Make Your Own Film Festival- Pick a Country (Part 7 of 7)

Windows doesn’t discriminate between regions any longer, and neither does Macintosh. Even if they do you should get a warning when inserting a Non-Region 1 DVD (meaning one made for distribution outside the US, Canada and Mexico) saying what region it is and asking if you want to change your computer’s region. Typically, there has been a set limit on how many times you could change regions before it became a permanent switch. Even if your computer is more finicky you still have an opportunity to watch many more DVDs, many of which you can only find online, that you never thought you could before.

Some foreign films have limited appeal and distribution internationally. You should take that into account when traveling overseas and pick up some movies you won’t find in the US. Taking that in to consideration this critic made a number of purchases when in Brazil in 2008 to set up a mini-festival.

Cidade de Deus (City of God)


Alexandre Rodrigues in City of God (Miramax)

This is a film produced by Walter Salles who was at the helm of the prior breakout hit from Brazil, Central Station, it’s a tale of how the favelas got how they are, how they went from “purgatory to hell” as the film puts it. It’s a tale that weaves several threads together intriguingly it’ll start focused on a character or group of characters but also introduce other characters, then when the secondary characters come into focus the story backpedals and fills in blanks. It flashes back with style and tells a gritty story in the highest rendition of cinematic art. It not only tells a bulk of its story within a frame but also has several dovetails of jaw-dropping quality and affect. It’s also a film that proves samba can provide a score effective in all situations and reflective of all emotions. It’s a film unafraid of montage with dialogue.

One of the best films of the decade that just ended. Brazil in the past two decades has had tremendous achievements on the world cinema stage including a Best Actress award at Cannes for Sandra Corveloni in Linha de Passe. It is consistency that detractors seem to be in want of.

All in all this is a festival that showed some of the prowess, and in a few cases weakness, of Brazilian cinema. If you have seen a film from a country that intrigued you can look into creating a similar fest of your own because seeing only wide international releases doesn’t really give you a feel for a country’s cinema.

Review- Fast Five

Vin Diesel and Paul Walker in Fast Five (Universal)

As I first discussed in my review of Rio I bring quite a bit of baggage to any American-made film dealing with Brazil and I will be analyzing certain aspects that escape the notice of the common viewer. Obviously, some of these things also come into play when discussing Fast Five and I will attempt to address those as swiftly as possible and address the film as a whole.

However, with this particular film the Brazilian-ness of it and how accurately that is portrayed is a more pervasive concern as it touches many aspects of the film from dialogue, plot, believability, characters, plot points, acting and the like more so than in the aforementioned film.

Some examples: Firstly, I applaud this film for its attempt to be sneaky foreign (like Hanna) and actually include a bit of dialogue in Portuguese and even subtitling certain scenes. Most of the acting in the film as a whole is just fine, however, the noticeable sore spots are created by those portraying Brazilians who are clearly not. Joaquim de Almeida plays a drug kingpin and the mark of the major heist in this film, he does a fine job but as I suspected when I looked up the cast he’s Portuguese not Brazilian. Very noticeably a fish out of water is American Michael Irby as his second hand man. Spaniard Elsa Pataky and Israeli Elsa Godot are quite convincing, the latter not so much in one particular scene due to her look more so than her interpretation. The best Portuguese is spoken by Jordana Brewster who speaks it rarely and I wasn’t even sure she knew any despite being born in Brazil.

Issues with the story with regards to it being set in Brazil are most prevalent in two incidents that I take issue with. So far as having a druglord who has the Military Police in his pocket and corruption, I can take that. It’s an acknowledged issue that’s been long combated, however, if you want to see a film about the PM and how a good man can go bad and see a rather realistic rendition thereof watch Elite Squad (Tropa de Elite). The issues are the first scene where the American forces lead by Dwayne Johnson go up into a favela, in very cinamtically clichéd fashion all the runners and criminals brandish their guns like a territorial pissing then Johnson shows his gun and they all back away. The problem there is that that would either lead to a standoff or a firefight, which is not infrequent. It’s a movie device that really doesn’t apply here. There’s a more realistic scene where he’s baited out into the open and surrounded.

The worst scene of the film is the apparent defeat. Here for some reason the American forces decide they should drive, seemingly unnecessarily, through the elevated and undulating streets of a favela and it sets up a ridiculous confrontation.

There is enough action to carry this film along and make it a decent ride. The villain although broadly drawn does have some decent moments. The characters in the film are many so not many are developed in all that much detail but you do get a sense of them and there is a good amount of comedy mixed in which keeps things light in spite of the bickering minorities device that is employed twice.

To give this film its just desserts there is a hand-to-hand combat scene between Dwayne Johnson and Vin Diesel that trumps anything that occurred in The Expendables and no uncomfortable undertones to boot.

Despite being incredibly outlandish in terms of what the heist is, how it’s pulled off and what the reactions of law enforcement are to it at several stages of the film it’s still an enjoyable enough flick. It’s a decent popcorn flick that actually got me in the theatre by adding the heist element to a franchise that had never interested me before. Also, plan your health break carefully and stay through the end credits for a tag teases a sequel.

