Rodrigo_Amaro Reviews

The Cheat (1984)

A seductive and reflective thriller

[8/10 · 2 May 2024]

A superb, nearly brilliant crime thriller about a forbidden love affair, the false moralism of an apparently open-minded society and a man torn apart between his stable family life and his male lover, a possible suspect on a murder case. Yannick Bellon's film deeply explores the ambiguities of life, romance and sex in a reflective, open matter, at times humored but also very dark.

Police comissioner Michel Verta (Victor Lanoux) is called to investigate the mysterious murder of a gay emcee at the Bordeaux docks. At the club the old man used to work he meets Bernard (Xavier Deluc), a young musician very acquainted with deceased, and soon after questioning a fascination takes hold of both. Though Michel is a happily married man, he isn't new to the game in meeting men for sexual relations, and we're told of that right from the very first scene and the story is very smart and keen in showing that he deeply cares for Bernard rather than using the young boy as a bait to catch a killer. This isn't Friedkin's "Crusing", but it easily could be.

Instead of deeply involving us with the investigation, the film focuses on how those two can keep their relationship of a low-profile in order to not attract attention to a prominent and respective figure as the inspector is, also a very careful man since his other affairs were always one night stands that no one suspect about. Yet, he loves his wife and daughter, and his job, but he also knows that Bernard has that special quality one longs in finding on a person and he cannot imagine a life without him. And there's a killer on the loose and the musician might know who he is, so there's danger all around as they become more and more intimate.

"La triche" ("The Cheat") is a very gripping film, no question about that. Lanoux and Deluc are incredibly talented performers and their scenes together are easily the best moments in the film, both in dialogues and intimacy. It's a very seductive and potent film about the problematic and differences between love and passion, real commitment or just mutual interests and the line between all those elements could fool a smart man like Michel, and confuse an impressive streetwise like Bernard. And if there's one great topic debated with a fine intenstity here is the question of sexuality and how labels should never been applied to a person, as Michel's family have trouble with a proper definition when the affair is revealed. And the big question thrown at us: to cheat on himself in order to live a reality one does not completely like, or to throw away everything, to have real love but also feel as an outcast?

But it doesn't go without faults or things that needed a better presentation. I liked the fact that the crime and the investigation ended up being on a second plan, as the problematic love affair is far more interesting to follow. But the problems arise on both ways as 1) it almost feels as there wasn't a clear motivation for the murder; 2) showing the killer right from the get-go hurt the mystery of it all, as I believe audiences would love if Bernard could be the one; and 3) the total lack of audacity in showing the couple being really intimate.

They don't kiss at all, and the two bedroom scenes shown gives us almost nothing. For a film that dares to walk on controversial themes (at the time), the director made it all too clean and cute, there was no risk. And it's not a matter of being a 1980's product, as the previous year French cinema had the sexual audacity from "L'homme blessé", a film that I didn't like for countless problems but I liked the scenes of sexual nature. Mrs. Bellon's film gives us some moments and nude photos from a magazine, but we have to believe in the male couple and their talks, rather than the physical contact.

A true glorious film, exciting and thrilling, and very easy to recomment despite many downbeat elements (but those one could see a mile away as true products of its period. I just felt it was a little too rushed with its conclusion). 8/10.

Le juge (1984)

A decent and honest dramatic thriller

[8/10 · 2 May 2024]

Inspired by real events, "Le juge" ("The Judge") tells the story of a hard-working honest judge (Jacques Perrin, "Z", "Cinema Paradiso") in his quest to bring a powerful mobster (Daniel Duval) to jail. This isn't your typical judge who stays only in court to hear the case and convict the person, as he also goes to questionings, take depositions and assists on manhunt for suspects and witnesses along with a ruthless and more seasons police inspector (Richard Bohringer).

Philippe Lefebvre's first cinema film is a raw, realistic and honest look on the challenges faced by the judicial system and the police system while trying to bring criminals to justice, facing perils, technicalities brought by influent lawyers who'll always find ways to save their clients, and threats from all comrades, as evidenced by a superior of the judge who keeps questioning his methods and preventing from doing his job. It's the kind of game that even when winning and making a society more safe, it doesn't bring a total sense of peace. The cops go, detain the suspect, evidence is found but when it's time for prosecution and condemnation, there's always the risk of justice not being served for whatever reason. The judge knows his system and its flaws, but he tries very hard to show that no one's above the law, even if he has to risk his family and his life safety.

It's a quite effective dramatic thriller but far from memorable as the theme is practically worn-out by now, and done with more gusto. It works a great deal thanks to a honorable performance by Perrin, always a pleasure to watch, and the glorious presence of Michael Lonsdale playing a drug dealer who refuses to rat on his mates. The few thrilling sequences shown are a delight to watch with some fine car chases, and the attack on one of the potential informers,is also brilliantly executed. But it's more of a dramatic work that becomes a little repetitive, and for a time you always feel hopeless that such big case will come out as the mobster is a very clever man, and his lawyer even more daring with his debates with the judge.

It's very downbeat but it's completely honest in what it has to show. It's the kind of thing you'll always hear on the news if you follow particular cases here and there. As for Perrin's character, you can count on your fingers how many judges tried to act like he did in the movie, a man full of integrity and some recklessness, deeply involved with his work and who tries to keep things by the book, with some unorthodox ways but always bringing results. It's the hero we needed, but one we hardly ever get. 6/10.

Mike Oldfield: Étude (1984 Music Video)

A unique soundtrack video for "The Killing Fields"

[9/10 · 1 May 2024]

A quite unusual surprise of a music video, this one for the track "Étude" composed by Mike Oldfield and used as part of award winning film "The Killing Field", sells the film, the music theme and its own particular art as it does not revolve exactly by just showing clips from the film as soundtrack videos tend to show. Instead, we have a unique concept where a lone Asian child watches the film on TV, then later on a bigger screen on top of the TV, and he also observes a series of black-and-white photographs that ends up displayed around the nice apartment.

