosophical later parts of the book, almost prefering to elicit the
mystery people from the resistance, but it's very suitable as a dramatic, reflective story that should echo through times to come. If not to believe
that a dystopian could exist like that, that could make books disappear, try imagine a society without movies, and stories like these. 10/10.
Work Experience (1989)
Hilarious and critical take on finding employment
This forgotten Oscar winning short film is a vivid and hilarious treaty on young men who stay trapped on the vicious circle of trying to
get a job without having an experience...as experience is always needed for a certain job.
The smart/talented hero of "Work Experience" is Terence
(Lenny Henry), a black man living in UK simply trying to apply for a work position but it always feels like no one needs him, he arrives at the
place when bosses already "filled" the position. He goes into a crowded variety store, and despite suit and tie, he gets confused by shoppers as a
worker from the place. And what does he do? He simply pretends to be an employee, giving directions to customers, some instructions and even makes
a good sale. But someone's paying attention to him and his moves there.
I'm not gonna stick with the insane reality of having a job without experience when the latter is always required because the actual
reality is excused sometimes, but it's up to people to accept that the job offered without an experience are the ones, willing to give a person
a chance is one that many won't like to do (too much pride in the world), and sticking with it for the period you need or feel like it is a step
on the professional ladder. Terence approach is funny in everything, and it's basically a well-applied foot-on-the-door where each little thing
he does turn into great results - luck must be considered as well, and many people who started their careers in unusual manners had a special
someone observing things, in the right place at the right time. It's the perfect strike of luck, but also hard work, unpaid, just for the sake
of being available to others.
Like any comedy, the absurdity of situations contribute for us to relax for a while, laugh and enjoy about the weirdness of it all. Among the
funniest bit, is when he goes to lunch with a co-worker (Kathy Burke, from "Tinker Tailor Soldier Spy") who never saw him before, knows he's new in
place and help him out in getting the place ID sticker. 35 years ago it's a little likely that something like that could happen in chaotic places;
a different reality today with surveillance, control and all. But it's fun to imagine. Amazing performances all around makes the viewing of "Work
Experience" is a real treat; and the film's theme will leave you thoughtful yet amused for a long time. 10/10.
Pieniadze albo zycie (1961)
A darkly humored, odd composition. Quite good
Part enigamtic and part dark humored, Jerzy Skolimowski's short "Your Money or Your Life" presents a story about an annoying man who must
decide what's the most important thing in his life and the help he can get while staying at an amusing park/fairground. He keeps on bothering
another man, asking for money and later on he feels cheated by the other guy as they apparently had agreed on a certain ammount to be given. Yet
he keeps on following and bothering the other man, as they moved through different games and plays. It's best not to reveal the point of decision
and what it revolves a dangerous scenario; the most I'll say is that the unexpected World War II scenario comes up and turns everything into a
serious manner. Will the help needed be enough? Or the person requested for such need can be trusted?
Mr. Skolimowski was a masterful creator during his early short film phase, never a dull image in his works, and plenty use of metaphors,
symbolisms and sparse use of dialogues, which allow audiences to see things in a more imaginative manner rather than one where everything has a
definitive meaning and everything is spelled out. The odd humor of it all is quite memorable - the man smashing the duck shooting targets is
funny - and the dramatic sounds through the whole thing are quite effective in giving hints of things to come.
Must say it took me some views to finally form a whole about this one, and truth be told is not
that difficult to follow, it's a case of a small narrative that goes a little jumpy and repetitive until we understand what's at stake with the
erratic man who deseperatly needs the money. By then, it feels rushed and a completely different movie - but with a valid criticism as to what
both men will deal when things get critical with the potential interference of others. A very unusual film but a good one. 6/10.
Franz Ferdinand: This Fffire (2004)
A Franz Ferdinand classic
Love the art-direction, the song, the performance and everything related with this early music video by Franz Ferdinand. In "This Fire"
they play masterminds with a masterplan to take over the world and they put such plan into action in several ways and forms. Letters, hypnosis,
mind control, they have an extensive bag of tricks to seduce and capture audiences. Well, I must say it worked because of their music, one of the
favorite rock groups to arrive at that particular time.
Back then, they had
visual ideas and settings that seemed to echo World War I - from where they got their name after the murdered archduke - and it was all done in a
great style, humor and fashion. They had those music videos - like "Take Me Out" and "The Dark of the Matinee" among others - where you had to
watch them several times to fully get an idea, to see if you're missing something (usually are) and see all the art/cinema/music references they're
using. Here, it relates to world domination and they're the new conquerors of the world, without using caravels or weapons, they're trusting in their
own unique abilities (all more amusing for us to see).
