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Criteria: below ten titles, only counting films and TV films, and with less than two known works (that's why you won't be seeing Heather O'Rourke here, just an example).
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Monalisa thief Vincenzo Peruggia (8 October 1881 – 8 October 1925); journalist William Monroe Trotter (April 7, 1872 - April 7, 1934); military Filinto Müller (11 July 1900 - 11 July 1973); painter Nair de Tefé (16 June, 1886 - June 16, 1981); sportswriter Martin Manley (15 August, 1953 – 15 August, 2013); terrorist Yakub Memon (30 July, 1962 – 30 July, 2015); criminal T. Eugene Thompson (August 7, 1927 - August 7, 2015); author Victor Thorn (August 1st, 1962 - August 1st, 2016) and Lula's mother-in-law Vani Terezinha Ferreira (October 28, 1940 - October 28, 2020).
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Bewertungen
Sunday Night: Man of Three Worlds: Luchino Visconti (1966)
A master of the arts
This "Sunday Night" special from British television follows film director Luchino Visconti and his commitment to the three different art medias (cinema,
theatre and opera), his views on each of those, and behind the scenes of a film ("The Witches"), a play and an opera. Along with interviews with the filmmaker,
we also have moments from collaborators such as maestro Leonard Bernstein, opera singer Maria Callas, director/actor Vittorio de Sica and others.
A curious piece that doesn't fall into a biographical category, it's more about the work and how he approaches each media as master and commander in all of
those. I don't agree with his notion that opera is the most superior or most complete of arts since cinema can encompass all forms of art (as it is the very last, the 7th), and
a film can capture an opera but not the opposite (can you imagine "The Matrix" as an opera set on stage?). It's a difficult endeavor but it's also limited within its
classical proposition and format.
There are fine moments when the topic debated is the movies, like a cinema verité documentary Visconti made about a real crime that happened in Italy and a few clips
are presented, even though he never released the film. Actually, Italian authorities censored it after an exhibition and ever since the whole thing is hidden in
obscurity. And sadly, the special doesn't stick much with his film career, it's mostly focused on operas with countless rehearsals, and since I'm not much versed on the topic
it got a little boring, except for seeing how he works with his singers/performers in a great detail. The theatre work gets some
interesting mentions as he's the man responsible for bringing "Death of a Salesman" to Italy, to great acclaim, and he's also responsible for giving a new life
to Italian stage during the post war, bringing audiences to actually watch plays rather than people just using theatre as a social convention.
A fine project if you're curious in seeing Mr. Visconti views on art, the care and attention he had for cinema, theatre and opera, and being successful
at all of those. 6/10.
Necktie (2013)
Thoughtful and insanely hilarious
Yorgos Lanthimos' "Necktie" is an unusual combination of quirky dark humor with a serious reflection on life and death as experienced by a small
group of teenagers. Boys and girls recreate the 18th century duels just so they can witness the last moments of life and see what it's like, what they
can learn from it, and how this experience might change them.
For those versed in the cinema of Lanthimos and his use of dark elements aligned with humor and bizarre, this is a full treat that doesn't disappoint.
Despite the morbidness of its central point, it's actually a lot funnier than dramatic, and it's never horrific or depressing. In fact, one feels rewarded
with the simplicity of it all, the speediness of it all yet he makes you think hard about dying, the brevity of it all, specially for those who leave the
world at their prime. It's very existential and funny at the same time - despite the current times settings, you can feel a lot of Kubrick's "Barry Lyndon"
in this one.
On the other hand, I can understand possible detractors or haters of this short as the creator of "Dogtooth" and "Poor Things" goes for a route, that if
taken all too literary with the imagery he uses of teenagers dueling, one can miss the point of a film experience as this and go thinking that this about
murderous teenagers, or it can inspire similar acts to happen in reality. This isn't the idea of the short; it's all about a curious manner in intriguing
audiences about a serious topic yet it's also made as a joke. A joke that is truly funny and gets you thinking deeply afterwards. 9/10.
Tokyo Days (1988)
Marker makes a home video during a trip to Tokyo.
There might be some curious moments and some peculiar things about watching "Tokyo Days" that can attract audiences in seeing it, but it's hard to
tell you why. It's basically film director Chris Marker and his girlfriend Arielle Dombasle recording on tape their trip to Tokyo, watching and admiring
the amazing futuristic city, its details, its population, the vendors with their products, and some of its attractions.
But it's also the kind of thing
that feels like seeing a family member sharing a home video of their trip, or seeing an instagrammer selling the high life: it depends on the viewer in liking it
or not (I usually get bored of those things).
Was there something unique and revealing about it? Not really. Arielle talks for a lenghty early period, rambling about Japan's technology and being
arrested at the airport on a previous journey and we don't know happened; then it moves to visiting a gigantic market with countless products and the happy
female vendors.