The tense and dramatic clips from "The Killing Fields" and the art of photography (one of the central themes of the film covering journalists and photographers covering the Khmer Rouge massacre on Cambodia) contrast with great effect with the image of the peaceful kid observing the chaos on the screen while the tidy place is all peaceful and quiet, except for the oriental-like theme playing in the background. It's a fine theme, presented in one of the quietest moments of the war/drama film, but if I had to choose one of Oldfield's themes from it to have a music video made for it, I'd choose the nerve-wrecking "Evacuation", a track that I grew to like and pay more attention in subsequent views of the film and outside of it as well.

Typically, instrumental music score from films don't get the chance to have clips made for it, outside of fan tributes on the internet. This one was done way back, Oldfield's team and they manage to accomplish some great results that leave audiences curious in seeing Roland Joffe's film and also enjoy the beautiful composition by Oldfield. 9/10.

Aumenta que é Rock'n'Roll (2024)

Charming, fun and nostalgic picture. A Maldita is alive!

[9/10 · 30 April 2024]

Five years on the run and it was worth waiting (I've been hearing about it ever since the pandemic when there was never a year of release attached to it). "Aumenta que é Rock'n'Roll" chronicles the development of radio Fluminense FM with its brodcast of rock music in the early 1980's when the genre wasn't so popular but always had a loyal fanbase. The programming not only included English/American classic rock, but it also launched the careers of Brazilian rock artists such as Cazuza, Blitz, Legião Urbana, Paralamas do Sucesso, among others.

A Maldita ("The Damned) as it was known, was idealized by two youngsters who wanted to change the music scene, to present what the youth generation of the 1980's liked, thought and consumed. They were Luiz Antonio Mello and Samuel Wainer Filho (Samuca), played by Johnny Massaro and George Sauma, respectively, two rock enthusiasts that were offered the opportunity to bring something new to Radio Fluminense on the FM waves and bring audience and profits to the station which was falling apart both in audience and its precarious installations of broken windows and faulty equipment. As novelty, Luiz has the fixed idea of not repeating songs during broadcast on the course of a day, and he only hired female broadcasters, a rare feat at the time (even today, I must say).

What comes is a series of humor and drama revolving on Luiz and his team finding ways to charm audience, his boss and potential sponsors doing so much with very little. And also time for a little romance with Alice (Marina Provenzzano), a stubborn but hard-working broadcaster. It serves its cinematic purpose, but I didn't care for it all that much.

The film's greatest asset comes from the period depicted (1982-1985) and how music, society, culture and politics went through a tremendous multitude of changes, and how that little radio was part of that, later on becoming a phenomenon when they get the opportunity to cover the first Rock in Rio. It's an authentic film, and very idealist when it comes to its depiction of that youth, and it's done in such a charming, nice manner that one would want to be part of that, or have that kind of similar experience where you suffer with countless problems, little to no money yet you have all the best comrades, and you have fun while doing everything.

It's not like it's showing anything so wildly new to the genre of biopics or the radio media, but it certainly charms the audiences very easily, and once you're invested in it nothing can stop you from enjoyment. The appeal it got me was in witnessing the early days of the many bands I love to hear, the soundtrack from many hits from the decade and the new themes composed by Dado-Villa Lobos; and it's all done with great enthusiasm.

Plus, it was an untold story that needed to be put on screen.

You care about the characters even when they're being totally erratic, and there's plenty of room for laughter (my favorite bit is the broadcast with the hot mic on and the female broadcasters are trashing their boss and talking about sex toys, much to the despair of everyone). The wholeheartedly speech made by Massaro when presenting the project to his staff, the importance of being considered "damned", a contrarian, is also another fun highlight, just as the superintendent character played by Orã Figueiredo, the serious guy in the story, who has some funny bits, and he's the one that despite apparent opposition, deep down you know he trusts Luiz and believes in his passion for this new radio.

To those who lived the era or are enthusiasts of that particular musical scene, it's a must-see film without regrets. But a warning: there are a couple of anachronisms that might bother the most careful viewer, some were done as an artistic licence but others were mistaken done during editing and/or lack of better research; or maybe bother with the cliched acts of the rock artists featured. All in all, a very nostalgic time travel to the colorful dreams and ideals of freedom, expression, love and, obviously, rock n'roll. 9/10.

Snow Patrol: Open Your Eyes (2007 Music Video)

My eyes were wide open!

[9/10 · 30 April 2024]

One must give some credit to the editor of this video for Snow Patrol's massive hit "Open Your Eyes". He basically went after an almost obscure short film directed by Claude Lelouch in 1976 ("Rendezvous"), put the song with Gary Lightbody's voice and the band playing as soundtrack, and somehow the idea of such combination worked to a great effect.

Some memories of mine: back when the song came out I had a real contempt for it as it was awfully repetitive in an irritating manner, and it was playing everywhere (another memory comes when Warner Channel used for the trailer of whatever season of "ER"). But when I saw the intriguing video to promote the song, the endless continuous shot from inside of a car running through the streets of Paris without stoppping, as if there were no traffic lights, I was conquered. I always dreamt of seeing such thing in a film (back then I didn't know too many movies and my point of similar reference was Polanski's end credits for "Frantic", also shot in Paris), and to see places I don't know in a touristic manner. That kind of observation is fascinating and appealing to me. Cut to a decade later and I find out that it was filmed way back in time, the editor just put the music.

Yet, it all fits. Obviously that a Parisian person will know to identify what changed in the place (if it did), but the film is in such great quality that one thinks it was made in the 2000's. My view of the song and such images goes to the sense of longing for a special someone, the ways and miles run to reach such person and be with her/him. So, it's because of the clip that I end up enjoying the song a lot more and that's how you "create" something remarkable for audiences, you change perceptions and come up with something meaningful, memorable, poetic and romantic.

That editor knew how to generate something and choosing Lelouch's film to the song was key. Without that choice, it'd be another video of a band perfoming, or maybe some storyline that would tell the emotions right on the nose, too obvious. Here, we have a perfect combination of elements. 9/10.