As a coda, bear in mind that with the financial success of Rio and Fast Five, Brazil will likely be the go to international transplant destination for franchises everywhere. I think James Bond needs a vacation, don’t you?

6/10

Review- Rio

Rio (20th Century Fox)

For any viewer, regardless of your experience, academic acumen or whatever other qualifications you may have, there will invariably be occasions where a film plays into a sensitive area for you where it’ll either excel with flying colors or fail miserably, perhaps to a greater degree than it would otherwise, due to your personal experience. In the case of Rio it was targeted on my radar early on for two reasons: first, and the lesser of the two reasons, for my love of birds and conversely my loathing of smuggling but it hit home more because it’s set in Brazil, a nation of which I am a dual citizen.

Having been one who grew up cinematically with only Carmen Miranda and the anti-Lambada propaganda film The Forbidden Dance as major reference of American interpretations of Brazil onscreen my apprehension is understandable. Not that there’s anything wrong with Carmen Miranda but any icon can be turned into a stereotype in the wrong hands.

Suffice it to say that most of my concerns are addressed by the fact that one of the film’s writers and its director is a Brazilian, Carlos Saldanha. Yet, you also do not get a Disney-fied Saludos Amigos or Three Cabelleros rendition of Latin America, you have in the narrative of this film a setting which actually plays a role, which is rare but also one that is presented without frills and bereft of commentary. You see the glitz and glamor of Rio, the natural beauty, the beach life, the skyline at night, carnaval but also the favelas and in a minor way, crime. It’s a subtle but accurate portrait that doesn’t impose itself above the story. It shows the good and the bad. So with that personal concern overcome I can begin to address the rest of the film.

When dealing with animation set overseas there are invariably headaches of logic. There’s always the minor bugaboo of when do you float a word in said foreign language that English speakers will readily recognize? How many Brazilians and/or actors of Hispanic descent do you include in the cast? Now, there’s only one Brazilian in the principal cast, however, considering that many Brazilian actors have recently been cast as either Hispanic or “Vaguely Foreign” characters (such as Rodrigo Santoro himself in Love Actually) it all comes out in the wash.

In fact, quite a lot the voice talent does quite well either toeing that line or just being convincing that it makes you forget. Jesse Eiesenberg conveys the stressed, caged bird in the wild well and also has the unexpected task of struggling/learning to embrace his newfound culture. Anne Hathaway, perhaps more than any other name actor in the cast, vanishes behind the veneer of her character. Thankfully she is given license to sing and the few seconds of Portuguese she’s asked to speak sounds good.

The rest of the voice cast does rather well as a whole also. One of the most distinctive and hardest voices to overcome is George Lopez’s but his shtick with his wife is funny enough such that you eventually forget. While Tracy Morgan always sounds like himself it works in tandem with his character so well that it doesn’t matter. Will i. am provides the most consistent comic relief and perhaps the most overlooked voice work belongs to Jake T. Austin, perhaps best known for his work on Disney Channel’s Wizards of Waverly Place, he convincingly comes across as not only a Brazilian kid but also one who’s younger than he is.

The story of this film resolves itself quite neatly. It gets just the right amount of complication what with the smuggling plots getting aided with a scene-stealing performance by a Cockatoo (Jemaine Clement, who thankfully is also allowed to sing). Events head for the collision course you hope they’ll have and while there are dueling love plots and a heist everything thing has its proper priority within the infrastructure of the narrative. There’s more going on here than meets the eye with many of the villains not willing to do their own dirty work, such that you can see how it may be described as a mess but it truly does all work towards one end.

And that end is truly one of the more graceful and visual I’ve seen in some time. You realize the film is all but over and there are at least three questions/open ends you’re wondering about that are addressed in a few shots and wordlessly, without any lengthy denouement. It’s a thing of beauty of behold.

Moreover, it’s a musical that’s actually musical, meaning there are a few musical numbers where characters breakout and sing but not once does it seem random and forced. The score is tremendous and very present and when it’s not there it’s replaced by source music, which is usually a new take on a Brazilian standard. It’s another example of the synergy of location. The score is indigenous without feeling forced or trite. Even incorporating Samba beats the score and source music still underscores the action tonally.

I typically leave the 3D commentary for near the end when I do see something in 3D. I did see it as such and my general feeling is that right now animation, specifically animation by the biggest studios (Disney/Pixar, DreamWorks, Fox/Blue Sky) is usually your best bet for getting the most bang for your buck 3D-wise.

The animated feature film has become more of a box office and aesthetic presence than it ever was. It has truly grown in leaps and bounds over the history of cinema as something that was virtually a one-studio specialty to a medium that has become, at long last, a bona fide Oscar category. Having said that the category has been virtually monopolized. It’ll be very hard to justify that this year with Rio entering the fray I think.

As I may have said before, I now treat sitting through the end credits like a standing ovation. Considering the fact that I was so apprehensive about seeing it in the first place, I truly did not expect to watch this film all the way to its literal conclusion. Rio is a tremendously effervescent film that actually manages to capture some of the spirit of the city in a very honest way.

10/10