But there's some intriguing moments, and some bits of amazement where one can't help but make some reflections on it. The complexity of such large
spaces, all colorful and apparently very happy (and they should be since it's a well developed nation who suffered hell during war period and they overcame
their situations, invested heavily on education and moved on to be one of the richest places in the world. Plus it's a different culture of values that most
people admire). Speaking of war comes a curious bit that feels completely random but one might find a weird connection, a moment where a violinist plays
Germany's nation anthem in a very melancholic way that the music feels like another classical piece. Do the connection. And another enjoyable moment comes
when a track from "Singin' in the Rain" plays in the background for a long time while showing the city, jolly moments.
However, one feels very empty, bored and annoyed watching all of it since Mr. Marker didn't make any kind of heavy political methapor or a collage of
elements to make us analyze if he's doing a criticism or a praise on Japan; or if it's just simply a home video interrupted time and again with its abrupt
cuts and no input from the filmmaker. Plus the VHS quality of it all reduces the awe in seeing a beautiful place.
Probably, on a superficial level, Mr. Marker was revealling a portion of what the future would be like where people would share their conquests and fun trips for the whole world to see. Difference here is that he showed to a cinema/video audience rather than depending on followers on countless social medias. And he didn't depend on the likes to generate engagement or generate a revenue stream, he just showed it to us. For that I admire the man. 5/10.
Electronic: Getting Away with It (US Version) (1990)
Colorful video, great song
Supergroup Electronic made two music videos for the criminally underrated single "Getting Away with it" (UK and US versions) and both are great in
their slight variations since different strokes, different folks and different ways to sell a song as a visual media to audiences. This American version tries
to embody the concept of electronic music where colors and movements are predominant, and the makers wanted to make audiences remembering who's the singer
and the instant memory makes a quick association (Bernard Sumner, New Order lead singer).
It's a colorful performance by the group - composed by Sumner, also a former Joy Division member; Johnny Marr (The Smiths) and Neil Tennant
(Pet Shop Boys) as images change of colors, lights and designs. Sumner is featured predominantly; Tennant gets second base as he's the echo with the
song chorus; and Marr appears briefly with his guitar. It's almost the same New Order feels as their songs are energetic and cool to dance yet the lyrics
deal with serious reflections on life examinations - a lovely paradox. But this super trio with their own singularities put together make one of the most
interesting musical combinations with harmony at full display.
Though I'm giving an equal grade for both videos (since what captures our attention is mostly the song, very catchy), I liked this video a little
more due to its pop aspects, style and presentation as opposed to the studio performance from the trio shown in close-up shots. 8/10.
Electronic: Getting Away with It (First UK Version) (1989)
A fine musical performance by Electronic
Some facts related to this version directed by Chris Marker ("La Jetée"): the video does not include a trip to a zoo neither Catherine Belkhodja
appears in it. Whoever included as a plot read the exact bit from wikipedia that has a note attached to it which links an interview with a clip director
and it has nothing to do with it. Guess someone did got away it in here.
Anyway, this Electronic music video for the single "Getting Away with it" shows the supergroup formed by Neil Tennant, Bernard Sumner and Johnny Marr
performing the song on a studio, seated in front of microphones and many pedestals in front of them. Massive close-up shots of Sumner and Tennant, and of
both filmed on the exact same frame as they're vocals for the band, as Marr is a little obscured in the background with his guitar, being the mysterious guy.
It's a fine video whose main attraction is the lovely song from the trio, since performance acts aren't much spectacular unless if there's something else
going on, some peculiar moment or fun bit happening. It's greatly edited with its transition of images going from one face to the other. If the wiki info
is correct than maybe for some odd reason it was edited out and the only bit from the zoo that remained is a quick still of an animal - completely random
moment, but there's no woman here. US clip version is a little more fun to watch with its colorful effects. Yet both videos go on the same lenght and both
don't include the song's finale with some strings perfectly closing the track. 8/10.
Deus e o Diabo em cima da muralha (2006)
A different view of Carandiru Penitentiary during its final days
This documentary about the Carandiru Penitentiary during its deactivation and demolition in 2002, serves as an interesting complement to
both Hector Babenco's film "Carandiru" (2003) and the book used as its basis "Estação Carandiru" (1999), written by Dr. Dráuzio Varella. It isn't a
retelling of events like the 1992 massacre but it's mostly about the work routine from exmployees, jailers, an administrator of the prison and,
last but not least, doctor Varella, our host in those prison chronicles as he commanded an AIDS prevention program, that started in 1989. Built in
the 1920's, the complex went through several changes and it was the largest prison of Latin America, holding more than 7000 prisoners
during its most critical period (late 1980's and 1990's).
It's peculiar to notice that despite the place being a chaotic hell of dangerous situations and the inner moral codes from the inmates, the
jailers manage to share funny anedoctes while dealing with the prisoners or themselves, attempt escapes and jailers trying to push drugs into the
cells. There's a bizarre sense of levity and humor in those stories, but the moments where the place get out of control are also shared here, and
the 1992 rebellion and invasion from police forces that claimed the lives of 111 inmates, leading to the creation of one of the most important
organizations within prison cells around Brazil, as retaliation.