Marillion: Kayleigh (1985 Music Video)

Memorable and cool song

[8/10 · 29 April 2024]

One of those music videos from the 1980's where the music was so special, cool, great to hear over and over, that you could get away with showing anything that it wouldn't affect anything, it wouldn't cause any major difference. It's a small video consisting of lead singer Fish and Marillion performing "Kayleigh", with some small acting bits where Fish interacts with a beautfiul woman, as a kid interacts with a girl giving the notion that their childhood friends that always loved each other but both parts end up breaking each other hearts.

It's cute and alright, but we're only in it for the song, a true classic from that decade and for Marillion as well (to become a known name), which also popularized the name of many baby girls ever since - I also remember the name because of Amy Smart in "The Butterfly Effect".

It's greatly filmed too, and it contains some visual references from what Fish expresses with the lyrics, as there is a chalk-heart (melting) on a playground wall, and a few others. It's a delicious song to hear despite the break-up theme. Pity that a bit from the guitar solo was cut from it (and many radio stations use this exact video version on brodcasts).

Maybe with a little story presented, even if done in those cheesy 1980's way, it'd be a more memorable video. But I'm totally fine what what I got. 8/10.

À Meia Noite com Glauber Rocha (1991)

A curious and fun tribute to two great artists

[8/10 · 29 April 2024]

Highly interesting and appealing tribute to two artists in their respective fields, and made by a filmmaker who knew them both. Ivan Cardoso's experimental tribute to filmmaker Glauber Rocha and artist Hélio Oiticica combines several clips from Rocha films (and other titles too), Hélio's appearance in the short "H. O." directed by Ivan, presenting the amazing similary both artists expressed with their works, their views on art and Brazil as well.

The famous passionate speeches (ramblings to some) of Glauber on the state of cinema and art in Brazil fill the sounds as we watch a series of his classics such as "Deus e o Diabo na Terra do Sol", "Terra em Transe" and many others fill the screen in a crazed but curious manner - as the man and his films were; and also Oiticica's view on the creator of art and what he's trying to accomplish with his art. Also good to share that Glauber directed Hélio in a couple of films as well, so they had a friendship, and sadly both died less than year from each other (Hélio in 1980, Glauber in 1981).

Those who enjoy the works of both artists or ones who like to take a look back at the state of Brazilian visual arts we'll find in "À Meia-Noite com Glauber" a very interesting and artistic piece. But I wonder why Cardoso only mentioned the film director and not the artist on the title. 8/10.

H.O. (1979)

Hélio Oiticica shows his art

[6/10 · 28 April 2024]

An experimental and artistic look at the work of artist Hélio Oiticica (1937-1980), a known representative of the Neo-Concrete Movement, which proposed that art wasn't just an object and it challenged usual conventions of what is about and what could be done with.

With the creation of his Parangolés (capes, flags and/or banners made with fabrics and plastic that included poems or social/political quotes) used on dance performances where the spectactor can join the act. Here, filmmaker Ivan Cardoso captures some of those performances, some of Oitica's view on art and the idea of being an inventor, and the short also introduces his artist friends on brief meetings and music bits from classic sambas and even The Rolling Stones.

A more versed crowd on Oiticica and his works will find a great source to admire him and fulfill their curious minds about the man and his works, specially those who enjoy experimental works where the intention is merely to present everything in a non typical fashion or a highly elaborate manner. Also a great opportunity to see the artist outside of his experimental shorts done during his New York days, and meeting with Lygia Clark (also part of the movement), Caetano Veloso and others. It marks his last project while living, soon after his return to Brazil in '79 he passed away in the following year, from a stroke. If the controversy about his return were truth, revolving on dealing with authorities heckling about his sexuality, no wonder why he got so sick.

If following the exact idea of the artistic movement, depending on how you absorb that craziness of it all with a lack of cohesion in its presentation, the better you feel the experience. It's not about finding a meaning, it's about how everything shown appeals to you and the feelings that are taken out of you. I'm okay with that as I enjoyed the mystery of it all, and many of Oiticica's talks about what he was trying to conceive and trying to be. All valid expressions of an artist and creator.

But it wasn't a case of being deeply invested. The sound goes to some atrocious noising, and that fixed notion of wanting to understand anything is hard to be conquered. Let's just say I wasn't bored by it, therefore it gets a praise from me. 6/10.

'Amadeus': Music from the movie Amadeus (1984 Music Video)

A sublime, rich and glorious film trailer

[9/10 · 27 April 2024]

The story goes that Orion Pictures didn't have much of a budget to make a trailer for "Amadeus", so instead they worked with the concept of mixing the greatest musical talents of the 1980's (and a little back) and establish a comparison with the theme presented in the film, the music gods of the 18th century.

What do you get from here? A fascinating tribute to countless MTV music videos that puts Michael Jackson, Madonna, Billy Idol and many others, along with stars F. Murray Abraham (Salieri) and Tom Hulce (Mozart), and the extravagance of both worlds resulting in a fun and memorable spectacle that greatly sells the film. Classical music was exactly like pop/rock, world domination case and the artists got treated like rockstars (power, fame, money and debauchery). If you haven't seen "Amadeus", give yourself a chance to witness the marvel of a movie made by Milos Forman, adapted from Peter Sheffer's play.

Back then, it was just a trailer that connected with some parcel of the audience - sadly, it didn't help all that much if we consider that "Amadeus" only got a brighter momentum after the Oscars, and even so it didn't get a massive box-office. To the audiences that came later, it's a fascinating and colorful look back at a period when MTV was king and music videos and film trailers mattered a great deal. And considering that film trailers are rare here, this one is a true knockout and one of the greatest ever created. Just a pity that the copy available on the net is on a very poor quality - but it doesn't ruin any enjoyment. 9/10.

Lucidity (IV) (2017)

Some dreams are wilder than others...

