Reviews (138)

Brutally Honest!
City of God is certainly one of the most exceptional foreign language films in movie history! The movie excels in every level. The captivating camera shots make a truly fascinating cinematography. Editing was brilliantly done with some Pulp Fiction influence added into it. No single actor's performance particulary outshine the most, but the ensemble performance, from the street kids to the crime masterminds, is remarkably convincing! The screenwriter made the story so suspenseful, bold and daring, that you would not want to miss a single scene. And the truly best aspect of the movie is its ingenious filmmaking. Watch out for the "apartment scene" where the genius director shows how one small apartment drastically transforms as its inahabitants change through the years.

I would not recommend the film though to people with a weak stomach. I must admit that watching this film was pretty difficult to me because i have no experience of residing in the slums or what other people calls "the ghetto." Everything might come extremely shocking if you are not aware of the reality drug trades and gang wars. There are very graphic violent scenes so watch it at your own risk.

I would recommend it though to people who wants to see something honest, bold and dare. It is one of the, or probably the, most brutally honest film you will ever see! What this film achieved is boldness, directness, and honest filmmaking at its finest!

City of God will blow your mind away
After you finish viewing 'City of God' you are left wondering about the irony of the title. It is not long in the movie where you realize that the City of God is a place totally forgotten by everybody. Still, that is the name that the government of Brazil gave to the housing developments outside Rio, constructed in the early '60s to hold thousands of people. Those slums, known as "the favelas", eventually led to the isolation of poor people from the city center, becoming a place where music, life and colour can be sensed in the air, but at the same time the law is absent and the violent gangs rule the streets.

The story of 'City of God' is based on a book written in a period of 9 years by Paolo Lins, a man who grew up in the favelas and managed to escape. In it, he describes his experiences regarding the creation and the rise of the gangs that control the drug dealing business.

Fernando Meirelles, who started as a director for TV commercials, transforms this complex and demanding material (the book includes more than 200 characters), into a breathtaking, terrifying film that is visually stunning (among others, it includes extensive use of hand-held cameras, flashbacks to introduce the different characters, fast cuts and distinct colours to distinguish the '60s from the '70s, where all the action takes place) and at the same time, shockingly violent: The rate of deaths is so high while the age of the victims so small. 7-year old boys look for guns before they are even able to go to school, and to make things even worse, use them against each other without any hesitation. The gangs provide them with status, power and recognition, replacing importance social structures such as the family.

'City of God' is a film that will blow your mind away; it will certainly trouble you and probably make you feel a bit ashamed and guilty about the things that actually happen around the world, without us doing or knowing anything about. It is certainly refreshing to see occasional moments of humour intervene with its otherwise grim and serious nature. In any case, it is one of the most powerful motion pictures of the current year.

A Frightening, yet Uplifting Masterpiece
City of God is disturbing. It gave me chills seeing coked up juvenile kids putting bullets through other kids' heads, and a ghetto neighorhood which offers no hope whatsoever to any of its occupants. The cinematogrophy is lush, the story, told by a famous photogropher, "Rocket" Rodrigues, is layered and candid. The acting is frightengly excellent, and it contains many scenes which will remain sketched on your brain (unless you grew up there, maybe). An emotional rollercoaster ride, City of God succeeds in transporting the viewer to probably one of the worst areas that has ever existed on this planet, and making us not want to leave.
Bravo!

Tragic Side Of A Great People
For those who think Rio isn't any worse than the likes of LA or any other US city,watch the DVD extra.Apart from that,Rio's murder rate in 1992 according to two reliable sources was 86 per 100,000 - a massive murder rate for a city of ten million(far more striking than Washington D.C. which was 80 per 100,000 in a city of 500,000).What that says is that Rio's worst parts dwarf D.C. or anywhere else in the states.There were some misleading claims in the film and DVD though, such as organized criminality(we are clearly dealing with common criminals here)and Rio being the most dangerous gangland on earth(possibly San Pedro Sula,Honduras and early 90's Bogota,Colombia - CERTAINLY Medellin - also Colombia,have worse areas). The thing that stood out from the film for me was the harrowing scene with the main gang cornering the two little kids - shocking and realistic.Rio is really like this and people need to see the staggering levels of common gang violence in Rio and throughout Latin America(more coverage of the problem in Colombia,Honduras and El Salvador would be welcome).To end I would like to pay tribute to the Brazilian people,they have to be some of the nicest people in the world yet put up with seriously dangerous situations.I have nothing but respect for their bravery.

The Documentary Included on the DVD is just as good
This movie is excellent, in every way. What is so good about this DVD is that it comes with a documentary in the special features that is one of the best I've ever seen. Well worth the money. ... Read more

Reviews (96)

Fun for liberals and conservatives
Whether he's poking fun at George Bush (we're gonna catch these terrorists, ooh look at the kitty), French ( I make a baby smoke, you like?) or even rednecks (71 Virgils, "you gotta perty mouth, Whoooeee!). WARNING: This is Robin Williams, on HBO, and not family friendly. Also, if you have no sense of humor regardless of political affiliation, not friendly to you either. Many though Robin was gone and dead, due to such serious fare as Good Will Hunting, Insomnia and One Hour Photo, but he is alive and well. Robin runs the gammit from Luge Lessons (kagles), Utah Olympics, Bush, Cheney, Tony Blair, Brits, Scots, Golf, India, Jamaica, back to Male Enhancement Humor, Gorillas, the Crocodile Hunter, and Keeping the Misses Happy (you've got to be joking, I'm Goo-boy). If you have a thick skin, above high school intellect, and don't care how bad Williams drills The President, The Pope, or even Protestants, you'll be fine. If not, God help you all!!! Just kidding.

Absolutely Amazing
Excellent, excellent, excellent!

Many of us associate Robin Williams with funny didactic movies that always end with a moral value. Well, in this live on Broadway standup routine (recorded for HBO from the Broadway Theater in New York City) Robin Williams throws whatever morallity he has out the window and enjoys an open mic.

Watching this made me laugh until I was crying and suffering abdominal pain. For those of you expecting "Flubber" or "Hook" you will be quite suprised that Mr. Williams is extremely dirty and political as he throws controversial jokes straight at the camera.

To explain the topics he covers is impossible because he is so fast and is capable of changing subjects so fast that to try to explain what it is about is far beyond my ability. In fact, he goes so fast, he finishes an entire CASE of water, which is probably about 20 bottles.

More specifically, Williams takes advantage of his large talent of character acting and astounds his audiences. As he jumps back between is French "Look, I give a cigarette to a baby" to George Dubya saying "Our economy is--oh, look at the kitty!" He is not afraid to offend anyone as he examines religeons like Episcipals, Jews, Christianity, Puritanism, Calvanism, Buddism, Hinduism, and Islam.

Because of the fact that this is a DVD, it comes with a few extra features. First is an interview which is very charming with several chuckles allthe way through. Also included is a track of noises, which are all of Robin's wacky sound effects that he creates throughout the stand up routine. For those of you who are always excited to find a secret easter egg, there is also a track called "Parental Advisory" that is 2 minutes of all the curses (which are EXTREMELY plentiful) that Robin uses. The feature is in PCM stereo as well as Dolby Digital 5.1.

The Dolby Digital 5.1 surround sound I thought seemed a little weird since at random times you will hear applause behind you and it sounds unnnatural most likely due to bad mixing/editing.