Pretty much like Dr. Varella's book, it's about showing the routine of places most people won't dare to enter, how it is established respectful
dynamics, control and orders from all sides. Also serves as a bittersweet moment from the workers shown in the film as they have to leave the place
after decades of service, without prospects of being transfered to other institutions, or getting fired or retired. They can't help but feeling down
during interviews since they did their job, as difficult it were, painful and trouble as every day is a box of shaky surprises, yet they loved their
job. And we follow them through empty corridors (as the prisoners were already being transfered to other jails), empty cells, the tiny infirmary that
scared the doctor at times due to the high number of tuberculosis patients, and the improvised shower created by inmates, among other things.
It's a very depressing doc to watch, slightly softened with the curious stories shared by the workers. But for audiences who want to know
more on the Carandiru Penitentiary and see a different perspective barely shown on screen, this offers a great insight about the topic and the lives
of those in the frontline of keeping criminals outside of society's view. 8/10.
Pepsi Commercial (1954)
Fun and innocent times with James Dean before fame
This early Pepsi commercial is so innocent, fun and charming that it's practically impossible to believe that simpler times like the ones depicted in it ever existed. A ridiculously simple idea thrown on the screen and it sells the product in a spectacular fashion, a lot better than what the world of advertising
would create in the decades to come (but there's some amazing stuff too).
I'm here after watching a TV special called "James Dean: A Portrait"
where the ad is shown, and this is one James Dean early TV appearances after a successful stage career but before his three unforgettable classics
that made him a legend: "East of Eden", "Rebel Without a Cause" and "Giant". He's not the biggest star in the ad, but it's because of his presence
that his fans watch the piece.
Like the immortalized idea we have of the late actor, the commercial sells its product to teenagers. Here, a group of teens at a store
are bored, but when a pianola starts playing a fun tune out of nowhere (actually Dean is leaning by it and he punches the thing), the fun begins with
all the boys dancing with the prettiest girl, but each boy warns the other that the Pepsi is more interesting so they can have a dance turn with the
girl.
The fun bit is also the most unusual, as Dean doesn't get the girl, yet there's an electricity and a charisma around this small character at the right side
of the screen that you can't take your eyes from him. His character is the one who changes with more intensity, completely bored, then a little annoyed, almost
angry and when the pianola starts playing out, he's all amazed, laughing and embracing everybody. No small parts, only humbling beginnings. And
curious and cute as this one, making the best he could do with he was given. Gladly, this bit of advertising memory survived the test of time 70 years later. It's always cool to see Jimmy Dean. 7/10.
The Verve: The Drugs Don't Work (1997)
Another super moment to The Verve, with their saddest song of all
One of The Verve most melancholic songs of all time (and one of their most biggest hits), "The Drugs Don't Work" doesn't match the same
effect with the music video with its imagery showing a band having several performance moments, some loneliness, and the many shifts from
the cinematography, between black-and-white and colorful moments. The experience of watching it relates to peace and quiet times, where we
pause ourselves to ease our minds, pay attention to the lyrics and go with the flow.
If the tears will come, it'd be because of the song and
not its images. In fact, it begins in a nice and fun manner as its initial images are a continuation for the long strolling of Richard Ashcroft
and band mates that started out in the cinematic masterpiece of a music video "Bitter Sweet Symphony" - that the final image of the men walking,
shot from their backs and strolling around in a hurried manner, is seen from a different view, showing their faces, but this time they walk in an
almost slow motion manner, proving that this next single goes in a complete turn around of everything that was previously shown. Another classic
hit and moment from the superb "Urban Hymns". The video is pretty good and I think it's an excellent idea going with this performance approach rather than creating some storyline, which would be a huge downer, and it's likely that Mr. Ashcroft wouldn't want that as well as the song relates to personal experiences dealing with loss. This conventional format truly sells the song and we form other ideas in our minds. 8/10.
Machine Gun Kelly: Almost (2015)
MGK gets some small moments to act
This goes a little curious as we could see Machine Gun Kelly (Colson Baker) delivering some acting along with the rap performance, as
there's tiny plots in the visual telling of "Almost". Always a reflection of his character and persona, here the man day-dreams about the life
he wants (partying hard and having fun), but also remembers that reality hits hard while working at some boring supermarket or 7-11. It's one of those music
videos where the images follow bits from the song, and those are fun to watch. But most of what's shown doesn't go with acting - as he later on
became a movie star - but it's images go the routine of his other videos, a basic performance of the song, captured in a fast manner with countless
cuts. A quite enjoyable song that goes with a pop beat and it rocks. Of the ones the man himself directed, this is possibly one of my favorite. 7/10.
Machine Gun Kelly: Blue Skies (2015)
All about the visuals and editing. But it's okay
The main appeal of the music video for "Blue Skies" comes from the mirrored mosaic formats of its images where Machine Gun Kelly
is seen double multiple times while rapping and performing opposed a blue background.
For tattoos enthusiasts it's a curious view to see
the man's multiple tattoos and drawings on his arms and body creating a wild effect mirroring each other. The man, as of recently, does not have
half of those anymore since he covered full black a great part of his torso (the backlash over it was insane on social media when he revealed).
The music didn't get me all that much, but the video style, fast and furious as the man usually goes fits with his persona and the incredibly
fast delivery of his song. 6/10.