[9/10 · 26 April 2024]

"Lucidity" challenges viewers into the wild possibilities of controlling one's subconcious and how they could reflect into our awake state - if possible. The teenage hero of the story (played by Johnny Berchtold, from Netflix's thriller "The Passenger") attends a class by a very eloquent professor (Kris Black) who teaches about some experiments that students could do right after dreaming (take notes, create some pattern with something from your life, etc). The timid boy's dreams revolves on a pretty girl (Tetiana Donets) he has a crush, and her jock boyfriend (Trevor Roszkos), who always end up beating him. But, can things really go different for the better or for worse?

Very easy to like as it deals with one of the major mysteries of mankind (the power of dreams and how our subconcious work, positively or negatively), and one topic that attracts with many people out there and many great movies had been made about it ("Inception" and "Jacob's Leader" being masterpieces). The trick here was way too quick but effective, as the story unfolds yet it doesn't answer much about what's real and what's not. Very subjective depending on the viewer. It all feels like a trailer for a potential film and I'd like to see that happening, with expanded scenarios, obviously, and the great Berchtold as the lead again. He's really good at playing tormented characters who express plenty without saying a word. 9/10.

Hi-Fi (1999)

Enigmatic but highly interesting

[8/10 · 26 April 2024]

Words can't describe the experience and the greatness of Ivan Cardoso's "Hi-Fi" as he combines many art forms into one piece. There's music, use of sound effects, dialogues, bits and pieces from poems and films such as Rene Clair's "Entr'acte" and Orson Welles' "Citizen Kane", dada art and others. Anyway, it's chaotic but it's appealing, mysterious and greatly composed. It's one of those cases where one tries to find some meaning, or maybe dig deep into what Cardoso could possibly be saying about life and art, but one might not find anything but a random gathering of elements that don't make a whole. It's more about feeling than thinking but all criticisms are valid.

I was incredibly impressed by such composition as they fit well together, despite the different decades each art work was composed.

It feels as if being made ages ago, but it was edited down and inserted with new images in the late 1990's. "Hi-Fi" is one of those pieces you imagine being played out on a large screen at some art gallery or even could be used as a background scenery to a nightclub or some wide space for a party since one would experience a great showing where guests could analyze the images, enjoy the sounds and absorb everything about it, and discuss it too. The variety of thoughts and sensations shared with another person would be interesting to hear.

A very expressive work with a curious fusion of elements, art beyond thought. 8/10.

O Baiano Fantasma (1984)

Watch "O Homem que Virou Suco" instead

[3/10 · 25 April 2024]

To quote Godard, "To best way criticize a movie is to make another movie". Since I cannot do that, I must assume director Denoy de Oliveira did exactly that when he made "O Baiano Fantasma" as he told almost the same story as the one told in "O Homem que Virou Suco". And he used the same leading actor José Dumont as a simple Northeast man who moves to São Paulo to pursuit a better life condition but instead he gets involved in some shady business and gets confused as a criminal hunted by the police. Godard isn't wrong with that idea as it has been proven that similar themes are often reworked, sometimes it works and other times it doesn't. This 1984 film was wronged in almost everything that the 1980 succeed.

By turning Lambusca (Dumont) story into a wildly crazed comedy without some drama and relevance to life, we simply don't care about anything that happens to him or the other characters. It's not as if the situations were unbelievable or ridiculous, neither a case that it tries to make fun of things that aren't funny. It's simply not funny and it's hard to get a decent laugh at everything. The only amusing bits revolve on whenever the jurídico ("legal") team is called upon. They're not lawyers, they are a team from the debt collectors scheme that is used whenever they need to roughen-up with all the customers who won't pay their protection fees. Lambusca ends up working for such team and because of that threat a man end up dying from a heart-attack and trouble ensues.

João Batista de Andrade's film "O Homem que Virou Suco" is not mentioned lightly by me. It offers a humored yet dark, realistic and almost fantastic view of the countless problems faced by Northeast migrants living in São Paulo. It shows how gritty the cultural clashes are and makes many valid statements about the different regions. It's very memorable and fun to watch, unlike this forgettable film that avoids the cultural clashes and just gives stereotypical characters all the time, even the ones who are from São Paulo are mere charicatures of some variation that doesn't feel right, others aren't presented in a good manner, like the Italian merchant played by Renato Consorte (him and the tough guys singing some Italian song were funny). And Dumont was brilliant in that movie; here he's just okay but Gramado folks liked him enough to grant a Best Actor award.

I liked the presence of Rafael de Carvalho (in one of his final films) as the lunatic character he plays is someone we feel sorry, as he felt duped by all the progress from the big city and went literally crazy simple because some authority took away his "peixeira" (big knife). "Back in my city, everything was solved under the knife. Here, they said the government would take care of everything for you and I wouldn't need that knife" he says at a given point, or something similar to that effect. Without the knife, he was a nobody drowned with problems and could no longer react to the new reality around him. One almost think why he just didn't bought another knife, but that's beside the point. It's a small character that doesn't affect Lambusca or anyone, but it's such a powerful old man that if the movie was done about him we'd have something great to watch.

If Denoy's idea was to make something lighter than the other film he didn't succeed. Without the comparison, just the film by itself, does it work? It might but only for those who enjoy cheap humor, dialogues that go by slangs for almost its entirety, or those who don't like deeper themes being worked. Won't say it was so terrible but it didn't improve the mood of a day, neither made me care or laugh about its goofiness. This was just situation comedy and going for the laughs, no elevated social criticism. 3/10.

Jim Diamond: I Should Have Known Better (1984 Video)

Nice ballad and video

[8/10 · 24 April 2024]

The ultimate song dealing with a man saying sorry about the mistakes he did in the relationship with his girl/wife has this video on that mode, as we follow a record producer who worries about his wife and kid, the time spent apart of them as he probably did something wrong, and now he's torn apart with many sad feelings and thoughts, as he watches Jim Diamond and group perform the music to include on the album. Yes, that man should have known better...

It's a really corny video clip, but kind of cute as well and the idea sells great and quite imaginative as it sells the artist along with the idea of a little story revolving one someone from his crew (sure, we have the actors but for a moment we can imagine that Jim knew someone in that situation, which inspired him to write the song). I won't say I'm a big fan of the song but I tend to hear from time to time and enjoy it greatly, as Diamond was an amazing performer, also known for his work with "PH. D."