And if I had to pick one song of theirs of which I never get tired, this one would be the chosen one and it's more than 20 years listening
to it - feels like yesterday. And this clip too, already a classic in my book. This fire is definitely out of control. 10/10.
American Prince (2009)
Steven Prince, the return of "American Boy"
"American Prince" is an update/sequel profiling actor and multi-task man Steven Prince (Easy Andy, the gun salesman in "Taxi Driver") a few
decades after being profiled by personal friend/director Martin Scorsese in the obscure documentary "American Boy" (1978). In that film, Prince tells
countless of hilarious stories, a few dangerous ones - being the most memorable the heroin overdose victim who got ressurected with an adrenaline
shot, of which Tarantino recreated in "Pulp Fiction" - and the man tells the craziest stories in a very charismatic manner. His friendship with
Scorsese provided him with a series of jobs for the director in the late 1970's, but Prince was already a key figure to whatever need you may have. This
very film returns to analyze the previous film, curious stories from other movies he worked with Marty and what changed in the man's life after all
these years.
He aged a little, does not work in the movie business though he had some sparse returns (which includes retelling a story from "American Boy"
within Linklater's "Waking Life" - the director is one of the interviewers here), yet the charisma, the sense of humor and the crazed manner of telling
stories remained the same. Yet, he's still a mystery of sorts and we're not destined to see a biography of the man talking about his life, marriage or
anything similar. It all relates with the craziness of how his friendship with Scorsese started (hilarious), working on "Taxi Driver" and "New York,
New York" (when his role end up being deleted from the film when during his capacity as an assistant he suggested the removal of secondary characters
when Marty's film was going too long), and other amusing stories. His time living in the neighborhood where the Wonderland murders happened goes as
the darkest part of it all, yet he manages to inject some humor in it.
If I were to define Steven Prince I'd say he was one of the luckiest man in show business. A non-trained actor who had plenty of talent to do
whatever he wanted and needed, found the right connections to show his skills and with wisdom, humor, some wild acts too, he stayed on the scene for
a brief period, and conquered admirers from his work and his stories. It's a pity Marty doesn't show up to present his version of everything, but it's
all there in "American Boy", a very fun documentary.
"American Prince" is less crazed and erratic than Scorsese's film, it has more of a focus and direction to go as Linklater and others interview
the man in between lots of wine, giant laughter and full attention and memory from Prince. It's like one of those delightful evenings one has with a
captivating storyteller who charm the crowd with ease and levity. Truly, lots of fun. 9/10.
O Papel e o Mar (2010)
A fictional but inspired look at reality, history and memory
A lovely short film that celebrates two unsung heroes of Brazil and the black community, "O Papel e o Mar" ("The Paper and the Sea") presents a
fictional encounter between writer Carolina Maria de Jesus and sailor João Cândido, with both historical figures sharing their life experiences, teaching
each other about life, and how memory and history isn't simply washed away without importance.
A real background of both: Carolina lived in poverty for most
of her life and had a limited education, but in 1960 one of her diaries was published as a book ("Quarto de Despejo"), posterior works were released after
her death, in 1977; João was best remembered for being one of the leaders one of the Revolta da Chibata (Whipping Revolt), when he and other sailors took over
a ship to protest against corporal punishment in the Navy, still enforced a decade after the abolishment of slavery. He got the nickname of Black Admiral and
succeed with his actions, but was later arrested, expelled from the navy and vanished into obscurity until his death in 1969.
The film takes place in 1958 where both characters, excluded from society and living their lives in a simple way, meet in Rio de Janeiro and they
strike an initially curious conversation, discovering each other as they were not familiar with one another. She collects papers off the street; and he's
an alleged fisherman. In between opposite talks and some agreement, they teach each other about the qualities they have as human beings, the legacy they
left or will leave, and the uniqueness individuals have in building their lives and writing their stories (or they place in history). João feels that he's
been erased from history (and I'm afraid this is becoming quite factual these days) while Carolina tries to feel a deeper need in sharing her battles and
her life in a favela.
The performances of Dirce Thomas and Zózimo Bulbul are a delight to our eyes and ears, as you can sense this duo living in a different era, and
they have a great chemistry together, an almost innocent manner. The most important bits from the dialogue are quite intelligent and thoughtful, demanding
a certain attention from the viewer in seeing through why they fail to understand each other and later on find a common ground.