Alan Pakula: Going for Truth (2019)
Amazing tribute to a great film director
If there's an underrated film director who needed a retrospective documentary on his life and career then Alan J. Pakula was that director. This was so greatly made, informative, insightful and exicting that after you see it you might look at all his films under a new perspective. The
man behind "All the President's Men", "Klute", "Sophie's Choice" among others, was a skilled craftsman who used of his films to pyschoanalyze society
as he himself was interested in seeing the human condition and its complexities in all the movies he made, as he was curious about the issues
he brought on screen and the people he met in his life.
"Alan Pakula: Going for the Truth" chronics the life, work and the bizarre death of a talented filmmaker/producer who left an important
legacy in film history. Collaborators such as Meryl Streep, Dustin Hoffman, Harrison Ford, Robert Redford, Jane Fonda, Kevin Kline, family members, and admirers
such as director Steven Soderbergh, highlight everything they could about the director, the family man and the friend. Special details are given
to films such as "To Kill a Mockingbird" - of which he was a producer; the paranoia trilogy ""Klute, "The Parallax View" and "All the President's
Men") and how those movies changed the way we look at historical facts and conspiracy theories; his great collaboration with cinematographer
Gordon Willis, the "prince of darkness"; and also how he was a key director on telling about the female perspectives (Jane Fonda was very enthusiastic
about this bit, as they collaboration on three occasions).
Here's a humanist director more interesting in talking about people, society, sharing and telling a great story rather than making big budget
flicks that get box-office results but are soulless and empty. He's one of the key directors from the New Hollwywood with a vision, an aesthetic
and his own manner of telling a story, even if in the 1990's many consider his works slow or tedious, they work their case in great manners that
are lost these days - I saw the 2024 "Presumed Innocent" miniseries and it's pitiful if compared to his cinematic version done in 1990.
Obvious that some films aren't discussed or at least mentioned - I really like to see the prophetic "Rollover" getting discussed, and also
"Comes a Horsemen", mostly about the tragedy that happened on the set - but it doesn't diminish the man's legacy. Speaking of paranoia and tragedy,
many folks talk about conspiracy theories on Kubrick's sudden death; but I find it more likely to believe when it comes to Pakula's car crash when a metal
pipe swerved on the road and hit his windshield. The future film he was working is revealed in the doc, but it makes me wonder what kind of amazing and
thrilling stories he'd be working if living in the 21st century. And I would be the one in the audience attending. 10/10.
Jakobine (1978)
Amazing production values, but confusing with its proposition
"The Muckers" ("Jakobine") is a German/Brazilian co-production directed by Jorge Bodanzky and Wolf Gauer that has many amazing production
values, detailed researched while retelling a real life story that is barely known by Brazilians - the case of a religious cult led by a woman
and her Germany community group that struggles in the south of Brazil to lead their life and children's education in a different manner than the ones dominated by the
Church and the state of Rio Grande do Sul, which led to the deadly "Revolt of the Muckers" causing hundreds of deahts in 1874. The film has some
unique qualities that doesn't look it was made in Brazil: it's spoken mostly in German, all subtitled, and the look of everything, the settings,
19th Century recreation with costumes and location that has a real European look to it that doesn't feel like our cinema. The closest of a similar
sentiment was the spectacular "O Quatrilho", also with a story set in the south of Brazil.
Yet, heart of the matter is that I couldn't like this one - but I tried hard. The main reason "The Muckers" was lost on me is that I don't like
when a movie demands to research the real life story, or situations that happened, before I see the film. I've seen plenty of real stories turned
into movies that I didn't know much about the facts that were amazing experiences, and made me research about the topics shown. With
this one I had to pause after a series of
bizarre events started to happen because it was too unbelievable or insane to be truth - when Jacobina Mentz Maurer, the leader, was taken from
her bed to jail because alleged she had a somewhat death paralysis and the authorities thought she was faking her death. That actually happened.
And the problem if you read any articles or wikipedia over the Revolt of the Muckers, by the time you watch the film you lose the excitment, the
surprises, and you're spoonfed in such a way that everything becomes pointless, even the political/sociological aspects of it all - those are
interesting to talk about, specially if audiences can draw paralels with current themes and current society.
It's also hard to figure out if the film is pro-Mucker (this is a nickname, not a surname) or against the cult. As we follow the group and
their traditions and rituals, which included premotions, miraculous potions from healers and all that alienated the rest of the south community; cases of
enchatment of men to bring more people to the religion; and their insistence of families not sending their children to schools or local churches.
They lived in poverty and using of field work, with the small lands they had and used of exchanging goods with local merchants rather than
using money (as usual in history, they're accused of being Communists).
There are moments that the film made them look a very sympathetic group,
one of those utophic projects that one dreams but knows it can't work for too long. Things change when a suspect suicide brings accusations on
them, arrests, and next thing you know they're pro-gun folks who want to defend themselves and religion gets on a second plan - like Waco,
or Branch Davidians in America, for instance. And this group managed to defeat the military forces from the region when things escalated, and there's
also the massacre of civilians opposed to the group - the most impressive sequence of the film.