Thumbs up to the video and music - I'd like to know who were the actors, as they were all great. On a downer note, I rewatched the video on the singer's official channel, and they used a different version of the song whose sound was so crystal clear and different that it "killed" the enjoyment for a while. The original sound, those drum echoes and the synthesizers effects do not appear on that version and it's a shame. If you have the chance to hear the original on some video compilation, the album version or maybe dig deep on the web you know what I'm talking about. It's dated but it's cool, the true sound essence of its era. 8/10.

Garota Dourada (1983)

Inferior than predecessor but still quite good

[8/10 · 23 April 2024]

The sequel from "Menino do Rio" brings back some of the characters from the previous film, also directed by Antonio Calmon. Here, surfer Valente (André de Biase) was abandoned by his wife Patrícia (Cláudia Magno) is things cooled down in their relationship. Along with their daughter, he travels to a Florianópolis seaside town, along with his buddy Zeca (Sérgio Mallandro), a rock-star who's trying to get away from his crazed fangirls. Trouble for both appears when the beautiful Diana (Bianca Byington) comes along and falls in love with Valente, but she's disputed by a local rival (Roberto Bataglin); and one of Zeca's fans managed to track him down to declare her love for him, a nerdy girl played by Andréa Beltrão.

The film follows the same high-spirits and humor from the previous entry, plenty of surfing and aerial sports sequences, humor and romance all around, and two guys fighting for one girl's love (if we count Valente's wife it's a love quartet but she's absent from the story for a time).

The major differences come in tone, with characters facing difficult and serious moments, and a more spiritual side to it all as Valente finds Pepeu's brother (Ricardo Graça Mello plays both) and helps him out with his musical career; just as the entity played by Carlos Wilson (I still don't have a clue if he's real or imaginary due to how the story presents him at times); and Diana's father Águia (Geraldo Del Rey) and his connections with the forces of universe telling him about his daugther's future love life and who she has to choose as her partner.

Highly fun and enjoyable to watch, it's a great delight in all senses, specially if consdering that decade had so many trashy films. This one goes just fine. But the same issue I had with "Menino do Rio" came here as well, with a downer bit that doesn't feel necessary to a story that goes with such good vibes. And I liked this a little less than the first film as it is more downer with some stories, some presentations were a little confused and rushed (the involvement between Zeca and the fan move way too quick, it's very jumpy). For a sequel made basically glued to the previous entry, it's a little strange that Valente's daughter is 4-5 years old, as she wasn't born then (weird plot hole, unless she was adopted but no hint on that).

Yet it's a relevant story about maturity and important life perceptions on love and friendship. It's sad to see that Valente and Patrícia didn't start off well in here, if we look back at all the things they went through to be together but life has some of those things. It was great to see the whole treatment given to the leading man as he approaches life with the same passion and intent as before, receiving good guidances on this new journey, still loving and adventurous. He and Diana formed a very interesting couple, more than he and Patrícia.

As it deals a little with the musical world, "Garota Dourada" features cameos from Marina, Guilherme Arantes, Ritchie and Lobão (drumming for Ritchie), so if you like any of those artists you get this fun bonus. More to be added? Not really. Pleasant times with this one, and a pity that a third and final film was never made as there were some themes that could be explored and close the group's life journey. 8/10.

Menino do Rio (1982)

A pleasant surprise of a movie

[9/10 · 22 April 2024]

The plot of "Menino do Rio" might sound very typical for a summer movie with all the needed basic elements destined to attract audiences. Watching it, however, is something different that stays with you for a while and it's destine to please many viewers out there (I'm just not sure why it hasn't much after all the years. And I must admit that had some bias over it, thinking it would be painfully predictable. I was wronged as the film progressed to a quieter way, very positive and controlled with everything it had to show, that even the cliches were interesting to watch.

It follows the title character, hot body blonded surfer Valente (André De Biase), who basically follows the description of Caetano Veloso song whose lyrics were inspired by the late surfer Petit. Valente and his friends have memorable good times together, and some adventures in the beaches of Rio. He surfs, flies from hand-glinding, healths healthy and discovers the love of his life when he meets a wealthy girl (Cláudia Magno), who happens to be promised to wed a rich dude (Ricardo Zambelli). Along with this storyline, Valente befriends the poor teenager Pepeu (Ricardo Graça Mello) who fled from home and wants to become a surfer.

There's adventures, humor, love fights, a fun pop/rock soundtrack of the 1980's with Nelson Motta and Lulu Santos compositions, great surfing and glinding sequels (the one that opens the movie was amazingly beautiful) and the typical adventures of youth. But it all goes in such a whimsical way where nothing's too dramatic or tragic in their daily routine that it feels very dreamy.

Everything goes by in such a fine manner that you feel zen, relaxed and just enjoy the moment. Obvious that there are conflicts between the characters, and it goes into a sad note very later (could have go without it, though), but those youngsters manage to solve their problems in a great manner, that you almost believe that life could be like that (maybe it is for a little while). It certainly sells the idea of a well-built tribe who finds ways of helping each other, be receptive of others and enjoy youth and life in the best possible way. Just love matters that are a little complicated.

Antonio Calmon delivered a very enthusiastic film, with a very enjoyable cast and the result was so positive that a sequel was granted, "Garota Dourada", which is slightly inferior but fun to watch as well. Nostalgic 80's fans or ones who haven't got the chance to see Brazilian films from the period have a full experience with this one. 9/10.

Taylor Swift feat. Post Malone: Fortnight (2024 Music Video)

Amazing in everything

[9/10 · 21 April 2024]

The wild world of social medias brought me to this freaking awesome music video that reunited "Dead Poets Society" stars Ethan Hawke and Josh Charles on the year the film celebrates its 35th anniversary, one of my favorite films of all time. So, if anyone wonders what happened to some of John Keating's students, they became scientists conducting experiments on Taylor Swift, as she tries to deal with repressed memories and fantasies of a lover (played by Post Malone).