I would not, however, recommend any of this DVD for children under the age of 13, depending on how mature your children are. This probably deserves to be rated R or possibly even NC-17 because of it's extremely naughty language, vulgar topics and sexual content.

All-in-all, Robin Williams is absoluletly hilarious, I think this is probably the best stand up routine I've ever seen and is definately worth the price.

Smart, sharp, hilarious, but overlong
This was my first exposure to Robin Williams as a standup comic, and this "Live on Broadway" act certainly makes up for all those mushy sentimental movies that he had starred in before this special. He lets loose here in a sustained comic bout of Williams-style voice impressions and sharp observations and adult jokes that I've never had the pleasure of witnessing in any of his movies (except, maybe, in small spurts). As a standup comic, he might not as smooth a performer as George Carlin (my personal favorite) is onstage, but Williams' energy makes up for a lot, and even makes otherwise stupid jokes make you laugh hysterically. (You know how you can tell he is expending as much energy as humanly possible in this show? By the huge amount of water bottles he has on stage.) His material is not as focused as some of the best standup comics, but I rather liked his improvisatory style---he goes from one thing to another in record time, giving his performance a nicely chaotic feel. (A lot of his best bits, mostly dealing with politics, are delivered quickly and randomly and then dispensed with.) And yet all of it flows together nicely (even if some bits are inevitably better than others).

So what's the problem? I think perhaps 99 minutes or so of one man comically riffing about anything and everything is still perhaps a bit too long for its own good. I've watched this on more than one occasion, and by the hour mark I always feel myself getting rather exhausted by Williams' highly energetic schtick. It is not necessarily that his material starts to become significantly weaker or repetitive (although his French-bashing does get a little tiresome after a while), but while you still marvel at Williams' energy level...I dunno, I just kinda got tired of it on some level after a while. Williams' energy may not flag, but ours does...at least until he rebounds at the end with some good bits about American sports and then about sex, particularly Viagra. Believe me, when you see his take on Viagra, you will laugh hysterically in spite of yourself.

In short, for me, "Robin Williams: Live on Broadway" is a mostly brilliant but perhaps overlong standup comedy piece (a standup comedy "epic" if there ever was one). It would have gotten five stars as a more focused hourlong show; instead, this one sprawls until we in the audience start feeling a little exhausted by his endlessly energetic (and highly profane) style. And yet there is enough brilliant stuff here---his riffs about the war in Afghanistan and homeland security rival the best, and overall there are plenty of small but great bits here and there that will grab your attention---so that this is definitely worth seeing. Certainly you will be amazed that Robin Williams actually pulls the whole damned thing off at all. Recommended.

NOTE: I have seen "Robin Williams: Live on Broadway" as it first premiered on HBO, and for some reason it is slightly longer than the program that appears on this DVD. It is beyond me why CMV Home Video thought it necessary to make some small cuts to the program for this DVD edition. (For instance, it cuts out a lines during the parts where he cracks humorously about Michael Jackson and the Enron scandal.) At least, though, the program is not significantly cut (it's only missing about a few seconds worth of material from the initial broadcast), and overall it is very much intact. (Besides, HBO and its other channels have been showing this marginally-cut version of the program on its stations ever since, anyway.) Just thought people would like to know, though.

Funny as hell
Man Robin Williams funny as hell. I pissed my pants i was laughin so damn hard. This is a great dvd. It has an easter egg that shows every cuss word he says it is hilarious. He goes on about so many diffrent topics. Its crazy. Someone must have put something in that water, he went threw about 20 bottles of it. My favorite part was when he was doin the bit about drunk scots inventing golf. " i wanna hit a ball in a gopher hole" "OH you mean like pool?" "Fu*k off pool! Not with a straight stick! With a little fu*ked up stick." " OH you mean like croquet?" "Fu*k croquet! Well put the ball hundreds of yards away. And well put tall grass and bushes just to fu*k with your ball. And at the end well put a flat spot with a flag just to give you hope. Then well put sand and bushes just to fu*k with your ball again!"
In one word Id say this movie was Geniusly Awesome super terrificly pimped out. (OK i cheated a little)

A masterpiece by a genius
Talk about high-energy comedy. Wow!

This guy is incredible. What a sick puppy. But hilarious.

And, where the heck did all that water go? ... Read more

Reviews (11)

Interesting sci-fi predecessor to "Dark side of the Heart"
This movie, from 1986, was the predecessor to the movie that gave Argentinian director Eliseo Subiela international fame. It can be considered a sci-fi movie for the most part and, the loud music (by Pedro Aznar) aside, it's able to capture and keep the audience's attention. The story is clever: a supposed mad man claims he comes from outer space and takes his treating psychiatrist through a journey of self-discovery and questioning of his life and the stupidity of humankind.The ending could have been better worked out, however, it's a very interesting movie, deserving of four stars.

An inspiration for A.I.
For those of you who were dissapointed with Speilberg's A.I. This could be a true classic for "realistic science fiction" if this term existed. The film explores the true human feelings that exist in what appears to be an out of this world body. A combination between "Welcome to the Dollhouse and ET". One of Eliseo Subielas first films, it combines magic realism with the always fascinating world from outer space. And even though this film deals with technology it could never be outdated, because it's main focus is with the human heart.

On becoming compassionate
I am a child, adolescent, and adult psychiatrist who saw this picture many years before I imagined I would be going to medical school, let alone becoming a psychiatrist. It has been one of my favorite films, maybe THE favorite. Its beautiful rendition of music overlaying the tragic Christlike tale of misunderstandings, betrayals, and "rational" human denials of subconscious truths was powerful. I have shown it to anyone I could who worked with me in the mental health system. I still rely on it to remind me of why compassion heals, and human connection; not medication, or psychotherapy, or other knowledge I might have. Since I have seen it countless times, and have a video I don't watch for fear of wearing it out, I would be ever so grateful if it came out in DVD. I might even buy a DVD player.

A beautiful film
I watched this film as part of a Word Lit. class with an emphasis on films (since my prof. is a foreign film fanatic). I positively adored the film, especially because it leaves not only the outcome, but the entire action, open to interpretation. You can even see Rantes as a sort of Christ, with the doctor and girl taking on the obvious roles. My favorite scene was the "Ode to Joy" scene; it really did fill me with joy and I was smiling and ecstatic by the end of it. "K-PAX" is an obvious ripoff, and a sorry one at that. See this film! You won't regret it.

Who's crazy now?
Wow, what a movie. I saw it about 10 years ago and come here periodically to check to see if it's available on DVD...it looks like maybe it will be available soon!!

This is an incredible movie. It forces the viewer to examine all parts of his/her life and begs the questions, who is crazy and who isn't.

In the movie's storyline, the question of course is, who is crazy--the mental patient or the psychiatrist? Both men seem to be equally intelligent and believeable. But the doctor has the upper hand in this situation, unfortunately.

From the opening sequence with the heavy footsteps of the nurse and her shocking news to the famous "blue liquid", this movie is both magical in its innocence and brilliant in its examination of human nature.

The movie also serves as a commentary on mental illness and how even in this day and age, we as the "sane public", feel uncomfortable enough with mental illness to wish it to be suppressed, quieted and hidden. What's sad and surprising about this movie, however, is that the psychiatrist also follows popular opinion and denys the existance of the possibility of what may actually be right in front of him. Instead of being a man of science, instead of being curious, the doctor takes the easy way out. But I guess one can't fault the doctor for being terrified of the unknown, but since the patient seems to offer no reason to fear him, the doctor could have taken another path.