It doesn't make Brazilian authorities look good either, as their plans go in recruiting the locals in shooting the Muckers, rather than trying
harder to use of police, army and legal authorities to analyze what was crime, sentencing to jail, or at least resource, to call for the national
guard, the Emperor's forces to damage control. Those roles are given to giants like Paulo César Pereio and José Lewgoy in small nice performances,
while the Muckers are mostly played by south locals, who are very convincing in their roles.
Another thing that affected me was a slight similarity with a small film called "La Cecilia" (1975), an Italian film about a group of a Communists who
go to Brazil of the late 1800's to form their own community, on the invite of emperor Dom Pedro II, and establish the society they couldn't do back in
Italy. It's almost the same story, but that one was better, amazingly fascinating and it made me dream of a wild experience that I liked seeing on the
screen - though knowing it would fail badly. In short, I didn't have to research things beforehand. To me, movies have to carry a fascination that the less
you read about it, the better the experience that a screenwriter and a director are trying to do - film adaptation of written material is a different
topic. But it's not that I hated the film, it just didn't appeal for too long. Might get a second view in some distant future. 5/10.
Culture (1997)
Fun and slightly dark view on work culture
The Oscar nominated short film "Culture", by Josh Gordon and Will Speck, brings the challenges and dilemas of work culture with fine humor,
some mystery and small thrills that makes it all funny, thanks to a sharp cast (the late Philip Seymour Hoffman has a fun cameo) and an intelligent script.
Greg Germann plays Timothy, a ruthless yet hard-working executive who gets promoted to a different sector of a newspaper - "Culture section"
where he's given new responsabilities, a better payment, an office and desk all for himself and a secretary. The last bit doesn't seem to impress
Tim all that much, since he's given a veteran secretary (Florence Stanley) who doesn't like to interact with hew new boss, and she does things in
her own way, following old traditions, using her own time to accomplish her tasks, which goes in a way that goes up aginst everything Timothy
stands for: Things must be done with "Speed, efficiency and organization", unlike the old lady's loud typewriter, slow-mannered way of speaking among
other things. Yet, the editors who run the place trust her work and dedication. But who's gonna be untouchable in this scenario? Will they ever
find ways to reach a common goal and complete their work, or at least be decent co-workers?
Obviously that there's a whole set of mystery revolving the silent lady which upsets the boss at first, but they keep on going fine as she
surprises him in a nice manner. But anyone new on a certain field must find ways to understand and respect a veteran force, specially someone
who's been too long on a certain company. Can Timothy learn something with someone with a distinguished different working culture than his?
Won't say I had some big laughs with this one, as I was more fascinated with the intruging bits from the story which serves a great relevance
to life - whatever the job you may have or had. The whole company spirit of "We're all together on the same boat" isn't like a rowing team where
each member has its importance; it's more like Hitchcok's "Lifeboat" where ego, vanity and lack of trust get in the way of a common goal. Like Paul
McCartney's song "You have to give the other man a hell". In the short film case, it isn't about competition (if it were, the secretary would be
the editor), it's about respect, communication, tolerance and the human skills. Yet all it takes to things start crumbling down is what one does
to affect another person, and how you make them feel. 8/10.
Projeto Caldeirão - A Solução Vinda do Homem (1973)
A nice succesful enterprise
A curious short documentary that follows a successful irrigation enterprise that allowed a productive use of desert areas from Piauí in order
to grow plantations and food, enhanced the quality of life of the peoples habitants, providing them work and sustain on fair conditions. The "Project
Caldeirão" was an effort joint by Brazil and Israel governments, with the latter providing techniques and equipments to be used on desertic/rural areas to
bring water to sustainable fields that weren't useable, in this case they used the waters from the Caldeirão river brook, that also had a water dam made in the 1940's.
Though the film only shows what's the project is about and how it works, without showing a criticism or telling us about some potential problems
to come (if there were), it makes some of us wonder if the whole work was effective as they show it, if there was some discontinuation or changes in
the following years (couldn't find anything on the net). But if it's exactly that progressive and interesting as it's shown, then it's one of the few
times we can account that a certain political regime worked in the favor of a common cause. And that's awfully rare. 6/10.
O Conjunto Arquitetônico do Pelourinho (1974)
A closer look at Pelourinho and its historical importance
Luiz Fernando Goulart's piece on Pelourinho, an architect marvel of Brazil from the 18th Century colonial period, presents some background about
the town in Bahia state, the historical places and its art, mostly present on churches with paintings, statues and the use of gold on portals and everything.
It's a mere observer's look rather than the documentary format where you have a host/reporter
destined to keep commenting on things and later on make a critical observation on preserving history or some situation going on. Veteran actor Paulo José narrates and we watch the streets, the churches, the works of art, all amazing to look at.
Like many of Goulart other
educational shorts from that decade, the viewer gets a delightful view of things, gets a nice education through everything and if curious will want to
search more. A lot better than seeing those smiley Globo Repórter travelers. 6/10.
Música Contemporânea no Brasil (1974)
A small piece on contemporary Brazilian music
A brief telling on the development of contemporary music in Brazil, its approach, embracing and rejection from classic composers as a form
to construct a musical identity on the first half of the 20th Century. For musicians, learners and enthusiasts, this is a fine informative short
piece that summarizes how Brazilian music was perceived by musicians and artists, trying to establish their own rhythms and schemes rather than
always replicating the European tradition of classical music.