It has nothing to do with the film, as the settings and storyline are very surreal and imaginative, yet the guys reunion compelled me to see it and I simply loved that encounter as it also gives a reference to a new generation in looking back at a classic film.

The bonus I got was hearing something unique, different from everything I hear these days (great lyrics and melody), and seeing the great-looking styles and visuals Swift obtained with her director of photography Rodrigo Prieto ("Killers of the Flower Moon", "Brokeback Mountain") while presenting a twisted world that goes inside her character's head. The digital makeup effect that presents Malone's tattoos on her face, little by little, was certainly one of the most memorable moments ever developed on a music video. It all goes in a very cinematic manner and it's very appealing to film audiences as there's so much going on that invites some reflection on all the elements and feelings presented.

I was pleasantly surprised by how much I liked the video, the song and everything. 9/10.

Swingin' Betty (1984)

A colorful and fun look at Brazilian pop/rock scene of 1980's

[8/10 · 20 April 2024]

Here's a fun story about a young girl (Débora Bloch) who moves to the big city of Rio de Janeiro to become a singer and discovering the Brazilian pop/rock scene of the early 1980's, finding some troubles and some love on her path to fame and glory.

"Bete Balanço" ("Swingin' Betty") is the typical 'star is born' kind of flick , with tolerable cliches as it presents a colorful and enthusiastic view of beautiful Rio, the musical scene that dominated the period with countless successful bands and artists becoming the heat of the moment, and a few of them like Cazuza and Barão Vermelho appear as themselves. Add to the mix Débora, Diogo Vilela, Lauro Corona, Maria Zilda Bethlem, Hugo Carvana and Arthur Muhlenberg and the result obtained by director Lael Rodrigues makes of "Bete Balanço" a nostalgic film with plenty of charm, good humor and fun moments all around.

Won't say the story was fully captivating as it loses itself with a weak subplot revolving on street violence where the photographer Rodrigo (Corona) investigates the lynching of street urchins by some important people, and strange as everything already is, that's how he and Bete meet each other. He makes a daring photo exhibition from that moment, but later on that moment never caught up with him, and we're already expecting some danger coming to the couple. The subplot is relevant for its period, and the social denouncement is valid but it just doesn't sustain itself in this particular film.

Another point of contention comes from the singing bits, and since the film is about a wannabe singer, it doesn't convince or seduce much having Débora in such role as she doesn't much of a singing voice. The studio rehearsal and the duet with Cazuza were nice, but far from being potential songs that could become a single such as the title track (more famous than the film itself).

Yet I really liked this film. It's one of those summer stories with positive characters and positive spirits, many flights of imagination coming from the lead character dreaming of fame and making spectacular music videos. And it's one of those rare opportunities to see Lauro Corona on film, as he only made this one and the superb "O Sonho Não Acabou", and he was more well-known for soap opera works during the period. He was an electrifying presence on screen, very talented but left us too soon (hoping to see re-runs from his TV shows). To see him sharing the screen with his "twin" brother Cazuza was amazingly bittersweet. 8/10.

What You Take for Granted (1984)

Women at Work and the challenges they face

[8/10 · 19 April 2024]

A reflective piece combining real interviews with some moments of acting with all relating to how women struggled to find their place in the job market, specially concerning on fields dominated by men. From all kinds of backgrounds, races and jobs, they share their experiences, why they wanted those jobs (it goes from driving trucks and carpenters to being medical doctors, artists and philosophers, hard labor to more intellectual ones) and what prevented them from being viewed as equal as men, getting rejected at promotions and facing discrimination.

Michelle Citron's title for it feels a little enigmatic as there's not a clear indication as to "who" is taking things for granted, as neither the interviews address to us in such manner. With a wide perspective after 40 years of its release and seeing what has changed in between, I consider that the title addresses to all men (for obvious reasons) but also the women who now have a more comfortable path as for the careers they'll built and how many of them in the past were denied opportunities or faced countless battles just to earn a decent living. Yet for all the progress made and conquered by female, there's obstacles in between and a film like this serves to analyse past perspectives, how gloomy things were, how much has changed, and the things that haven't improved all that much.

Almost all kinds of issues were covered by the professionals here: discriminations, poor working conditions, toxic working environment, lack of respect, harassment and how they were perceived by male colleagues and bosses. Two of the interviewees appear in some acting segments, the unlikely but honest friendship between a doctor (Belinda Cloud) and a truck driver (Donna Blue Lachman), and how they cope with their problems at work, sharing about their stressful routines. Not sure if the film benefits of those moments all that greatly. I was more focused on the stories, despite the majority of them being very depressive and pessimistic; others were a little humored (the sculptor talking about her death threats to a co-worker who left her injured. She's very firm and funny).

I find it very worth seeing for its reflection of the topic, not only for female audiences but also male as well. It definitely raises awareness, empathy and consideration as what every woman goes through on working spaces, even if they don't face similar situations as the ones presented here, as there's always some difference of treatment depending on the field. It takes films like this to make us take a different look at things we perceive as routine, when in reality they should be changed a long time ago. 8/10.

Rhinestone (1984)

It's not that bad. It's just really awkward

[5/10 · 19 April 2024]

I almost feel bad in joining the band wagon on non-supporters of "Rhinestone" as there's already a large crowd that considers this one of the worst films ever made. Honestly it's not that bad and for a while it's a manageable little story inspired by those classic stories where a bet is made to take an ordinary person and turn them into something really special. "Pygmalion", "My Fair Lady" and "My Man Godfrey" had done that before - and film lovers will be angry that I'm including "Rhinestone" along those marvels.

The concept is the same but move to the craziness of the 1980's, make country star Dolly Parton bet that she can turn a rude taxi driver (Sylvester Stallone) into a country singer, and you get this almost insane picture. All the kinds of laughter can be found here: from ridicule, non-realistic situations, cheap lines and cheap sequences, and some small genuinely funny bits that sadly can't turn a fully incoherent mess into something worthy of a good review.