Beyond the characters life examination, their questions and thoughts are thrown back at us: Where's our place in history? Will be simply washed away
or there'll be a way to leave something important behind? Which way we can serve best our community or the ones we form an identity (gender, race, sexuality,
etc), in becoming loud but unsung voices to it or doing simple tasks can have a positive effect as well? So much to learn and experience with this film, that's
also one of the greatest possibilities of cinema. 8/10.
Bom Dia, Eternidade (2010)
A little enjoyable, a little humored but missing plenty of depth
The charm and joy of "Bom Dia, Eternidade" ("Good Morning, Eternity") goes like a switcher (on/off) to keep audiences watching the movie when the story
is about to take some sad turns. Rogério de Moura's only film as a director has a special charm that makes us invested in it, but the problem is that
his actual goal takes way too long to happen, and when it's time for audiences to reflect upon the characters motivations and actions, we feel that
there's something deeper missing.
Like many films revolving the national passion Brazilian have for soccer, this is about a nostalgic fictional soccer player named Clementino
(João Acaiabe), who was on the bench during the 1958 World Cup when Brazil won its first title. He's fond of those days - despite not playing at the
Cup - as it's the only thing left in his life now, half-paralyzed due to a stroke and whose wife (Zezé Motta) takes care of him and endures his childish
tantrums. At his birthday, he's greeted by old comrades (José Vasconcelos, Antônio Pitanga and Renato Consorte) who take him for a car ride, attend
several places and fight with each other over old memories.
By that time, a whole half-hour had passed and that's when the movie decides to come alive with something extra special: Clementino wakes up and
the stroke effects were gone, the man is happy and moving again. Fantasy kicks in as each day goes by he loses a few decades, becoming younger, enjoying playing soccer
again and partying hard with samba and drinks. But someone's not happy in seeing the young man again: his wife doesn't understand what's going on, and it's
probably afraid of losing him for another woman, as it happened once when he had an affair with her sister (that character appears through visions from the
wife and it takes some time too figure out she's not dead, it's more like fights of the conscience).
What's the aim behind "Bom Dia, Eternidade"? A man has a second chance to return to the good living he once had but almost nothing changes, even
considering that he's no longer living in the 1950's, this is the early 2000's. Old style soccer competing with a more aggressive and the man's a local
champ again? Well, the wonders of fantasy, I mean, this is Benjamin Button before that movie came out (this was filmed first but released later. Fincher
wins). There's almost nothing of a critical exhamination about his actions as a new man again, except an encounter with a homeless drunk comrade of his
heyday. Nothing downer comes his way, except dealing with his wife and the new outcomes that come when he gets younger by the minute.
It's a very simplistic, paper-thin and flat movie when it comes to show a serious side of a weird situation, and the comedy works for a little
while without sustaining the story or the actors for too long. Zezé Motta was an interesting driving force in the story, and had the movie been about
the soccer player wife we'd have a cool drama to follow; Clementino's friends are also a treat to watch, a group of fun old-timers who try to cheer up
his friend.
In the end, it's an almost enjoyable film; but without depth and with the excessive cliches related with has been soccer players it's all a
series of fantastic moments trapped within itself, and fantasy needs to have some grasp with reality for audiences reflect upon it. With this one, I just
couldn't accept it. 5/10.
Catedral: Mil Maneiras (2001)
Great music, sad and tragic music video (with many relevance to life)
One of the most beautiful and most reflective songs from Catedral, post gospel phase and into mainstream pop/rock, "Mil Maneiras" got one of the
saddest music videos of all time.
It's the tragic encounter of two lost souls running away from a series of past problems and amidst the filth of a
city-dump they find love and the sustain for their lives, the latter part a sad reality in many places around the world despite the fictional settings
from the famous award-winning short "Ilha das Flores". Lead singer Kim and his band mates also perform on that exact same scenario.
The elements doesn't
seem to fit but if you pay attention just on the love story and how the poor couple imagine themselves on a beautiful beach rather than the dirty
environment you'll find a connection related with the song, the romance and the connection formed with those two souls.
But it's also about tragic realities, tragic fate and that's when the video hit some cinematic notes, showing the background of both guy and girl,
and that's where the band makes its social criticism against parental violence and police abuse. In those small moments - which seals one of the
characters' - we have something of more impact that any news or documentary out there.
It's a shame that the song wasn't much of a hit as it shows the group in a fine manner, but the video was familiar to me for ages, and only recently
that I could notice the details and figure out why it ends in that dark manner. A very good and poignant music video. 8/10.