It shows some performances from musicians of the early 1970's, some interviews as well, with many discourses about different instrumentation,
the use of objects to create music and sound effects rathern than just instruments, and the whole thing about breaking the norm in order to create
a musical expression. It didn't show questionings or criticisms about that current state of music, neither an evaluation of where our music could or
should go; it's just an analysis of what it is and you have to be the judge. 6/10.
Complément d'enquête: Gérard Depardieu: la chute de l'ogre (2023)
The case against Dépardieu
Unlike the many film stars and influential people who had their careers ruined over cases of sexual harrassment, rape and abuse, in the
wake of metoo movement, the case against Gérard Depardieu didn't hit with the same intensity overseas, or at least a portion of the crowd (and
media) didn't make huge waves as the ones from 2017. I don't recall anything similar, and only got word on it through social media quite recently
and that's how I got word of this TV special, which shows the impact those accusations had on French society and French cinema. And like the stories
we heard from Hollywood, the crowd was shocked.
It's such a drastic and revolting case that this film's title throws the man under the bus without mercy: "The Fall of an Ogre". It presents
the account of many women who survived or dealt with Dépardieu's attacks on film sets, and the filmmakers also uncover the making of a documentary
that followed the actor while visiting North Korea where his remarks on young women are outrageous and shocking, which all prove his wrong conducts,
far off than just being locker room talk. Those bits of the star of "Cyrano" do not make him look good in no possible manner.
However, this isn't just a one-sided piece. It follows those who dealt with him on meetings, film shootings where awkward moments and improper
touching happened, but also shows collaborators and directors who believe in the man's innocence, who think there's a plot to destroy his career,
and those moments can revolt viewers very easily since none of those people believe a talented and famous actor could commit such acts. But we know
how fame and power twist some views.
And if the most recent cases don't hit hard, even when turned into law procedures, the rediscover of an old Dépardieu's interview talking about
his troubled childhood and acts with young women, talking to an
American newspaper, sheds some disturbing light, and that piece is detailed in a curious manner. It's like no one cared back then - late 1970's
and right after Polanski's case - and his career only grew, conquering Hollywood and winning multiple awards. Some will try to put the blame on
the journalist and his bad translation, but that'd be completely unethical and the actor said what he said.
But whatever the case and pending situations, as the documentary shows, he still has a career and on the year that charges came along
he had several releases, a few dropouts of projects and a chaotic division on French cinema as to support him or to ignore him. We in the audience
can only look at what's presented here and find if there's good reasoning behind everything, or it's a wild case that proves nothing. It's a quite
comprehensive and detailed look on everything related with the matter, with many outrageous stories and moments. To whatever side you may take, what's
certain is that you won't look at Gérard Depardieu in the same way again. 8/10.
INXS: Don't Change (1982)
Pretty cool INXS moment
An early music video by INXS that manages to become something quite extraordinary despite the simplicity of its presentation. If compared with their
videos during their peak years, this pales in comparison. But not in everything. "Don't Change" sells itself as a very enthusiastic pop/rock song, full of
style and energy, and even though the band was in an infant state it cleary shows where they were aiming and destine to: greatness.
A performance act that gives us plenty of things to observe and admire as Michael Hutchence and group deliver their act inside of a set, where they
enter the place jumping from a pickup truck - of which they'll return in a spectacular fashion at the end. Pulsating energy, great beat and great editing, and
everything's vibrant, fresh and fun to follow. There's some unusual moments, typical of artists when they're making their first videos. Their act only improved
after this one, so the basic idea is to sell a band and their music, and it's all greatly done here. 8/10.
Pela Porta (2018)
The thrilling coincidences of life
"By the Door" plays with the idea of amazing coincidences or twists of fate in a nice, humored manner. It revolves on two different women who end united
not only through small life accidents but also a certain someone they both know, and getting to know such truth and such reality can impact their exact
instant, for better or for worse.
On a building, a flight attendant (Thaís Loureiro) forgets her key and can't enter into her own apartment. The other woman (Priscila Esteves) is inside
of an elevator, of that building, that suddenly stops after a power outage. Both women trapped into their own scenario, but they end meeting each other by the
elevator's door. As the second woman finds the key inside the elevator and describes things about the building, the first end casually mentions about her boyfriend,
and that's when things take a turn when the other one knows the man too. Girlfiend and mistress separated by an elevator door, and it's not moving and one
person might control the whole situation. Will she help the other woman to come out or find ways to escalate the situation?
The short film offers some good thrills with such device, and throws the questioning at audiences about what we would do in such scenario, as unlikely
it could be (and sometimes life acts out in such a coincidental manner). There's always time and space for some nice twists that truly leave you in suspense and curiosity through everything, and the duo is quite well,
they're really convicing with their act (specially Priscila as the lover) and make the show very enjoyable. 8/10.