This movie and the topic shown reminds me of a college professor who talked so much about "absolute knowledge". Hitler possessed absolute knowledge about Jewish people and we all know the results of that "knowledge". The psychiatrist also possesses absolute knowledge...he knows Rantes(if I remember the character's name correctly after 10 years) certainly can't be an alien, therefore he must be insane. But there is evidence in the movie to the contrary and the doctor is blind to that evidence. Therefore, the doctor operates on his absolute knowledge that eventually results in death...just like Hitler. Sooner or later, people realize that absolute knowledge exists mainly and only in mathematics...certainly not in human nature.

Hopefully the viewer learns a thing or two from this movie and always views life with an open mind. Minds are like parachutes...both only work when open. ... Read more

Amazon.com

Marcel Camus's 1959 update of the Greek myth features an all-black cast and a story set in the frenetic energy of Carnival in Rio de Janeiro. Orpheus, a trolley car conductor and superb samba dancer, is engaged to Mira but in love with Eurydice. For his change of heart, Orpheus and his new doomed lover are pursued by a vengeful Mira and a determined Death through the feverish Carnival night. Camus at once demystifies and remystifies the old story, shifting not only its location but its tone and context, forcing a reevaluation of the legend as a more passionate, pulsing, sensual experience. The film is really one-of-a-kind, an absolute whirl that barely needs words. --Tom Keogh ... Read more

Reviews (34)

A classic of world cinema
The classic film that brought Brazil's bossa nova music to the world outside, this was a wry modernist update of the classical Greek myth of Orpheus and Euridyce, the starcrossed lovers whose passion could not be denied, even by all the powers of Hell. The film is adapted from a bold stage play written by Brazilian poet Vinicius De Moraes, who enlisted a then-unknown Antonio Carlos Jobim to compose the classic bossa tunes that stud the films soundtrack. In this version, Hell is a blend of the futurist modernism that created Brasilia, the sterile and unappealing new capital of Brazil, and the heedless bacchanalia of Carnaval; Vinicius's vision of the lower rings of Hades as a bureaucrat's office is a stroke of pure genius. I first saw this film when I was in high school; viewing it again as an adult steeped in Brazilian popular culture, I certainly got a lot more out of it. Although some Brazilians (prominently, Caetano Veloso) chafe at the fact that this version was directed by a European, director Marcel Camus, I think it's still safe to say that it is a brilliantly made film. Heavy on the textual symbolism and, yes, a bit voyeuristic in its depictation of the happy natives dancing to their catchy samba rhythms, but brilliant nonetheless. It also captures a moment in time -- Brazil's transition into a modern nation, and the heady days before the 1964 coup -- in a way that is precious and ineffable.

poetry in color
tragic love triangle story of simple,passionate people in modern day Rio De Janeiro. You will be deeply affected by the plot,unfolding during carnival time,filmed on location.Artfully blending romance and reality,while allowing the viewer to set aside the appalling poverty of Rio's favellas. The musical score is classic in its genre,the scenic ,practically birds eye,views of Rio are breathtaking,and will linger with you long after you watched the final scene. Standig out,among many memorable scenes,is the religious-spiritual ceremony,in which orpheus seeks contact with his loved one,through a clever spiritual medium. Lovers of Brazilian music are sure to enjoy a musical pearl at the beginning,played by a marching band. The movie,to me,is as powerful today,as when I first saw it,a masterful blend of passion and stark reality,based on Greek mythology.

a good film with famous music
This review is for the Criterion Collection DVD edition of the film.

This movie is credited with brining Bossa nova music into the spotlight. It is well deserving of this credit as the music is groundbreaking for an internatinal release.

The movie itself is based loosely on the classic Greek myth of Orpheus and Eurydice. Only this time it takes place during Brazil's famous Carnival. (similar to our Mardi Gras) The film itself is well written and has good acting. The DVD has an optional English language dubbed soundtrack, but I would suggest watching it in Portuguese as dubbing is often done by bad actors. The DVD also has a theatcical trailer that was used in France.

Spicy
This 1959 adaptation of the Greek myth thrilled me.It is quite rare that I am entertained by books turned into movies. Even though the setting (in Rio de Janeiro,Brazil at Carnival)undeniably differs from the original, I truly admire this film.

A Sad Story
This was a great film but it was sad. Eurydice is being chased by death (a dude in a death mask but the actual grim reaper) and we never know why. Perhaps Eurydice was supposed to have died and she somehow cheated death but she finds Orpheus while visting her cousin only Orpheus is engaged to Mira, a crazy but beautiful woman who immediately becomes suspicious of Eurydice. This film was made in Rio and the cinematography was wonderful considering how dated this film actually is. Be warned that it's subtitled and that it's a pretty depressing ending. ... Read more

Reviews (4)

I do
Dwarf romances are rare in the cinema. Even the 1938 Terror of Tiny Town was a midget musical western. Argentine director Maria Luisa Bemberg (Camila, Miss Mary) bases her tale on a short story by Julio Llinas. Marcello Mastroianni falls in love with and marries Charlotte, the piano-playing dwarf daughter of Luisina Brando, but the dwarf leaves him and runs away with a visiting circus. The title refers to Brando's refusal to highlight her daughter's condition. It is obvious but also never identified. Her revenge is to burn books - Tom Thumb, Snow White, and Gulliver's Travels. Bemberg's film is slow to start and lags after the wedding and before the circus arrives, but for the most part manages to sustain a mood of mythic wonder. The smashing costumes by Graciela Galan and the delicate photography, which employs a glowing haze white, contribute to the effect. Bemberg is not afraid to play on the weirdness of the concept and even gives Mastroianni a tiny pet monkey to complete the menage a trois. It's a relief when Charlotte's mother is brave enough to laugh at the sight of her daughter and Mastroianni walking down the aisle. What is disappointing is that when someone does an accurate and very funny impersonation of Charlotte, they get slapped down. As the androgynous Charlotte, Alejandra Podesta has the unfortunate bad luck of looking like the possessed Linda Blair in The Exorcist. Mastroianni manages to never look silly which is quite an accomplishment considering what he is called upon to do. Brando's performance is as masterly as her namesake. She displays a wonderful physicality in the opening scene when she destroys dwarf statues, and her resemblance to British comedienne Tracey Ullmann is both visual and in her sensibility. Her laugh, and her reaction to Marcello's request to marry Charlotte are pure Ullmann. Bemberg gives us a lyrical shot of Charlotte riding a white horse and uses this moment to reveal Mastroianni's lust. She cleverly films Charlotte's discovery of the circus at dawn with a subjective camera so that the lion and the elephant look straight at us. Those jumbo eyes speak volumes. Charlotte in circus clothes is pure Fellini and Bemberg also uses low humour with a running gag about the mumbling Mayor. At times her tone is wobbly and the tale becomes unnecessarily complicated but she ends it hauntingly and leaves the audience satisfied.

I don't want to talk about it
This film is destined to become a classic. Amazing performances all around, great detail, and a wonderful theme--repression--perfectly executed. It bridges the gap between film and life. Deepens every time you see it. Not a false note in it. Not to be missed.

A Must see for Mastroianni Fans
This is a gem of a movie. I highly recommend it. In addition the screenplay is fantastic.