The Killing Ground (1979)
An exposé on toxic waste disposal
"The Killing Ground" is one of those documentaries that as it unfolds you keep asking to yourself: "Is this America?". What does it
cover? The disposal of toxic waste on the soil, contaminating several areas across U. S. and becoming a huge dangerous issues to its population
with threats and realities of cancer and other diseases, and how environmental agencies and federal government manage to not help much the
people neither the affected areas, and as people get sick and die, the poluting companies save their money - sometimes they're forced to spend
a little to fix their damage or come up with clean solutions.
Again, is this America? Cause when you watch a piece like this and see how devastating, shocking and twisted those companies act and work
against their own environment and people, you expect that from under-developed nations, and the alarming number of cases covered in mere 50
minutes with a then final prospect of hundreds of other cases, makes you wonder about everything. And it's all about the profit, cutting costs
and ignorance. And in the end no one's safe, people and the environment go to waste.
It's an important piece in seeing the tragic reality faced by many Americans up until that point, it covers a handful of cases (with a big
highlight to the Love Canal disaster) and it also covers the reaction from environmentalists and the people as well. Obvious that many of the
featured cases prolonged, got worse and/or were "solved" in court, and for the curious minds you'll spend a lot of time researching about the
aftermath of them all - the real cases presented in films such as "A Civil Action" and "Erin Brockovich" though already happening at that time
aren't shown here.
It's a good film but not very, as it is a little distracting and repetitive with its presentation; but very objective of
what it wants to inform, if not alarm its audience that the danger of toxic waste and its disposal could be located anywhere in America. It's the
kind of viewing that will leave you hopeless for the mankind, even though it all happened nearly 50 years ago - still happens in some places. 8/10.
Babenco: Alguém Tem que Ouvir o Coração e Dizer Parou (2019)
A tribute to Babenco
The proposition behind "Babenco: Alguém Tem que Ouvir o Coração e Dizer Parou" is unique, peculiar but sad and morbid. But above all,
it's honest. Actress Bárbara Paz chronicles the final years of her husband Argentinean-Brazilian filmmaker Hector Babenco as he was battling
cancer and wanted to direct one last film, which end up being "My Hindu Friend" starring Willem Dafoe as a film director who's sick and has the
same wishes as Babenco in reality. It's a very unusual documentary/tribute to a man's legacy, but it certainly expresses what the man thought
of movies, telling stories and how mortality has a part on those things. Not exactly the easiest experience to watch, but it's certainly one
of the most rewarding in getting to know a man, an artist and his passion for cinema.
Despite the relative inexperience behind camera - and she makes sure to include those bits when Babenco teaches her how to focus a camera -
Bárbara made a curious tribute to her husband, going from a video diary of his moments at the hospital during treatment, then moving on to interviews,
the use of archive of all of his films, some making of, without losing momentum or falling into sentimentality. It's a little confusing when it comes to finding a
coherence of the material gathered since the film avoids the biographical route, favoring a work pattern in the themes brought on by the director
of "Pixote", "Kiss of the Spider Woman" and "Carandiru" instead. It's puzzling in a challenging way.
The uniqueness of a film like this is that it celebrates a man's work and life through his final days, and not many people are able to do
that. Death is not an attractive thing, but seeing how clear minded Babenco was with everything and challenging himself with the disease for a
long time (it is revealed that he had cancer right after filming "Kiss of the Spider Woman" and he was Oscar nominated), that one feels fascinated
about the man and his struggle, enlightened about how close his films were in thematic; and the challenge he leaves to us is: it's more important
to tell a story or to live life? Obvious that for a humanist filmmaker like he was, the latter becomes secondary as audiences have a deep need for
stories and few are the gifted storytellers that can make us feel less lonely in the world and find a connection, an extra meaning to life. And
he was always real and gritty with his films, a little dreamy and nostalgic, but the human spirit and its variations were always there.
It's a very moving experience and I loved it. Not sure if it can work for those who haven't seen any of Babenco films since there's no
talks about each movie or ways to present things about the story or what moved him to make those films. My suggestion is: watch one or two films
of his and then watch this piece. 9/10.
Bande-annonce de 'Sauve qui peut (la vie)' (1980)
JLG makes a typical trailer. Still good
Of all the film trailers Jean-Luc Godard made for his own movies (he provided one for Robert Bresson's "Mouchette"), the one made for "Every Man
for Himself" is the one that offers the least ammount of artistic creation, artistic/enigmatic curiosity as he abides for the typical film trailer done
at the time and later on (the format have changed so much that you don't need to see a movie after watching the preview). It's basically the title, many
clips presenting situations from the story but without revealing much. Since I haven't seen that
Godard film (yet) the trailer left me curious in seeing what he has to offer with stars Isabelle Huppert, Nathalie Baye and Jacques Dutronc. A minor
trailer of his, without the spectacle created in others he did ("Pierrot Le Fou", "Contempt") yet it's still something worth admiring. 6/10.