But it's not all that bad. It's one of those that can actually make you find worth liking it, it's almost good. Stallone and Parton have a somewhat fine chemistry (she's always a fun to watch, I must say); the dramatic song for the tough cowboy singer was incredibly hilarious (they should have sent that song to the Academy to compete in the category and I kid you not, despite the heavy competition); Richard Farnsworth as Dolly's dad was fun to watch as well, just as the guy who plays her drunk ex-boyfriend.

"Rhinestone" major problem was having a script so erratic that it's hard to imagine how on earth this could attract audiences. A country singer meets a taxi driver and they must unite forces to prevent her from having to sleep with her boss, guardian of her lousy contract and... that's the joke? To turn city mouse into an authentic country mouse who can walk and sing like a cowboy and become the new country star of Rhinestone - the club they play. And with a long series of formulaic situations, the story drags on and on. Blame it on Sly for "fixing" newcomer screenwriter Phil Alden Robinson's script (I'll never blame it on him as the legend tells that his original story was highly elevated).

It wasn't a total waste though it felt close to it, becoming dull and boring for a little while. And just to prove it wasn't all that bad, director Bob Clark has a true disaster: Baby Geniuses. Has anyone survived that wreck? I still have traumas. 5/10.

The Naked Face (1984)

A fine dramatic thriller

[6/10 · 19 April 2024]

Nothing new under the sun, or slightly something to that effect, in "The Naked Face", one of director/writer Bryan Forbes' final films. A quite fun dramatic thriller with some intriguing twists, some predictable turns but always offering good moments and unusual performances.

It's a great chance to see the eternal 007 Roger Moore being a little more vulnerable than usual, as he plays a Chicago psychoanalyst who gets accused of a series of murders that are happening around him and of people who know him. Two detectives are on his back: Elliott Gould plays the rookie who wants to give the doctor the benefit of a doubt; while the veteran (Rod Steiger) already has an agenda against the man for a past encounter on court. Obviously that the clueless doctor isn't killing anyone, but maybe some of his patients might be part of the mystery and off he goes to investigate by himself - always becoming a target himself.

The film is adapted from a novel by Sidney Sheldon, one of the most cinematic authors of all time, and it's probably a fair adaptation of it (I read it ages ago and didn't even knew there was a film made). For fans of him, it's a pretty decent job since he knew how to create mystery, create series of shady characters and throw some love in between - there isn't much here but since Anne Archer is the sole main female presence you can guess that her patient character will get attracted to Moore's helpful doctor. And if he's a delight to watch as he doesn't throw punches or shoot anyone, his nemesis isn't, and single handedly almost destroyed the picture. And trust me, it's possible.

Rod Steiger and his intolerant detective is something to be seen to be believed. His hystrionic acts go from amazingly bad to hilarious over and over as he charges against Moore, the dead patient's sexual orientation and many other things. Overacting non-stop, and it's hard to imagine someone like him being in charge of an investigation, ignoring procedures and being hostile to the people who could help him - specially the $50 dollar shrink. And I abolsutely loved his toupee (funny as hell). If not paying much attention to this character, one can enjoy the film very easily.

Many things to like about it but it's one of those cases where you can't expect much. The few thrills work, the mystery too. Yet the result of it all, why those killings were happening and always giving the appearance that the doctor was the monster is almost ridiculous.

It may convince less demanding viewers. And one thing is certain: the very final scene may anger you, or you may have some good laugh out of it. 6/10.

Phil Collins & Marilyn Martin: Separate Lives (1985 Music Video)

One of the greatest music videos of its kind

[10/10 · 19 April 2024]

This is the kind of film soundtrack music video I love to see where the song performers recreate ideas from the movie where it's played. They don't make more of those clips. The case in question is the power ballad "Separate Lives" performed by Phil Collins and Marilyn Martin, one of the two themes from Taylor Hackford's "White Nights", being the main theme the one sung by Lionel Richie "Say You, Say Me", Oscar winning song with a video of its own. Hackford and Collins aren't strangers from each others as they previously collaborared with the music video for "Against All Odds", another great triumph for both but here it's where things reach a higher level (though this clip was directed by James Yukich, a regular Collins director).

The duet takes place inside a similar studio where the characters played by Gregory Hines and Mikhail Baryshinkov are stationed in Siberia, but here instead of the memorable choreographies from the dancers/actors, Collins and Martin sing by the piano, evoking all the memories of a love that seemed so far gone yet so close to the memory, which combines with the love dynamics coming from the actors characters with their on-screen lovers (played by Isabella Rossellini and Helen Mirren). It took some time for this song conquer my heart (as I don't like the way it is played on the film, coming from a tape), but once it got me, it remained as an all-time favorite ballad. And seeing this music video was really special, bringing back many memories from a very special movie.

Why I have some special care for soundtrack videos when they go a next level besides just sharing clips from the film being promoted? To see how original and fun the idea can work for the musical performers and for us in the audience. It's a wide exposition of elements, song, soundtrack, a couple of dialogues from the film and clips as well, which works a lot better than just showing snippets between a group/artist performing the song and/or the clips. And this one of the first to enhance the idea of what a soundtrack video should be, just like the spectacular "A View to a Kill" for Duran Duran, where the band "interact" with James Bond on a mission at the Eiffel Tower. Amazing not only in their categories but as a whole. 10/10.

En el infierno del Chaco (1932)

Early reports on the Chaco War

[6/10 · 18 April 2024]

The Chaco War, a dispute between Bolivia and Paraguay between 1932-35, received an important early coverage by Argentinean filmmaker Roque Funes. The territorial conflict presents Paraguay's point of view with the first battles, military campaigns, the treatment of the wounded soldiers, and the many encouragments received by authorities and the nation's president.

"In the Hell of Chaco" has a significant importance of presenting an early register from Paraguay's cinema, one of the few surviving films from the period and the war was covered in other projects as well, and also an important register of a then-ungoing war in South America, a rare event for the whole territory during the 20th century.