A masterpiece
I think Lenny Maltin should get a heart and a set of emotions...anyone who's ever felt themselves in any way "different" will understand this movie immediately and likely be moved. The only thing different about reviewers like Malten is that they view films on a dissecting table, rather than encounter the real emotions that make life strange, sometimes frightening and ultimately beautiful thru the art of film. The dedication at the beginning of the film said it all to me: "This film is dedicated to the people with the courage to be different to be themselves." It's a movie about courage and beauty and all the dreams we dare to dream. and sometimes summon the courage to live. ... Read more

Description

In Dream of Light, the celebrated director of The Spirit of the Beehive, Victor Erice, achieves the miraculous: a direct look into how an artist creates. ... Read more

Reviews (3)

slow down poetry see deep soul (or how to lose your marble)
if the artist this film follows wasn't my favorite living artist i am not sure i would be as enamored by it

perhaps not, but then i loved Erice's "spirit of the beehive" as well

and the way this thing floats into poetic revery is completely compelling

my friends fell asleep, but

i've seen it numerous times and it keeps growing

Charming and Haunting Portrait of the Artist
It is very difficult to capture on film what a painting is about. You cannot really show what goes through a painters mind while he paints all you can really show is the physical act itself and so movies about painters at work are largely unsatisfying. What makes this film watchable is a couple of very simple things: the painter Antonio Lopez Garcia's personality, and Victor Erice's camera which finds poetry in every thing it looks at. Antonio Garcia Lopez comes across as a master craftsman, an utter perfectionist who would like to paint a Quince tree in his backyard but its not just the tree itself that fascinates him but rather the way the light hits it at a certain time of early afternoon. He begins painting in October and the weather quickly turns foul and the light that he so desires to capture vanishes with the seasons before he can finish so after weeks of work he abandons the idea of capturing that elusive light. He then begins again this time concentrating not on the light which is too unreliable but the tree which he draws with a pencil in painstaking detail going so far as to have a painter friend hold single leaves in place while he draws them. It is interesting to see Antonio Lopez Garcia work but what really gives the film a charm is the various people who stop by and the casual chat we hear between painter and friend, between painter and admirers, between painter and family. Also as he works on the painting a group of remodelers are doing some work on the interior of the house and Erice follows their progress as well. The films charms are modest really but there is something magical that builds and by films end you cannot take your eyes away from it. One particularly striking scene calls attention to the fact that this film is a work of art about a work of art: at night we see the shadow of a movie camera on its tripod against a wall as it films some Quinces that have fallen to the earth and begun rotting. The painter has attempted to capture the tree at its most beautiful and failed and yet Erice finds his beauty and poetry in the solitary and perhaps futile attempt to capture or preserve anything from the inevitable decay of time. I think the painter and the film maker have very different kinds of sensibilities and yet that is what gives the film its interest. It is not a mere documentary recording of a painter at work but a film maker commenting in his own signature way about artistic and natural processes(and all of his signature touches are here, Spirit of the Beehive fans will recognize this as the same haunting sensibilty that made that great film). So there is charm and there is depth here. One of the most memorable scenes has the painter lying down and holding a favorite object, a crystal, which he turns and marvels at as it catches the light, that most elusive and magical of all things to a painter, in different ways. He is lying down so that his wife, also a painter, can paint him. Antonio Lopez Garcia comments that perhaps after so much time working on this painting she should start again even though the painting looks nearly finished. His own frustrations and feelings of futility perhaps surfacing. After a while he falls asleep and the crystal drops from his hand and rolls over to his wife at her easel. He seems to exist in his own world, so too his wife in hers. They are each equally meticulous and equally immersed in their own work. Each life Erice seems to silently say with his camera is a separate entity and narrative immersed in its own mystery.

masterful portrait of a master artist
To put this simply, this is the best video portrait of an artist either contemporary or past. The film follows the great contempoary Spanish painter Antonio Lopez-Garcia as he paints a Quince tree in his studio backyard. No frills, no acting. This film is absolutely absorbing. The director has wisely done away with background music and other distracting frills - only the distant city sounds of Madrid in the background. The film explores Lopez-Garcia's legendary intricate working methods as well as his conversations with family, friends and admirers. Required viewing for any painter, especially. Very highly recommended. ... Read more

Reviews (27)

A sincere film that speaks of the Cuban soul
As, I'm assuming, the only Cuban-American to review this film online, I feel especially proud that my country was able to produce such an eloquent, intelligent and all around outstanding film. Many people unacquainted with our customs couldn't possibly begin to relish the cultural nuances that abound in this film. The slang, the attitudes and all-around mannerisms are unmistakibly Cuban and to me it was as if though I were watching a home movie of some old friends. Rarely, have I related to characters the way I did to David, Diego and Nancy. Jorge Perrugoria's Diego is a triumph. Anyone familiar with what's regarded as the quitessential Cuban homosexual (cultured, well-read, opera and ballet loving) will be able to savor this performance like a fine wine; it is absolute perfection. It is hard to believe that he is, in reality, heterosexual. He is just too, too perfect. The fact that this film captures the essence of Cuba is both a revelation and a devestation. One is made to see the crumbling glory that is Havana and it almost inspires heartbreak. Nevertheless, a terrific film through and through and one that I can't recommend enough!

Four stars for the movie, two for the DVD
STRAWBERRY AND CHOCOLATE [Fresa y Chocolate] (Cuba/Mexico/Spain 1992): Used as an unwitting pawn by his pro-revolutionary colleagues, naive student David (Vladmir Cruz) is encouraged to develop a platonic relationship with flamboyant gay artist Diego (Jorge Perugorria), whose political allegiances have fallen under suspicion. But as their friendship deepens, David is transformed by Diego's resistance to the Cuban regime, even as the forces of oppression begin to close around them.

Though based on a short story ('El Lobo, el Bosque y el Hombre Nuevo') by screenwriter Senel Paz which explores opposite ends of a political ideology, knowledge of recent Cuban history isn't a prerequisite for viewers of STRAWBERRY AND CHOCOLATE, a small gem from co-directors Tomas Gutierrez Alea and Juan Carlos Tabio. Far from a mere political tract, this is a joyous celebration of life and non-conformity, distinguished by Perugorria's extraordinary performance as the camp but dignified Diego, who rejects his friend's unquestioning loyalty to the Cuban political system that is stifling their beloved homeland. Their budding relationship is complicated by Diego's unrequited love for David, depicted here with remarkable honesty and compassion, particularly for a mainstream film. But it's their political differences which ultimately unite the two characters, even as Diego is forced to reap the whirlwind of his public defiance. Much of the narrative unfolds within Diego's crumbling apartment building, where David enjoys a liaison with flaky neighbor Nancy (Mirta Ibarra), who introduces the inexperienced student to the joys of sexual liberation! It isn't a terribly cinematic film, but production values are solid, and the characters are so vivid, and played with such integrity, it hardly matters; this is a movie in which ideas take precedence over action, and the emotional payoff is quite powerful indeed. Beautiful music score by Jose Maria Vitier, too.

Now the bad news: Buena Vista's DVD version is incomplete, missing approximately six minutes of footage. Absent material includes a brief conversation about racism during David's first visit to Diego's apartment, and a sad little sequence in which the two characters pretend not to notice each other after meeting by accident in a bookstore. These revisions were perpetrated before the film's North American theatrical release by Buena Vista's 'art-house' subsidiary Miramax, a company which is notorious for the cavalier manner in which it treats its foreign acquisitions (their version of THE HORSEMAN ON THE ROOF is similarly incomplete). The alterations imposed on STRAWBERRY AND CHOCOLATE seem completely arbitrary, and demonstrate little more than contempt for American audiences. For the record, the UK video version runs 105m 51s at 25fps in the PAL format, which corresponds to 110m 15s at the original 24fps.