Lavra Dor (1968)
Pretentious bore
Documentary? The questioning isn't mine, but comes from the short film itself at several times during its little running time as it rambles on between
Mário Chamie's poem about rural workers (lavradores) and the whole situation brought by land reform, of which it feels like the ultimate sin when it comes
to politics and society. Little movements, small progress but the questioning remains about the necessity of land reform, the ones working for it and the
ones against - the cattle people, always. But what about "Lavra Dor" (it's a play on words that gets lost in translation, case you're not from Brazil).
The ones who liked it should've explain it right here why they felt this was such an important work, with its mix of art forms, poems, political speeches
and cinema, and how it was effective on the land reform cause. I got nothing but loud voices shouting speeches on a dark screen, then moves to the "Documentary?"
with small and forgettable images; and to reach the bottom of it all: in this whole discourse against bosses, violence and use of police force against poor rural
workers, was there any solution to it? Was it just complaints and statements of facts? Gets wildly damning if one pays attention to whom Ana Carolina and Paulo
Rufino are using of a verbatim, why there are using of such person and if there's irony, criticism or support.
The short opens with a quote from marshal Castelo Branco (Brazil president from 1964-1967), the first military president. It's a quote that defends that society's
insurrection is a legitimate tool of a people. Interesting take, considering that that establishment felt that it was okay to dethrone an elected president simply
because he was favoring the less favorable members of society rather than the elite opposed to all social reforms Goulart wanted - land reform included.
The film is made
at the time of military regime and the use of such quote gives the impression of being an endorssment rather than a subtle attack (no wonder it got away without
being censored - if it was, I don't know the story). If used as an irony, or a possible way to incite audiences into claiming back power to the people, it doesn't
work since the presentation of everything is a mess, ugly, pretentious as a unlikely 9th wonder of the world, boring, dull and empty as a plate without food.
Couldn't possibly care less about the statements it tried to do as it didn't offer nothing except the reality of those who suffer the abuse from landowners, and their exploitative means, and kept trying to find an
explanation to itself as an art form: are we documentaries with exclamation point or question mark? Geez, oh man. If you don't know what you're doing, don't ask your audience about it. 3/10.
Diamant noir (2016)
A unique thriller. Beyond measure
"Dark Inclusion" ("Diamant noir") is a masterful thriller that needs to be observed with attentive eyes and care, just as one of the main elements
from its plot: diamonds. Arthur Harari's film is as polished and rare as such, carefully made but it's not for everyone's taste - those who can see through its
details will find beauty and find some reward. It goes beyond the
typical revenge thriller, with secrets from the past going back to surface as a young man tries to get even with the family that deserted him. It flies with
many non-typical elements, very unexpected and peculiar from the get-go, but it all makes sense. Just accept the weirdness and some creepiness from its early
minutes and you'll find something exquisite and potent.
With the recent passing of his dad, the young jewelry thief Pier (Niels Schneider) is embraced by distant relatives like his uncle (Hans Peter Cloos) and
the family business of jewelries, that also includes his cousin (August Diehl). Truth is that Pier works on two fronts: the ideal where he can work with those folks, their
new associates, since he has a keen eye for diamonds and knows how to navigate in that world of business - besides his criminal past working under a wise father
figure (Hafed Benotman); but Pier also wants revenge due to a past situation that happened with his erratic father and the brother (the very first sequence of the
film, impossible to forget). He wants to bring those rich folks down, and profit if possible so it's a quite obvious scenario that his old criminal mates will
help him out.
Now, what comes next feels like a cliche yet Mr. Harari doesn't make it as such. Pier's cousin is engaged with a beautiful woman (Raphaële Godin) and one
can see that a connection between both will happen. It does, but never like a Hollywood film would do. It's all done in an intelligent and sensitive manner -
as there's a difficult situation revolving the cousin's health. And the main question: does Pier has what it takes in order to fulfill with a revenge? Could it
be a case of killing people, or just ruin them where it hurts the most: wealth and power. He knows how to conceive plans; but can he embrace the darkness with a
murderous desire? This duality is interesting to follow, as he slowly moves inside the family business, forms new partnerships in such a quality way that one
may wonder why he doesn't ignore his vengeance acts and go legitimate in a world where he has a future.
A very intelligent film that doesn't simplify with its ideas and presentation, yet it doesn't make it inaccessible or difficult to follow. It simply demands
a special attention to characters, reactions, situations and how the connect with each other, how they are solved or not. It doesn't fall into the usual trend
of leaving everything in the open, there are plenty of solved situations, but it also leaves some room for audiences to question about little unanswered things.
And if there's another great attraction to everything it is through Niels Schneider's performance. Here, he's given a chance to disappear a little from the
usual cute next door guy or the object of love and adoration of everybody - like he was in Xavier Dolan's "Heartbeats" - and reaches some darker modes, someone
who can be seen as appealing at the same time he's out of radar as he's a criminal without many social contacts outside his mates, and new family. He doesn't play
the heroic type we cheer at all times, he fails badly at one particular moment that almost risks his plan a great deal. But he's human, hard working when it comes
to diamonds and even human relations to get what he wants, but he's not cold hearted enough to a bigger danger than stealing. Schneider navigates this character
in such an unusual manner that it's hard not to care about him and his ideas of revenge - not to mention it's hard to imagine any other actor playing it. His scenes
with his cousin's fiyancee are amazing as they slowly develop a bonding that you can actually believe it rather than typical cinema cliche of "man will fall in love
with a beautiful woman and/or will find ways to be a homewrecker.
