Film Review: Linha de passe, Cannes, In Competition
Twelve years after co-directing "Foreign Land", filmmakers Walter Salles and Daniela Thomas have returned to update their portrait of urban Brazil, which they left in the economic throes of president Fernando Collor. "Linha de passe" is a far more successful film, both as a drama and in depicting the reality of growing up poor without no future in sight.
Using a mainly non-pro cast and a deeply realist style, it relies on a strong screenplay and a hard-driving rhythm to keep viewers interested in the interwoven stories of four brothers and their single mom. Comparisons to Luchino Visconti's "Rocco and His Brothers" are inevitable, but without name actors in the cast, this is not going to be as easy a commercial ride as Salles' cultish "The Motorcycle Diaries".
On the plus side, "Linha de passe" (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of "Central Station". Set on the poverty-stricken outskirts of the Sao Paulo megalopolis, it traces one summer in the lives of Cleuza (Sandra Corveloni), a pregnant housemaid, her three teenage sons and her young Reginaldo (Kaique de Jesus Santos), son of a black bus driver. If you think of this remarkable child actor as the transformed character of the young Alain Delon, you begin to see how radically Visconti's film has been rethought.
Most audiences won't make that connection, of course, but will be caught up in the psychological struggles of the brothers, each battling his own demons. Dario (Vinicius De Oliveira, who played the lead in "Central Station") is a good soccer player who wants to go pro; Dinho (Jose Geraldo Rodrigues) plies the dangerous profession of motorcycle courier on Sao Paulo highways and has a baby with one of his girlfriends. The born-again Christian Denis (Joao Baldasserini), meanwhile, escapes into the unreal optimism of religion, while plucky little Reginaldo rides buses all day and night in search of his unknown father. In this fatherless society, where violence lurks around every corner, brotherhood becomes a path to salvation.
A growing sense of anxiety accompanies the boys as they spin through the cycle of football tryouts, work, sex, drugs and robberies, against an apocalyptic background of burning buses and stadium mania. While the exciting camerawork stays close to the action, a reflective musical comment pulls viewers back into reflectiveness. Film's climactic scenes achieve real power as each of the five characters is tested in rapid cutaways, to an ambiguously suspended ending that is still satisfying. Hats off to the fine ensemble acting, which is never over-stated and renders each family member intensely individual.
Cast: Sandra Corveloni, Joao Baldasserini, Jose Geraldo Rodigues, Vinicius de Oliveira, Kaique de Jesus Santos. Directors: Walter Salles, Daniela Thomas. Screenwriters: George Moura, Daniela Thomas. Executive producer: Francois Ivernel. Producers: Mauricio Andrade Ramos, Rebecca Yeldham. Director of photography: Mauro Pinheiro Jr.
Sales Agent: Pathe International, London
No MPAA rating. 115 minutes.
Twelve years after co-directing "Foreign Land", filmmakers Walter Salles and Daniela Thomas have returned to update their portrait of urban Brazil, which they left in the economic throes of president Fernando Collor. "Linha de passe" is a far more successful film, both as a drama and in depicting the reality of growing up poor without no future in sight.
Using a mainly non-pro cast and a deeply realist style, it relies on a strong screenplay and a hard-driving rhythm to keep viewers interested in the interwoven stories of four brothers and their single mom. Comparisons to Luchino Visconti's "Rocco and His Brothers" are inevitable, but without name actors in the cast, this is not going to be as easy a commercial ride as Salles' cultish "The Motorcycle Diaries".
On the plus side, "Linha de passe" (a soccer term) has a great deal of strength and sincerity going for it, which should attract the kind of audiences who admired the sociological line of "Central Station". Set on the poverty-stricken outskirts of the Sao Paulo megalopolis, it traces one summer in the lives of Cleuza (Sandra Corveloni), a pregnant housemaid, her three teenage sons and her young Reginaldo (Kaique de Jesus Santos), son of a black bus driver. If you think of this remarkable child actor as the transformed character of the young Alain Delon, you begin to see how radically Visconti's film has been rethought.
Most audiences won't make that connection, of course, but will be caught up in the psychological struggles of the brothers, each battling his own demons. Dario (Vinicius De Oliveira, who played the lead in "Central Station") is a good soccer player who wants to go pro; Dinho (Jose Geraldo Rodrigues) plies the dangerous profession of motorcycle courier on Sao Paulo highways and has a baby with one of his girlfriends. The born-again Christian Denis (Joao Baldasserini), meanwhile, escapes into the unreal optimism of religion, while plucky little Reginaldo rides buses all day and night in search of his unknown father. In this fatherless society, where violence lurks around every corner, brotherhood becomes a path to salvation.
A growing sense of anxiety accompanies the boys as they spin through the cycle of football tryouts, work, sex, drugs and robberies, against an apocalyptic background of burning buses and stadium mania. While the exciting camerawork stays close to the action, a reflective musical comment pulls viewers back into reflectiveness. Film's climactic scenes achieve real power as each of the five characters is tested in rapid cutaways, to an ambiguously suspended ending that is still satisfying. Hats off to the fine ensemble acting, which is never over-stated and renders each family member intensely individual.