There are no extras, not even a trailer (there's a puff-piece which trumpets Miramax's involvement in a 'golden age' of cinema, which is ironic given the way they treat their movies). So, four stars for the movie, two for the DVD, and only because the sound and picture quality are so good, despite a worrying amount of grain in the film's opening sequence. The running time quoted below doesn't include the Miramax/Robert Redford logos which open the US DVD print and weren't part of the original film.

103m 53s
1.85:1 / Anamorphically enhanced
Dolby Surround 2.0
Ultra Stereo [theatrical]
Spanish soundtrack
Optional English subtitles
Region 1

Where's the DVD???
I was captivated by this charming little film many years back, what with its setting, performances, humour, and all the little nuances that foreign films have mastered over their Hollywood big-buck counterparts.

My only complaint is why there hasn't been a DVD release of this movie just yet! With such vastly overrated mediocrities such as "Like Water For Chocolate" or "Babette's Feast" now available, it should only be a matter of time.

A phenomenally enjoyable film, whatever your personal preference.

Not a Bad Berry....
It's a good movie, but not what I expected. From the amount of foreign films I've seen, there have been some outstanding ones like Central Station, City Of Lost Children, Crouching Tiger Hidden Dragon, Like Water for Chocolate and Amelie. I guess I hold all foreign (subtitled) films to this high standard. The actor who played Diego, Jorge Perrugoria was wonderful though. He's one of those few actors that uses his eyes to convey so much internal action. Over all, I'm not saying the film was bad, but it wasn't one I'd watch again and again. First film from Cuba nominated for an Oscar.. *** stars

Wonderful film that transcends stereotypes
The Cuban film, "Fresa y Chocolate," is the story of friendship between a young student (a loyal member of the Communist Party), and a gay political activist, who is critical of the government's censorship. It is an amazing film for a number of reasons. First, it presents a balanced and somewhat critical view of the Cuban political system. This is surprising since it was co-produced by ICAIC, essentially the official Cuban film production company. Second, though the main characters start out as stereotypes, they develop into very real people who go beyond what the audience would expect.

Considered by many to have been a major catalyst in improving the treatment of gays in Cuba; this film presents a rich and interesting view of Cuban society. ... Read more

Reviews (11)

A Masterpiece.
"Los Olvidados" is a masterpiece of a film, a true work of graphic realism in the cinema. Of course it is, it being directed by the great genius Luis Bunuel. "Los Olvidados" is a great film, richly photographed with a gritty, graphic feeling and superbly written and acted. Bunuel takes deep into the world of poverty and the consequences and events surrounding children living on the streets. It is not just an examination of juvenile crime in Mexico, but on juvenile crime as a whole. It examines what happens to people who grow without a good home, education or parents. "Los Olvidados" can also be seen as a study of the dark side of man. Bunuel looks at reality unblinkingly and makes a movie that can be hypnotic at times. It is beautiful, in a dark way. The realism can be felt vibrating off the screen and "Los Olvidados" can take on the disturbing feeling of a street documentary equipped with murder, lust and violence. Bunuel also adds a touch of eroticism that elevates the material. "Los Olvidados" is a slice of true cinema, Mexican or otherwise. It displays the masterful talent that Bunuel possessed for realism in the cinema. This is an effective, unforgettable movie. One of the greatest works ever made in Latin cinema.

Great Art And Compassion From Bunuel
This superb Mexican film, beautifully written, composed and shot, was one of Bunuel's personal favorites. Its rough b&w suits very well its penetrating and compassionate, but pessimistic, look at the misery of indigent juvenile delinquents in Mexico City. This is a good example of how at times Bunuel's surrealism seems to be just a very deep realism.
This film follows the story of Pedro and Jaibo, two youths destroyed by the squalid conditions in which they live. It is very easy at first to feel much more sympathy for the very likeable Pedro, with his endless bad luck, than for Jaibo who seems to be simply cruel, but by the end Bunuel very effectively shows that they are both equally tragic victims of larger forces. One of the most effective touches in this film is the way Bunuel contrasts these 'criminal' youths with the deeply self-righteous cruelty of a both literally and spiritually blind street performer who prides who himself on his law-abiding conservatism; then with Pedro's shallowly judgmental mother who regrets her attitude too late to save her son; and finally even with a seemingly sincere and very caring social worker who can not hold back the tide that sweeps Pedro and Jaibo into the void. The last frames of the film portraying the demise of these two youths are heartbreaking and reveal the great artistry and compassion of Bunuel. A great film. Highly recommended.

a natural classic
I like Buñuel not just because he's a great director. I also like him because he made Los Olvidados. It is ripe with social issues, poverty, gang violence, ignorance, and the struggle to survive. I like Los Olvidados because the movie reveals an unusual but common side to Latin America, poverty. Los Olvidados also has strong symbolism throughout the movie and a CONVENIENT ending for those interested in Latin American class and social reality. It is not surprising that the protagonist ends up somewhere that is a common theme to Latin American Literature. Let me not give up the ending. I first saw this film in a Media Studies/ Art class in Spain. The focus of the course was Surrealism.

Classic Buñuel.
"Los Olvidados" remains a landmark in not only Hispanic cinema, but world cinema as a whole. It marked the return of Luis Buñuel after two decades of obscurity and proved he was more than just a memorable name from the Surrealist movement in Europe. "Los Olvidados" is gritty, surreal storytelling at it's finest, Buñuel masterfully mixes the storytelling with dreamlike touches to create a film that is unforgettable and timeless. The film follows the lives of children living in the poverty-stricken areas of Mexico City, there is little hope in their daily living for social advancement and they resort to crime to fulfill their needs. A murder for revenge eventually creates friction between two friends and sends them on a dangerous odyssey. "Los Olvidados" is a striking social commentary, even more so today because anyone who has lived or traveled through Latin America can fully relate to the issues the film explores. Consider that the youth culture in "Los Olvidados," made in 1950, is no different from that which is shown in a more recent, equally great Mexican film, "Amores Perros," made in 2000. Buñuel paints here on a canvas of love, death, revenge, lust and murder.The images are rich and the writing is on par with the visuals, especially since Buñuel takes what would in other circumstances be seen as simple storytelling and turns it into a work full of great depth and visceral energy, there is even a hypnotic dream sequence that reminds us that Buñuel was a surrealist first and foremost in his filmmaking. When the movie first came out it won him a Best Director award at the Cannes Film Festival and played for months in Paris and London, influencing many a young aspiring filmmakers, including Roman Polanski who remembers seeing the film as true literature. "Los Olvidados" has survived the test of time, and like all great movies it only grows better with age.

Unrelentingly grim, but worth watching
This is a rather unreletingly grim film about young people in Mexico City's barrio in the early 50s. Sympathetic and intersting characters draw you into the film, such as the orphan "Little Eyes" and his female friend, and Pablo, the street urchin hated by his mother because of her bitterness toward the boy's absent father. Audiences will be repelled at first by the boys' mugging of a blind and crippled man, but the film shows you both sides of the story. Not exactly the most uplifting material in the world, but it is a timeless example of the saying "Children learn by what they live." ... Read more

Reviews (6)

The Best of Both Worlds!
I really enjoyed this movie. At first I thought that her two husbands were Vadinho the gambler and drunk, and Vadinho the loving husband. He was bascially two different people himself. I would have left him if I was her, though but I understand that in that time women didn't leave their husbands. Also in that time, it was not uncommon for men to have mistresses. After Vadinho's death, I was happy that Doña Flor decided to remarry, but I thought that she could've found someone more interesting than Teodoro. He's a nice guy and all, but he's just so boring. She was used to the wildlife with Vadinho, and it was a shock to her when she married Teodoro. I think that's why she gave into Vadinho when his soul returned. And since she was the only one who could see him, there was no harm in having realtions with him once again, and in the future. She was happy with both of them. She was getting the best of both worlds. I highly recommend this movie to all movie goers.