Roxy Music: Both Ends Burning (1975)
Song's good,video doesn't offer much
While there's a part of me that understands why this shamelessly low rating for the music video of "Both Ends Burning" as it does not bring
anything new or so groundbreaking about the media format, I'd like to assume that at least one must give credit to the song. In the words of admirer
Johnny Marr (The Smiths, Electronic) Roxy Music had delivered one of the greatest pop songs of all time, before the music genre inception.
Outside of the man's views, there's nothing wrong about the clip; it's a generic band performance on stage, they're all in the dark with lights
hitting them from time to time, but frontman Bryan Ferry and his suited beautiful female backvocalists appear in distinctive manners. The only extravagance
during the act comes when the director/editor decided to throw an X-Ray effect in the images, turning the brief moment into a psychedelic experience. Song is
awesome, but it gets a little cut in the video. Still worthy of view after nearly 50 years of its existence. 6/10.
Franz Ferdinand: The Dark of the Matinée (2004)
Pretty fun
Schoolboys either bored at classroom or performing small choreographies, a BBC heaven and countless old movies clips to expose the song's core. "The Dark of the
Matinee" has Franz Ferdinand amidst all of those settings, notions and ideas (flirting in school and the boring films shown there). Back in the day when "Take Me Out" was all over the world and it didn't
impressed me at all (it took me time to conquer me), this one and "This Fire" were their songs/videos that I really liked/care, and the proofs that
Franz Ferdinand were one of the most distinguished rock names of the early 2000's - nostalgia hits hard during those pre-YouTube days.
To the film buffs out there, your help is requested in finding the film titles that appeared in the quick montages. Lots of matinee westerns,
really old stuff, and it'll give you a nice challenge to work with as you watch the music video over and over. No harm to be done as the song is pretty
catchy - unless you're not a fan. 9/10.
Tori Amos: Cornflake Girl - US Version (1994)
Different than UK version, but good
This US music video version for Tori Amos' "Cornflake Girl" is slightly fascinating with its use of theme that seems to echo many feminist rebellion
from the 1990's and/or some literary work, almost like a prescient version of Furiosa and her group in 2015 "Mad Max: Fury Road". Tori drives a truck
with her female troupe moving through a desert place, nothing worries them in between the song performance, and there's also a bit of some plays in a park.
The sudden change in the setting comes with the presence of a longhaired cowboy (might be completely wrong but it could be a very young Billy Crudup). Will
he affect the outcome between the girlfriends?
It's a pity that that last bit isn't worked strongly enough to generate some chaos and some debate, as it'd relate with the thematic revolving on
girl's betraying one another for any particular reason (this is a quite obvious in reality). My other criticism of it all is that 1) it's way too
repetitive with its images and compositions; and 2) the UK version and its crazed yet artistic tribute to "The Wizard of Oz" was a more vivid and creative
experience, giving the song a more mysterious interpretation.
All in all, it's Tori Amos presence and her magnificent song that makes the viewing experience a delightful one. 8/10.
Tori Amos: Cornflake Girl - UK Version (1994)
Perfect in every sense
"Cornflake Girl" by Tori Amos is one of those songs that didn't enter my radar until recently, but once it entered it never left me.
The maddeningly beautiful piano intro and its progression within the song conquered for me good; and Amos lyrics certainly fit well with the
composition. Two music videos made for it: the UK and the US. UK is by far the better clip as it pays a wildly crazed cinematic tribute to
the classic "The Wizard of Oz" and turned into something darker than the "children story", far more elaborated than the American version with
the girls in the pickup truck trying to live their ideal world without men.
Small portion of colors to reflect the real-life, the dominating black-and-white scenario is the world of Dorothy/Tori where tornadoes,
flying houses, objects, bizarre imagery and the girl are all put against a pitch-black blackground, that has some "Eraserhead" vibes, and the girl
even gets attacked by a bully girl - if we go with the song's flow that bully was the girl's best friend, as it relates to the feelings of women
betraying each other.
The presentation of everything is filled with art, terror, careful and symbolistic cinematography and art-direction, and there are thousands
of elements to be noticed in the "story" and transitions that one feels overwhelmed with everything. And the song, the song, the song! Can't stop
listening to it. One of the greatest 1990's classic songs that echoed with more intensity and relevance in the following decades. 10/10.