Cast: Sandra Corveloni, Joao Baldasserini, Jose Geraldo Rodigues, Vinicius de Oliveira, Kaique de Jesus Santos. Directors: Walter Salles, Daniela Thomas. Screenwriters: George Moura, Daniela Thomas. Executive producer: Francois Ivernel. Producers: Mauricio Andrade Ramos, Rebecca Yeldham. Director of photography: Mauro Pinheiro Jr.
Sales Agent: Pathe International, London
No MPAA rating. 115 minutes.
- 5/17/2008
- The Hollywood Reporter - Movie News
Poverty raunch is the genre for this saga about a fighter, a stripper and a robber. It's a down-and-very dirty melodrama set amid the squalor of the northeast coast of Brazil, featuring cock fights, boxing matches and hard and sweaty sex.
Produced by Walter Salles and Mauricio Andrade Ramos, "Cidade Baixa" does not promenade as social commentary but rather rampages as an in-your-face depiction of three lowlifes in a sexual triangle. Discriminating audiences who don't want their sex and violence sullied by relationship-speak should enjoy "Cidade", but it's unlikely that even the most sophisticated or jaded of festival audiences will kindly endure the onslaught of viciousness on display.
In this menage, there's Deco (Lazaro Ramos), a boxer, Naldinho (Wagner Moura), a petty criminal, and Karrina (Alice Braga), a sexually insatiable stripper. Deco and Naldinho have fallen on hard times: They work the docks, unloading cargo, but the shipping business has dried up in their area. They seek greener pastures, setting out for El Salvador, picking up Karrina along the way. For the lift, she lifts them both.
Soon, the three amigos are holed up drinking, screwing, scrounging and warring. As the sexual arithmetic indicates, one of the guys is going to be the odd man out, and neither of the testosterone-fueled louts will defer. Karrina is sensitive enough to understand this, though her carnal appetites are so voracious that she fuels the tension by driving them both wild in bed. Soon, the two male lunks take off the gloves.
Despite the sordid strut of Sergio Machado and Karim Ainouz's screenplay, the performances are properly fleshed out. Braga's uninhibited, sexual rampage is incendiary, igniting the pent-up violence and craziness of her lowlife world. Similarly, both Moura and Ramos are convincing as the macho, reckless dregs of the harbor.
Overall, filmmaker Machado blasts together an appropriate aesthetic: "Cidade Baixa" is loud, frantic and brutal. Technically, the aesthetics service the story line, especially the onslaught of sounds from composers Carlinhos Brown and Beto Villares.
Cidade Baixa
VideoFilmes
Producers: Mauricio Andrade Ramos, Walter Salles; Directors: Sergio Machado; Screenwriters: Sergio Machado, Karim Ainouz; Associate producers: Donald Ranvaud, Robert Bevan; Director of photography: Toca Seabra; Production designer: Marcos Pedroso; Music: Carlinhos Brown, Beto Villares; Editor: Isabela Monteiro de Castro; Line producer: Marcelo Torres; Sound designers: Waldir Xavier; Denilson Campos; Costume designers: Cristina Camargo, Andre Simonetti. Cast: Deco: Lazaro Ramos; Naldinho: Wagner Moura; Karinna: Alice Braga
No MPAA rating, running time 100 minutes...
Produced by Walter Salles and Mauricio Andrade Ramos, "Cidade Baixa" does not promenade as social commentary but rather rampages as an in-your-face depiction of three lowlifes in a sexual triangle. Discriminating audiences who don't want their sex and violence sullied by relationship-speak should enjoy "Cidade", but it's unlikely that even the most sophisticated or jaded of festival audiences will kindly endure the onslaught of viciousness on display.
In this menage, there's Deco (Lazaro Ramos), a boxer, Naldinho (Wagner Moura), a petty criminal, and Karrina (Alice Braga), a sexually insatiable stripper. Deco and Naldinho have fallen on hard times: They work the docks, unloading cargo, but the shipping business has dried up in their area. They seek greener pastures, setting out for El Salvador, picking up Karrina along the way. For the lift, she lifts them both.
Soon, the three amigos are holed up drinking, screwing, scrounging and warring. As the sexual arithmetic indicates, one of the guys is going to be the odd man out, and neither of the testosterone-fueled louts will defer. Karrina is sensitive enough to understand this, though her carnal appetites are so voracious that she fuels the tension by driving them both wild in bed. Soon, the two male lunks take off the gloves.
Despite the sordid strut of Sergio Machado and Karim Ainouz's screenplay, the performances are properly fleshed out. Braga's uninhibited, sexual rampage is incendiary, igniting the pent-up violence and craziness of her lowlife world. Similarly, both Moura and Ramos are convincing as the macho, reckless dregs of the harbor.
Overall, filmmaker Machado blasts together an appropriate aesthetic: "Cidade Baixa" is loud, frantic and brutal. Technically, the aesthetics service the story line, especially the onslaught of sounds from composers Carlinhos Brown and Beto Villares.