What is all the excitement?
I'm only writing this review because a lot of people seem to think this is such a great movie. I wish now that I had bought the Sally Fields version. This is very amatuerishly done in my opinion. It was made nearly 30 years ago, and if you want to watch an out-of-shape soap opera star run out naked, maybe you will like it. He wasn't comical, he was just repulsive. Had he been gorgeous, maybe I would have liked it better. Save your money and buy the American version.

A compelling movie that grasps your attention.
A wonderful movie from beginning to end. Don't let the subtitles keep you from watching such a brilliant movie.
Sonia Braga is a wonderful Brazilian actress, once again displaying her sensual side in this movie about a loving wife torn between her gigolo husband and a loving devoted husband.
I never get tired of watching this classic.
And if you haven't read the book. you must!

A Heartwarming fantasy about love and life! Beautiful!!!!
Dona Flor is the film version of internationlly acclaimed Brazilian author, Jorge Amado's masterpiece! It is a beautiful story of a Bahian woman and her first husband who is arrogant and abusive but at the same time passionate and sexy. He dies. Her second husband is a good provider and loves her but lacks the passion and charm of the 1st husband. When the first husband's spirit comes back to Dona Flor she soon realizes that she can have everything she ever wanted. It is a beautiful story and Sonia Braga's performance is brilliant as usual! The cinematography shows great views of the fasinating city of Salvador. Well worth watching! E um dos melhores fimles do Brasil!!!! E uma maravilha!

Sultry and sexy Sonia Braga reigns supreme in "Dona Flor"
"Dona Flor & Her Two Husbands" gives a wonderful and often charming glimpse into one woman's life--and affairs of the heart--in 1940's Salvador da Bahia, Brazil. If you're an aficionado of all things Brazilian, you'll love "Dona Flor," from the Bahian Carnaval to moqueca to candomble (NOT voodoo) to a great shot of the Pelorinho at the film's close. Not for the sensually inhibited, "Dona Flor" is highly entertaining. ... Read more

Reviews (10)

This movie is excellent
You will be amazed at the beauty of a culture that flourished among the slaves at Palmeres. Absolute beauty of africans who decided their own fate in brazil fighting against the rule or the cruel portuguese who tried (and often did) slaughter black people whole sale in south america after slave revolts.

It is an amazing film , that anyone from any culture will enjoy. As an African-American , i really recommend this film to others who made not be aware of the africans who are in south america

historical movie about an aspect of Brazilian slavery
It is estimated that Brazil imported up to as much as ten times as many slaves as imported by the United States. In Brazil many of these slaves were able to run away and form their own communities known as "quilombos." The only similar phenomenon in the United States that I can think of is the experience of the Seminoles who were a mixture of fleeing Creek Indians and escape black slaves along with other strains. And like the history of the Seminole Wars, it was not an easy matter to defeat the forces of the quilombos. But the destruction of these communities as a threat to the institution of Brazilian slavery was seen as a necessity by the whites. And this destruction was ultimately accomplished with considerable brutality.

The movie traces the story of the quilombo known as Palmares in the mountains outside of the town of Recife in northeast Brazil. It is an especially interesting story because it makes such a fascinating contrast with our American stories of slave revolts and escapes. One roots for the black settlement, but always is conscious of the probable fate of that same settlement. Dr. Patrick L. Cooney, Ph.D. in sociology

Brilliant
Being curious about slavery outside of the US, Quilombo seemed to be a good start for me to get a visual sense of what the slaves endured during those times. I am from Ife, Nigeria. The cradle and source of all Yoruba. As I watched Quilombo and saw the language and religion of my people displayed regularly through the depictions of the slaves,I felt a kinship onscreen with the characters and of seeing the fate of my people who were brought over to Brazil in chains, but still used the "source" to garner the strength to chase off their captors. Ogun, Shango, all are references to the dieties in the Yoruba faith. It's obvious that those freed in Brazil did everything to retain their old ways of life, and did so in death. I felt honored to be "introduced" to the fate of my people when they crossed towards the otherside. The movie touched me very personally. A must see....

historically fascinating, but a cheesy & outdated production
This film tells the true story of escaped black slaves who found their own mountain-top commune as free men in 17th-century Brazil. The story is interesting and edifying and is worth viewing by the student of colonialism. However, this film -- as a film -- is terrible. The story may stir pride in the heart of Africans, African-Americans, and Afro-Caribbeans, but the production seems almost laughable by today's standards.

The box lauds the "the pulsing beat of Gilberto Gil's rhythmic musical score." The soundtrack is not period music or tribal music. It sounds more like Afro-Brazilian pop music from the early 1980s. Violent battle scenes are fought to the sounds of cheesy pop beats, complete with sythesizers. Admittedly, the lyrics -- which are subtitled -- are moving folk-music tales of the fighters' heroism.

The special effects and staging are highly dated at best and absurd at worst. While they may appeal to those who claim to be steeped in African spiritualism, they alienate a more critical viewer. Rather than invoke mysticism and atavistic beliefs, they make the film look cheap. For example:
-- Spears turn to fire in the hands of warriors.
-- Children "fight" slave catchers by turning cartwheels and bewildering their enemies before jumping on them all at once. (And these slave catchers have muskets, which they infrequently use.)
-- The lighting effects used to create a conversion between the present king (Zumbi) and the deceased king (Ganga Zumba) are like something out of a high school video project.

I cringed watching the director's portrayal of daily life within the commune of Palmares. The video box calls it "carnival madness." That's exactly what it is. There are countless scenes of dance parties in which the Palmarans paint themselves bright colors and whirl around to the strains of '80s pop music. Moreover, where is the real daily life? What is it actually like in Palmares? The freed slaves have an abundance of oversized and colorful vegetables, but the viewer hardly sees any work being done. The king also advocates a naive and benign socialism, which may or may not have prevailed in the real Palmares. Am I really to believe that all food was commonly owned, even that which was privately grown?

As a professional historian and an expert on colonialism, I am glad that I watched this film. On the other hand, as a professional historian, I did not come away from the film with the view that is the way it truly was. The film's depiction or moralizing is far too simplistic; and the music/special effects deny it a quality of reality. Both the box of the video and other reviewers compare this tale to "Roots" by Alex Haley. In terms of story, that may be so, but "Roots" never seemed to border on farce.

"Struggle of African descended people for freedom."
Stunningly beautiful full of a wondrous music score.
Vivid and gritty story of Brasil during colonial times.
With slavery and the neverending fight to be free. All
viewed through the driving force of Candomble'. Scholars and
students of Latin/Caribbean history will want to explore the story of Zumbi. ... Read more

Reviews (34)

One of the Greatest Films Ever...I Was Stunned
It shocks me that I had never even HEARD of "Fitzcarraldo" a week ago (nor did I know who Werner Herzog was), and now that I've seen it I consider it to be one of the 10 best films I've ever seen in my life, right up there with "Vertigo," "Once Upon A Time In The West," and "Rashomon."