Dionne Warwick & Jeffrey Osborne: Love Power (1987)
Powerful duet
If there's one classic R&B song that I never get tired of listening all over the years and decades, than such distinction must go to the sweet, smooth
and amazing partnership between Dionne Warwick and Jeffrey Osborne in "Love Power". However, the music video was only seen by me this year (what a shock!).
Not the obvious MTV fair, but it's a little dated, a little corny, just as well. Nothing that affects the quality; after all, we're only in it for the
great music it carries with.
It follows the song story quite well, a couple (Dionne & Jeffrey) who are dealing with other people but knowing that they're missing each other -
the psychic character described was replaced with Dionne having a date for herself. The couple drive through their fancy cars in sunny L. A., so near
yet so far; then there's the club routine where they sing together (a hilarious bit comes from a background actor entering in front of the shot, blocking
Dionne); and there's the lovely sax solo from Kenny G., way before his worldwide fame. It's a little cinematic spectacle, that goes with two great performers
echoing the creations of impecable duo Burt Bacharach and Carole Bayer Sager. "Talking about...love power!" 9/10.
Travis: Why Does It Always Rain on Me? (1999)
Fun and philosophical
For all the souls who feels exactly as if receving loads of problems and mistakes from the universe over and over and over again, comes this
reflective, artistic and creative song and video by Scottish band Travis. Back in the late 1990's-early 2000's, they were one of the kings of clips
with many curious, funny and intriguing videos, such as "Side" (with the UFO's), the classic of classic "Sing" (food fight!), and this one. It truly
shows the emotions of the song but done in a mysterious yet humored manner.
"Why Does It Always Rain On Me?" presents lead singer Fran Healy trying to approach the other three band mates after the man himself was kidnapped
and put inside of a car trunk. He tries and gets rejected, again and again. It moves to surreal transitions as he jumps on a lake and wakes up in the
most unusual scenario. There's plenty of those transitions, and audiences try to keep on guessing where he and others are gonna land next. Images and
music are up to listeners/audiences to reflect and create their own special inner view.
The scenario and visual spectacle of it all makes of this clip one of the coolest, most insightful and most fun to watch. 10/10.
Cape Fear (1991)
A true classic by Marty, De Niro, et al
Martin Scorsese's experiment with the horror/thriller genre in "Cape Fear" (a remake of the 1962 film starring Gregory Peck and Robert Mitchum)
brought a great result to the audiences and the man himself as it gave his first big box-office hit (despite the impressive previous resume with the likes
of "Taxi Driver", "Raging Bull" and "Goodfellas" they were never massive moneymakers, but were amazingly and deserverdly acclaimed). But this was also a
swap of projects with Steven Spilberg, who end up favoring better with the Oscar winning "Schindler's List", an original project of Scorsese. But...
Putting aside those bits of trivia, one cannot admit that Mr. Scorsese has created one of the true classic of the genre in the 1990's, with its
terrifying update of the classic film turning twisted, darker, reflecting upon themes of society that were being discussed at the time, with some use of
the-then horror cliches that audiences loved to see (or hate too). Above all, it's his and writer Wesley Strick composition of Max Cady character and
how Robert De Niro excelled himself to an unseen point, becoming one of the most iconic and memorable villains of recent years. I'm gonna return to him.
This "Cape Fear" is the one I like to revisit time and again for plenty of reasons (not putting down J. Lee Thompson's film, as I'm a fan too, but I prefer
it less since the elements of that thriller are too-family friendly and it removes you a little from the horror that does exist there). Its themes of an
apparently perfect family that it's already dysfunctional before the psycho's arrival; the not-so innocence lost of a teenage girl; the "morality" of a
criminal versus the imorality of a lawyer when it gets to defend his family; it all results in a provoking story where we question the legal system;
bad guys who might have a point; and many other major themes treated in this dark, twisted tale of terror.
And Marty gives us
tough guy Nick Nolte playing an early vulnerable role with perfection the lawyer who has his family stalked by the creepy ex-convict Cady (De Niro);
Jessica Lange and Juliette Lewis, as wife/mother and daughter respectively, and Lewis all the needed credit for playing a curious teenager who barely
knows the perils ahead that Cady represents.
And then we have a masterful and horrifying performance of Robert De Niro. His fully body tattooed, southernly accented, slick smile that goes from
charming to frightening-moving-to-violence, makes of this man something unique in the world of movies. There's dark humor, bits of drama and a boiling
rage when attacking the Bowden family or others who comes his way; but he can also pretend to be the perfect victim that can fool the court system when
needed (Peck, Mitchum and Martin Balsam return for cameos as lawyers and judge). A horror and a delight to watch. Except for the infamous attack on
Illeana Douglas character - an amazing improvisation between the duo. That scene creeps me out so bad that I'm tempted to cover my eyes.