Seeing the project is so-and-so, as it gets tiring for a while, and there are times it gives the impression of not being a documentary but rather something specifically acted. Maybe we have to take into consideration that it's a mix of both, as we watch some moments from the battles, the planes used in it - though we never seen them much in action.

While the titles detail everything we're seeing, we are shielded a little from the exact nature of the territorial conflict, and it gets a biased position since it tells one side of the story without following the other, and several times there's a propaganda style showing praise for the Paraguyan military.

Must say that it's visually impressive for its period and for being a magnificent example of powerful South American cinema from an early period, both for its report, some memorable and haunting images - a wounded soldier being treated, with his stomach receiving a series of stitches is unforgettable; the nurses devotion; and the animated maps presenting the conflict's location. A must-see classic for enthusiasts of silent documentaries. 6/10.

Paul McCartney & Stevie Wonder: Ebony and Ivory (1982 Music Video)

Nice duet

[7/10 · 17 April 2024]

One of those songs that is often referenced but not much played out there. I listen quite rarely, must say, it's one of those things that I remember from time to time. Yet one must praise a little the efforts put by McCartney and Wonder as one of the nicest duets of the 1980's, as addressing the importance of tolerance among races - though most find it corny the analogy it makes with the piano keyboards. The video shows the diversity of the performs but also made its point with their clothing, which shifts from black and white in between shots. Fine concept, though it's not much of a highly memorable video from both artists. 7/10.

Toquinho: il viaggiatore del sogno (1991 Video)

Hilarious!

[6/10 · 16 April 2024]

This is one of the most unusual happy accidents I ever had while searching for something to watch, and it certainly made my day. Popular music composer/singer Toquinho performing in Italian - and he has a couple of albums on that language - with a song that somehow fits the scenario revolving on a young girl at school, who gets distracted by her walkman playing the song much to the displeasure of the teacher. But everybody gets to dance afterwards and the video was so funny that I had to watch one more time.

Song: Toquinho makes a curious mix with the Italian language and a sort of dance sounds from the music, with a chours that reflects the native people of Brazil. It's a little hard to go through such combination but the more you hear it the more you like, and it gets stuck in the head.

Video/Concept: it's amazingly hilarious and I don't know how to start. A class with only female students, and we're dealing with some convent, and besides leading girl who "disturbs" the classes they all look unfazed or bored when its time to perform either the dance or talking with the teacher. It's weird to accept that a song like that could cause such a reaction from the girl, and it's even weirder that she was bored in class since the teacher, despite its tough guy demeanor and always annoyed with everything, is kinda hot. Maybe those dated glasses didn't help her much. And speaking of him, he's quite a great actor and it's too much fun to see his character change of mood on the second half of the clip. It's hilarious. Too bad I don't know who he is and if he pursued career.

At first I was weirded out by everything. But I played it again, and again, and I end up accepting everything. It was fun, I had a great time and it certainly saved my day from boredom. 6/10.

The Stone Boy (1984)

Erratic but it conquers viewers with some heartfelt moments

[6/10 · 15 April 2024]

On a superficial level "The Stone Boy" could be seen almost as "Ordinary People" but on a rural setting. Trade the accidental drowning for a hunting accident but again we have an exemplary older brother dying and leaving a younger one feeling the pains of it all, and again each member of the family tries to cope with themselves during grief and afterwards. Extend the number of family members, add a series of situations, and remove the shrink character and you have a confusing and emotionally drained film that somehow hits some right notes. You can learn from it, specially if paying attention to all the mistakes the characters make throughout the picture.

Jason Presson is Arnold, the boy from the title, and he enters into a very withdrawn and quiet mode after accidentally shooting his older brother during a duck hunting. Then we have the parents, where the mother (Glenn Close) tries to console him in her careful way as the father (Robert Duvall) just avoids him, prefering to leave the boy spend some time with his grandfather (Wilford Brimley). The little sister facing her early teens is unimportant, for them and for us as we don't get to see any personal crisis of hers. And if those folks weren't enough, there's the uncle (Frederic Forrest), who cheates on his pregnant wife while consoling the dead man's girlfriend and he blames the infidelity on poor Arnold.

Lots of people around yet Arnold's is all alone. It's no mystery why he doesn't talk much with anyone or even why it takes some time before he finally break down and cry. The hardness of that rural environment keeps everybody at a certain sense of composure that they have to endure everything. Everybody's all emotional unavailable except when there's some conflict involved, and deep down they would leave that house, that town and go find themselves somewhere else, apart from everything and everyone they know. They can't find ways of dealing with themselves.

But there's some comfort. The best scenes of "The Stone Boy" revolved on Arnold and his grandfather. Most people see those things happening in reality and most movies as well, about the generational arc that skips the parents and unites the oldest with the youngest in amazing ways.

They connect just fine and that's where you see the most tender and most comprehensive parts of the story where you end up caring for them, and ignoring everyone else. The duo can count on each other while the rest are trying and failing to keep a family together. It gets to such a critical point that a total stranger (Linda Hamilton) becomes a helpful listener to Arnold's pain - best scene in the movie, I think.

It's not much of a heartwarming film, neither a painfully depressive one. It swings between those modes but not entirely to the point of causing some pain or bringing some tears - the characters are so detached at times that for a while you're not invested on them. I brought "Ordinary People" to the discussion for a reason, specially if we consider the one character who tried to mend things for the depressed teen yet there's none similar in here: the psychatrist. Obvious that Arnold's case should be accompanied by a therapist, even someone in the field should attend his questioning by the police (a terrible scene that might look unbelievable to some). How on earth those parents feel they can solve everything with distancing and controlling/supression of emotions. It happens, I know, and perhaps one of the reasons the film doesn't flunk is because seeing a different and unusual perspective one can see the validation (or not) of those parents approach in dealing with grief, loss and getting back to some normalcy.

A fine cast was assembled by Christopher Cain, with some nice performances but seeing young Presson and veteran Brimley together was one of those sparkling moments that elevated the film's quality to a memorable degree. I might forget the picture, but I won't forget their scenes. 6/10.