The pacing of this film is slow, languid, and dreamlike, and allows the viewer to really immerse him/herself in the brooding jungle atmosphere. I never realized how contrived most American movies felt, until I experienced the stark reality of Werner Herzog's documentary-like style. "Fitzcarraldo" blurs the line between reality and drama, utilizing actual natives in conjunction with his character-actors (including the brilliant and intense Klaus Kinski), who subject themselves to real hardships in order to lend the film legitimacy. The result feels like a cross between a surreal daydream and something out of National Geographic.

The transfer to DVD is virtually perfect. I was awestruck at the quality of the video and audio on this disc. The picture is gorgeous, in sweeping, flawless widescreen, and the sound is bright and alive. There are few extras on this disc, but the film itself was so satisfying that I didn't care.

I highly recommend the boxed set entitled "The Herzog/Kinski Collection," as it contains excellent DVD versions of all 5 of their collaborations, as well as Herzog's tribute to Kinski entitled "My Best Fiend," a fascinating portrait of their bizarre, yet intensely creative, working relationship. It will add to your appreciation of "Fitzcarraldo" and all of their films.

" Life without music would be a mistake"---Nietsche.
Documentaries have been made about the love/hate relationship between the greatest German director and the greatest German actor of the twentieth century. Kinski claimed that he kicked Herzog during the making of this film and that "Herzog groveled." For his part Herzog claimed that when Kinski threatened to walk off the set, Herzog took a high powered rifle and swore to Kinski that he would shoot him as his motorboat passed around the bend.( They were filming in the The Amazon ) Kinski stayed.

Only these two superbly talented megalomaniacs could have pulled off this tour de force of directing and acting.

Fitzcarraldo is, quite simply , one of the greatest films of all time. No other actor could have played the lead as well as Klaus Kinski, and no other director could have conceived eschewing props and actually hauling a 300 ton steamship over a mountain, or, for that matter, hiring warring tribes of headhunters as extras.

It works.

The story is set in the late 19th century when rubber (and robber!) barons created great wealth in the remote jungles of South America, built on the monopoly of the rubber plant. We moderns know that this artificially created civilisation will soon collapse, when the plant is smuggled out; so what better setting than these ephemeral cities of gold and palaces of opulence to tell this tale of man's capacity to dream?

Here is a world where elegance mingles with crudity. In one scene, a millionare, proud of his collection of rare carps, tosses them them large bills, while he jokes in front of an impoverished Fitzcarraldo about how fond the fish are of the taste of money.

Fitzcarraldo has a passion for opera. If the viewer does not share this, the film can still makes sense, provided the viewer has a passion for SOMETHING. If not, forget it. It'll be incomprehensible to anyone without blood in his veins. Just the story of a nut.

Not that Fitzcarraldo is not er . . .speculative in his business schemes. When he announces to his lover, a successful brothel keeper, (Claudia Cardinale) " I have an idea! " She responds with: " Oh, no! Not another one! "

But she bankrolls him, nevertheless. Now all he has to do is--well, as Einstein once eloquently said, to achieve the impossible, we must attempt the absurd.

Caruso on the Amazon!
It seems almost ridiculous to add yet another praise-filled review to the heaps already expressed here, but such a consummate piece of art like, 'Fitzcarraldo,' deserves the most it can get. Since others have brilliantly summarized the plot, I'll concentrate instead on why one should 'treasure' the three perfect hours of this film.

Rare is the film nowadays that says so much with so little. Dialogue is used very sparingly throughout Fitzcarraldo, but that's all the better, for Kinski's Fitzcarraldo doesn't need words to express his dream. Every close-up of that intense face tells more than two hours of annoying chatter ever could. With his sharp features, searing gaze and untamed mane, Kinski is indeed Brian Sweeney Fitzgerald. A man possessed by his dream, by his mission to bring one of the most delectable of human creations, opera, to the 'wilds.' I agree most wholeheartedly with that reviewer who mentionned the role of Kinski's hair. It indeed has a life of its own and it mesmerizes the viewer. Like the antennae of Fitz's spirit, it stiffens in determination to see his passion come to bear, and then flys off his head, when the dream is realized. Every single second of this masterpiece is artfully necessary. Every stony gaze from the Indians, every sweeping shot of the misty jungle fits perfectly into place, creating a mosaic of colossal proportions. The scenes of the boat being painfully nudged over the hill mirror the struggle of creation itself. Or my favorite: when the Indians board the boat and meet Fitz for the first time. Herzog closes-up on how the chief gently touches, then rubs Fitz's palm. Two minutes that cast us into eternity. What could it mean? A symbol of our underlying brotherhood, a first 'clash' between 'the civilized' and 'the wild?' I don't even pretend to know, nor do I particularly care, for the soothing, almost sensual warmth of the scene brings that inner peace that all great art should.

Ponderous? Deliberate? Yes and rightly so. Good things, great things, whether they be an exquisite meal, passionate lovemaking or the creation of a masterpiece, take their own time, irregardless of the frantic chaos that surrounds them. Fitzcarraldo is one such 'time-less' experience. Dive in and revel in its every breathtaking second!

Not only does this film enrichen our senses, it strengthens our hearts. Fitz instructs us on we should pursue our dreams. With relentless faith. Believe and yes, we can move mountains! And move our weighty burdens over them as well. Yes, they are painstaking and for every inch gained, we lose two more. Yes, there are casualties. For ourselves and for others. And yes, nobody believes you can really pull it off, but in the end, you shall have your vindication as did Fitz. Caruso on the Amazon? Watch and believe!

Towering!!
What can one say about this unique film experience. Herzog takes the viewer along for the great "ride" and we must pay attention.

The love of opera here is manifest in a way that is so compulsive and thereby so compelling that we have to take breaths often during this film.

All you F(x) experts can stay home and ponder your next bit of software on your bland and insufferable computers which dole out dreams as emotional as Hexadecimal!! Everything you see here is real and the passion of the vision is evident with Mr Kinski giving one of his Dr. Pretarious performances.

Hollywood bean counters and executives beware..This is a real film, this is cinema not the pap you have been shoveling the last 24 years. Finally, I would like to quote a,line by Paul Scofield in " The Train" to Burt Lancaster...and transpose the thought to those same hollywood bean counters " Letting you look at this film is like showing a " String of Pearls to an Ape"!

Fitzcarraldo a Rare film experience

Obscure history, writ large
Among the things that distinguish Werner Herzog as a film-maker are two qualities that he shares with William Shakespeare: he knows the human heart better than most dramatists, and he never lets the facts get in the way of telling a good story.

Brian Sweeney Fitzgerald (called "Fitzcarraldo" by the natives) was a real guy, who really loved opera, and really did drag a ship over a piece of land to get it from one part of a South American river to another. He did it to bring opera to middle of the jungle. That's history. What drove this guy to do such a frankly outrageous thing in the name of art? What kind of fever siezes a visionary and brings him to the brink of insanity to attempt such a thing? That's the stuff of drama. Herzog knows the difference, and his choices in bringing the story to the screen were flawless.

Fitzcarraldo, like all of Herzong's films (even Nosferatu: Phantom der Nacht), uses the theme of cultural clash as a macrocosm of the conflicted human mind. So what if the real boat was much smaller than the one in the film? Who cares if the real act of dragging it across land - though arduous - was not nearly so grand as the film depicts? The resultant images are what count, and they would not have the stunning effect Herzog pulls off in this film were it more "historically accurate".