Hearing the premise of it all conquered me enough to watch it. But watching it, it's such a complete unique experience that blew my mind in all ways.
It's one of those small films that are destined to become one of those experiences you feel the need to share with anybody without regrets. 9/10.
Billy Ocean: Caribbean Queen (No More Love on the Run) (1984)
"Simply awesome!"
It's a little strange that I've been listening to "Caribbean Queen" for ages but only now I got curious in finding and watching the music video for it. No wonder why it was a massive hit back in the 1980's, not only as the song had all the great required qualities and appeal to attract audiences with its funky sound and cool lyrics, but the video is a real treat that does not disappoint. It had everything to be a corny/dated thing but it goes on such a different route with anything that it's hard to resist to its artistry, its sense of humor and everything about it.
Billy Ocean stars as the hit performer who gets enchanted by the title character, a pretty female dancer who's training her steps on stage before their act later on. The descriptions and sounds used in the song are used in a fun manner that makes it all appealing and cool to watch. It doesn't go in an excessive romantic manner, it's all about the awaited stage performance, the rehearsals and behind the scenes.
And if there's one unforgettable image and quite surprising as well is the sax solo act which goes beyond any possible cliched idea you might have had related with similar acts presented on videos from that
period and beyond. It's done in a very artistic fashion, as the sax player doesn't play with the instrument, but instead he carries it while suspended on air as the lights keep flashing on. It's a real spectacle to be seen.
Definitely a true classic from the 1980's that never gets old. A sexy and classy pop song with a contagious rhythm. 9/10.
Elvis Costello & The Attractions: The Only Flame in Town (1984)
A total charm
A criminally underrated song that partner-up Elvis Costello & The Attractions along with Daryl Hall (Hall & Oates), in one of the most inspired tunes
and lyrics from that period, and even today. "The Only Flame in Town" jokes (but also goes with some truths) on relationships and the feelings that comes with it; in the video, the
idea used comes from those TV programs/contests that rewards winners with a date with their favorite personality, and similar stuff. Costello and his band
mates perform at a fancy club where the girls keep coming on dates with them. Well, not really, since Daryl also enters the game and gets a pretty girl in between
the small moments where he and Costello sing together.
It's a very colorful clip, funny and filled with great ideas and great moments that never fail to charm audiences. There's some twists in the little story
as well, which makes things all too fun to watch (the band mates performing the song on stage as their dates show up behind them). Won't say I know Costello all that greatly, but of the tracks I like, this one, "Everyday I Write the Book" and "Shipbuilding" really hit
my core with all their force they can: melody, lyrics, rhythm, and true emotions. On video terms, it's a classic, small but a classic. Great choreography, great use
of humor that doesn't feel dated, erratic or cheap. It's simple but always effective. 10/10.
Hall & Oates: You Make My Dreams (1981)
Super fun!
Impossible to resist to the enthusiasm of this amazing song, one of those that can lift a day's mood right from its first achords. Hall & Oates
got another classic hit with "You Make My Dreams", truly simple, safe and catchy.
The video doesn't help much since it's just a performance act from
the duo and their musicians appearing on a ridiculosly small place - I might be wrong, but it feels like they're filmed on a separate places yet put
together in one frame at times, I mean, just look at the instruments placing and Hall & Oates singing and dancing in the front, no one can move properly.
But it's Daryl Hall who gets some of the weirdest bits with some manic expressions that worth a laugh. Also memorable is the backing vocal duo, facing
each other with the woo-woo bits.
I know their genre wasn't the typical act that earned the most incredible music videos, neither they had some moments on MTV and its wild fever, but one
cannot take away their credit as one of the greatest musical talents from the golden era of music. Period. 8/10.
The Verve: On Your Own (1995)
The song is the key.
Wish I could give a higher praise to the music video for "On Your Own", or at least to say something wildly enthusiastic about what is shown or
the settings of it all, if they fit with the song or not. It's not a case of a dislike, it's a case of not feeling all the magnificent emotions I get
whenever I hear it, one of The Verve most beautiful songs - also one of the saddest that it's hard for me to hear it without having tears roll down.
It's a performance from the group on a foggy street, at times with other people appearing on some obscure acts, unusual interactions, and director Jake
Scott (Ridley's son) films everything as if looking through a spyglass that doesn't give viewers a proper definition of viewed objects or people. Everything's
a mystery to us, except for Richard Ashcroft's lyrics (his face too!) echoing some hurtful truths about the human condition - but when he writes and sings
about all that pain you accept it, and enjoy the beauty of it all.
Someone may find a deeper connection between images and sounds. But honestly, didn't find
much of a memorable or fascinating way to sell a single (and back in the day music videos definitely mattered in the game), and it's no surprise why
"A Northern Soul" is a lesser known album if compared to what would come next, plus the videos for "Urban Hymns".
The praise it gets is due to the song, real music at its greatest. 7/10.