Cidade Baixa
VideoFilmes
Producers: Mauricio Andrade Ramos, Walter Salles; Directors: Sergio Machado; Screenwriters: Sergio Machado, Karim Ainouz; Associate producers: Donald Ranvaud, Robert Bevan; Director of photography: Toca Seabra; Production designer: Marcos Pedroso; Music: Carlinhos Brown, Beto Villares; Editor: Isabela Monteiro de Castro; Line producer: Marcelo Torres; Sound designers: Waldir Xavier; Denilson Campos; Costume designers: Cristina Camargo, Andre Simonetti. Cast: Deco: Lazaro Ramos; Naldinho: Wagner Moura; Karinna: Alice Braga
No MPAA rating, running time 100 minutes...
- 5/17/2005
- The Hollywood Reporter - Movie News
A worthy but somewhat less-than-satisfying follow-up to the Oscar-nominated "Central Station", Brazilian director Walter Salles and producer Arthur Cohn's "Behind the Sun" is a somber tale of a blood feud depicted as an endless cycle of ritual violence. Distributor Miramax can count on Salles' name to lure dedicated cineastes for limited engagements, but "Sun" is probably not destined for boxoffice or awards vindication.
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
A worthy but somewhat less-than-satisfying follow-up to the Oscar-nominated "Central Station", Brazilian director Walter Salles and producer Arthur Cohn's "Behind the Sun" is a somber tale of a blood feud depicted as an endless cycle of ritual violence. Distributor Miramax can count on Salles' name to lure dedicated cineastes for limited engagements, but "Sun" is probably not destined for boxoffice or awards vindication.
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
Inspired by Ismail Kadare's novel "Broken April", set in Albania, Salles and co-writers Sergio Machado and Karim Ainouz have fashioned a widescreen period drama that holds one's attention but comes up short as a cinematic experience that will resonate strongly with all viewers.
Transporting Kadare's original to the Inhamuns Badlands in northern Brazil's Ceara state, "Sun" plays like a lengthy short story or a short novella stretched to feature length. There are a handful of characters and few plot points that entail long scenes. As with his previous film, Salles tells much of the story with minimal dialogue and proves again to be a very talented visual artist.
What's missing in the film is the one character who can command the same attention as the film's technical virtues, while the horrid atmosphere of dread that hangs over the film is predictably destined to be broken. One comes away from the film in perhaps a gloomier mood than was intended, however, because there is nobody to enthusiastically root for. It's more a case of just hoping one or two folk survive the carnage.
The Breves family was once a proud supplier of sugar in the desert-y nowhere they call home, but the decline began with the abolition of slavery, and now the reigning patriarch (Jose Dumont) is forced to drive the oxen himself at the old mill where the sugar is processed. A very hard man who proudly remembers his many brothers and uncles who died defending the family's honor, this nameless father has a 20-year-old son, Tonho (Rodrigo Santoro), who is next in line to gun down one of the hated Ferreiras family. Tonho's younger brother Ravi Ramos Lacerda), who doesn't have a name -- his father and mother (Rita Assemany) call him "kid" -- has nightmares of the latest murder that needs avenging, but he doesn't want his older sibling to become a killer.
Nonetheless, once the blood on the shirt worn by the victim turns yellow, Tonho is sent on his mission of assassination. He succeeds and must wait for his demise, prohibited from leaving by his psychotic father. Enter a wandering pair of circus entertainers, Salustiano Luiz Carlos Vasconcelos) and Clara Flavia Marco Antonio). The latter is a multitalented beauty who responds to Tonho's obvious infatuation, while her companion refuses to keep calling the younger boy "kid" and gives him the name Pacu.
A little romance and playfulness with swings and circus ropes provide an upbeat contrast to Tonho and Pacu's doomed-to-die-young fates, but it takes an unexpected tragedy and stronger-than-hate familial love to break the death cycle. Newcomer Lacerda, Dumont, Santoro and real-life circus performer Antonio are skilled at making their minimal characters fully dimensional, but the darkly atmospheric movie's biggest stars are Salles, cinematographer Walter Carvalho, soundman Felix Andrew and composer Antonio Pinto.
BEHIND THE SUN
Miramax Films
An Arthur Cohn production
Director: Walter Salles
Producer: Arthur Cohn
Screenwriters: Walter Salles, Sergio Machado, Karim Ainouz
Inspired by the novel "Broken April" by: Ismail Kadare
Executive producers: Mauricio Andrade Ramos, Lillian Birnbaum
Director of photography: Walter Carvalho
Art director: Cassio Amarante
Editor: Isabelle Rathery
Sound designer: Felix Andrew
Costume designer: Cao Albuquerque
Music: Antonio Pinto
Color/stereo
Cast:
Father: Jose Dumont
Tonho: Rodrigo Santoro
Pacu: Ravi Ramos Lacerda
Clara: Flavia Marco Antonio
Mother: Rita Assemany
Salustiano: Luiz Carlos Vasconcelos
Running time -- 90 minutes
MPAA...
- 12/12/2001
- The Hollywood Reporter - Movie News
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