All film directors do things for effect. What separates the good ones from the great is their reason. The once-great Frances Ford Coppola seems to be aiming for empty aesthetics with his last few films; Herzog wants nothing less than to illuminate the soul. It's a grand, quixotic goal; prone to failure - much like dragging a boat through the jungle. But he seems to pull it off time and time again. You remember the images, yes - they're hard to forget. But you also remember the passion of the characters - their desparate dreams, wild fantasies, great achievements, and devastating failures.

Klaus Kinski perfectly embodies the obsessive madness of the title character - albeit in a far less sinister way than in Aguirre: The Wrath of God. His performance is no less brilliant. Claudia Cardinale plays his love interest, the kind of woman whose heart every visionary dreams of winning.

In most treatments of this kind of story, one would expect things to end badly. They do for Fitz, but somehow it does not matter. He finds grace and dignity in the struggle, rather than the outcome. He is a brighter vision of Don Quixote, and the feeling of surviving his ordeal is, miraculously, more like that of triumph than defeat. Fitzcarraldo ends in exuberance rather than despair. How can a man lose everything and still raise his head so high, as Kinski does in the last scene?

Without a hint of sappy, artificial feel-good-ism, Herzog has pulled off one of the most authentically moving surprise happy endings in recent cinema.

Failure never looked so good! ... Read more

Reviews (3)

Teachers Beware!
I was looking for a video of this short story by Marquez because my high school class was reading it in school. I borrowed the tape from a local library before I bought it to see if we wanted a copy in our library.
I thought the movie was very true (overall to the author), and I enjoyed how closely the director kept to the story, but then the second half changed dramatically from the first half, so much that I became very thankful that I previewed the tape before I showed it to my class.

There was quite a bit of profanity in the second half, AND there were several sexual scenes that could not be shown in the classroom. These scenes were not in the short story, so I guess they were added to give some spice to the video, but I thought it was very unnecesary, and of course, now my students can't enjoy it in class as we had hoped to do after we read the story. Obviously, Hollywood isn't the only production area that adds 'T & A' because they think it will help sell the video.

Faithful to García Márquez, but difficult to follow
The dubbing of this film makes it difficult to follow. The actors' lips do not move in tandem with what appears to be dubbing in to Spanish. (The original may have been in Portuguese, filmed in Brazil.)

There are, however, several interesting cinematic expressions of the magic component of García Márquez's new literary genre, magical realism. Making a movie out of a García Márquez novel or short story certainly gives the privilege of being able to depict, on film, extraordinary and magical events. The director of this film certainly had "literary license" to think up the surrealistic events you will see. Think of it as the cinematographic equivalent of expressionism or surrealism in painting (artistic movements often begin in painting and only much later find expression in literature). Expressionism portrays reality in broad strokes, making it more beautiful in an impossible way.

This movie tries to be faithful to García Márquez's effort to portray (an often difficult) reality in a way that produces fascination and wonder. The film only partially succeeds; sometimes I found there was both wonder and puzzlement as to what was going on.

The young actress portraying a protagonist has a beauty (candidly depicted in the film) that carries the film in some parts. Her youthfulness is well portrayed, as are her potential and her sexuality.

Viewers enjoying this film should definitely see the intriguing and wide-open film "Eréndira", based on García Márquez's gem of a novella "La increíble y triste historia de la cándida Eréndira y su abuela desalmada" ("The incredible and sad tale of innocent Erendira and her heartless grandmother").

Fascination, wonder, fantasy
Gabriel Garcia Marquez, excuse me if Ive mispelled the name, offers such a wonderful world of fantasy and yet such insite. I've watched this film again and again. Amazing. Not since I viewed "Seet Movie" was I so moved. ... Read more

Reviews (4)

Danzon
This movie is worth watching! It has fantastic acting and a great storyline. It about a woman, Julia, and the dance, Danzon. The dance is much like her life, very rigid and controlled. After Julia's partner of many years stopped showing up for their usual dance, she worries and leaves to go find him. Her journey takes her to Veracruz. There she meets many delightful people who try to help her find him. After she has a love affair with a younger man, she leaves to go back home. While she is on her journey, she discovers a lot about herself and who she is. She left not only to find her partner, but to find herself as well. This movie is great for anyone who is willing to take a risk to find themselves!

Great feel good movie with great music.
This movie is not an instructional video but it is possible to learn the basic step for the Danzon from this movie. If you are good at learning by video it is possible to learn more advanced steps by slow forwarding the movie. This movie has some good Danzon dancing & some of the greatest Danzon song's. This movie is not for the young. It is slow paced & romantic. For someone my age, it is excellent. I loved this movie. This movie left me feeling great & happy. It has a good story & Maria Rojo is great.

Enchanting!
This movie is one of my absolute favorites! A must see for anyone who has ever gone in search of a little spice and adventure in their lives! Terrific true to life story, terrific script, terrific acting! If only everyone could be brave enough to leave their droll boring existences long enough to REALLY follow their hearts -- this movie made me want to go hop the next plane to Veracruz and learn the hypnotic Danzon rhythm! The unforgettable characters and the experiences the main character has during her quest for her dance partner will stay in your memory long after you have turned off your vcr!

Veracruz, Maria Rojo, danzon, what else is there?
One of my all time favorites. If you don't have the time to visit the fabulous port of Veracruz, watch this video. It captures the essence of Mexico. ... Read more

Reviews (8)

I didnt get it
This was supposed to be a story about a slave who used her wits to rise out of slavery. Not too much attention was given to her wits, unless you equate promiscuity with wits. I am sure Xica displayed other attributes than what this film displayed

what brazilians think of afro-brazilian women
A racist film that uses exotica and the most rabid stereotypes of black sexuality to sell a flawed product. Hopefully a proud, educated Afro-Brazilian will come along some day and tell the true story of Xica.

Great Story
After watching the TV version of the movie I can say that Xica Da Silva is one of the best black stories ever.Full of romance,sex,nudity and blood,this movie gives us an idea of how slaves were treated.Xica became one of my fave stories ever.This story hasn't been explore too much because of it strong content.Even though it's a great story it's a little odd for people to get the real point of it without seeing it as a vulgarity.

A spicy cinematic window into Brazilian history
"Xica," directed by Carlos Diegues, is based on the story of an actual figure from Brazilian history, Xica da Silva. As depicted in the film, Xica was an 18th century black slave who used her wits and sexuality to rise to a position of prominence in colonial Brazil. Diegues' version of her story is a lively and colorful evocation of this formative era in the Brazilian past.

Zeze Motta is incredible in the title role. She brings to life a character who is sexy, playful, fiery, determined, and intelligent. The supporting cast is fine, and they play the film's comic scenes with particular gusto.

"Xica" explores the complexities of life in colonial Brazil. Phenomena addressed include economic forces, the institution of slavery, and tensions involving the Portuguese government. The character interrelationships involve the many dichotomies of that culture: white and black, male and female, slave and free, government official and outlaw. At times, the "alien" nature of the institutions and relationships depicted made me feel like I was watching a science fiction film.

"Xica" is filled with scenes of both tragedy and bawdy humor. It is rich in energy and exoticism. I strongly recommend this film to all those interested in Brazilian history, the institution of slavery, and racial/sexual politics.

XICA QUE MANDA
I CONSIDER IT IS A MOVIE EXCEPTIONALLY DONE. ... Read more