And it's needed to take a look at the craft and style established by Marty in this update as it goes on both fronts, by paying tribute to the
classic "Cape Fear", and uses of his bag of tricks to compose a visually exhilarating film. On the first, it's the a re-arrangement of Bernard Herrmann's
score and the opening titles; what comes as new are the photographic effects from director of photography Freddie Francis; the frantic editing of Thelma
Schoonmaker which makes even dramatic moments of relative tranquility feel like a thrilling event (the squash sequence is my favorite); and Marty even
makes use of many visual and colorful effects with an eerie aspect (the skies over the Bowden house; the fireworks behind Cady on top of the wall; the
clouds over the bayou).
The objection of many fans goes with the third act, with Cady becoming like a horror villain with super strength and super abilities. That's a
tough bit to accept, but don't think it hurts the movie all that much. Marty had a reasoning for it that sort of feels valid, related with Cady's
religiosity.
Nothing more to add, except that I'd like the fans to keep on rewatching, and the new generations take a chance to witness the grandiosity of this
version and the original as well. True cinema classics! 10/10.
Paul Hardcastle: 19 (1985)
Unconventionally Brilliant
The mindblowing shock of the senses of "19" impressed me, moved me, and confused the life out of me to the point of not knowing how to define it,
how to deeply analyze it, and what to actually think about it. Except that I liked it as there's the kind of montage, effects, mixture of sounds,
colors, rhtyhm and use of a film project (in this case, "Vietnam Requiem") that appeals to my senses and generate countless feelings and sensations at the
same time, which intrigues me to the point of seeing a film, a clip or a work of art, for several times.
Some description/background: the music video uses of archive images and sounds from a TV documentary about Vietnam veteran, matching with Paul
Hardcastle song, an electronic/Synth-pop,freestyledance and full of energy song and with the mix of everything, where many lines from the movie are
intertwined goes into many directions: irony, but also a full combination between everything (well, sort of).
I guess the shock that made me question everything about this piece is: how can one dance to something like that? It defies everything - even
taste, and I'm very open-minded about the arts, but I simply couldn't see it people jumping, or breakdancing in full ecstasy to the sounds of Hardcastle
mixed with serious quotes about the Vietnam war, the veterans and the tragedy of it all. But on the other hand there are times when art and its creative
collage are defined and perfected exactly in not making sense, challenging our concepts and misconcpets, to break from our shells. Highly interesting. 9/10.
Vietnam Requiem (1982)
A war and its unhealed scars
"Vietnam Requiem" strikes such a powerful punch in our hearts and minds atfer the end credits roll, and all those tough/sad/terrible
stories told by its main characters are stick to the memory, that you can go with two emotions: you can cry or you can feel angry at nearly
everything that is shared by our main characters in this documentary or about the system of war. This is the story of five Vietnam war veterans whose
lives not only suffered and survived through the horrors of war but when it was all over they all shared the same fate back in America: they were incarcerated
criminal felons. When Coppola described "Apocalypse Now" as "My movie is not about the Vietnam, IT IS Vietnam!" he exaggerated a great deal as
we know how fantastic, mystical that masterpiece was, very unreal; Bill Couturié and Jonas McCord special here IS Vietnam, with no holds barred, and the
kind of aftermath that wasn't deserved of proud military men who served their country in an unjust war/cause.
It opens with the following statement, later on used on Paul Hardcastle's song "19": "In World War II the average age of the combat
soldier was 26. In Vietnam it is was 19." It's the story of five 19-year-olds Albert Allen 'Pee Wee' Dobbs, James McAllister, Raymond Baker, Duane Maybee
and Kenneth Patterson, all young men in their prime who followed in the many different fields of the military, dreaming about all the goods such
a career would give them, fulfilling their needs, truly becoming men and serving their country in an apparent great cause in the Vietnam. Many
can imagine stories of battles like the ones depicted by Hollywood, but the real horror is beyond imaginable, and each men tell harrowing,
shocking stories that I don't need to describe, you must hear it from them. There are a few images from many Vietnam archives, and Dobbs appears
in a few of them, you can see him in action.
But we're not immersed in the war, there's the kinds of lives they all lived and faced when they returned home; and throughout the piece
Couturie & McCord make insightful parallels between World War II (all about glories) and Vietnam (all about dishonor), which was easily perceived,
but not necessarily fully understood by most people. That's what hits hard viewers because the downer stories, albeit somewhat similar to what many
common man face (substance abuse, reckless behavior, family violence), gets a wider and darker aspect when you add that they fought a war and
seen things most of us never dreamed of. Their chance of returning to civilian life and becoming outstanding citizens felt like something impossible,
with PTSD's taking everything from them. It's either getting killed, committing suicide, becoming homeless, living in Veterans hospitals or going to
jail, as our heroes here, committing crimes they would never expect of doing when they were 19.
But there's a dark yet very heartfelt moment I need to share, and it comes from Dobbs brother when he recalls a suicide attempt his brother
was planning of using a shotgun. His reply was "If you wanna do it, please use something less noisy cause I need to sleep". It sounds harsh,
but it convinced a tear-eyed Dobbs to not do anything and simply go back to sleep. Hard lives can provide those things that can make us stop
and rethink everything.
I could go on and on with this movie, so I'll leave some final emotions, a final analysis. I couldn't cry (but almost), just stayed frozen,
silent and reflecting about all I heard and seen. Then came the thoughts of anger, contempt and outrage, as I was reminded about the war, the
system that allowed such unnecessary device (though scholars defend its purpose, sometimes useful) of creating killing machines that
can never go back to their natural state, it ages them very badly, injured and scared, and traumatized, and few are the winners. In this particular
conflict, a significant first American loss, those soldiers return were a second war, at home, with nearly no chances of winning. The American
military complex during Vietnam War had gains and losses that sort of balances itself; but the veterans and American society has lost plenty. Scars that hasn't healed. 10/10.
Maggie (2015)
A different (and very good) Arnold vehicle
For some reason I had not much interesting in watching "Maggie" ever since it out. Possibly a prejudice in seeing the Governator
doing a drama with horror, or whatever. But in what was one of the weirdest personal moods, this was on TV and I pleasantly warm and
surprised at how good it was, how envolving and characters I could feel something worth seeing, worth discussing too, and Arnold Schwarzenegger
delivered A phenomenal performance - not necessarily award-worthing but definitely considering. What kills the potential from the movie is some
of Henry Hobson's editorial-cinematographical choices, and some weird gaps in the story.
In an apocalyptical rural America, a zombie-like virus took over the world, leaving the contaminated folks facing a certain routine
of which they'll evolve into unrecognisable creatures in a slowly progression, of which the local authorities rely upon quarantine centers
(pandemic feels with this one), of which is total exclusion from their loved ones and some mystery as for how they treat the ex-person-now-creature.
The drama of farmer Arnold comes when daughter Maggie is infected, and he doesn't want her to get interned, so he convinces medical doctors that
she'll be restricted at their own farm where she'll be taken care of (but you can understand it in a more lethal manner. Relax, only when she gets
worse). The obstacles rise when her stepmom (Joely Richardson) is afraid of being around Maggie, who initially has some purple injuries and eyes
turned white; a local family that everybody's sick and they went for the same treatment as Arnold (the creepiest bits), and the interference of
two cops who want to follow Emily's evolution and deal with her when she's no longer herself.
At the core of this story we have a film of powerful dimension with the family relationship, and this is the kind of film that really
questions the involvement, care and difficult dilemas when a tragedy hits them, the decisions to be made and if when the time comes we'll act.
The horror comes in a second place, no subplot about a potential cure is discussed, so we can move to the acceptance of a tragic fate, and
the family will decide to help Maggie all the way until the very last moment. The tenderness, the talks between Arnold and Maggie are genuine
and heartfelt, but never sentimental. It has all the needed emotion, the right moves - the garden scene can drive folks to tears. And that's
saying a lot when it comes to Arnold Schwarzenegger, whose action persona is completely subdued (but effective) and he can offer fine dramatic chops as
a loving dad.
But there a few bumps made by Mr. Hobson which affected me a little negatively. The editing of some scenes, the framing of some shots
and the cinematography made the experience weird to watch, and weird to follow, as we don't know exactly what to look and why're looking. It
feels as if the director was trying to be smart and original but without a sense of composition and how a story should be put together. A few
gaps relates to how they can sent Maggie brothers away and I couldn't figure out exactly where they're going and why it can be safer since
all the world is facing the chaos. Maybe I missed something.
Ultimately, I had a very good time with this picture, a very fine dramatic horror that makes us question hard decisions related to family (and
friends, as evidenced by Maggie's crush), extreme times, and seeing that love can't save everything. But it sure can try. 7/10.