sexta-feira, 20 de abril de 2018

"Crimes no Paraíso 2", de Robert Harmon


Crimes no Paraíso 2 (Jesse Stone: Death in Paradise - 2006)
O projeto anterior, "Night Passage", que ainda receberá texto, havia sido um prequel adaptando o livro de estreia do personagem, escrito por Robert B. Parker, então escolho esta excelente terceira aventura, co-roteirizada pelo próprio Tom Selleck, como a melhor maneira de reencontrar o angustiado policial, logo após os acontecimentos retratados em "Stone Cold".

Adaptando-se ao seu papel como o novo chefe de polícia da cidade de Paradise, Massachusetts, Stone (Selleck) investiga o brutal assassinato de uma adolescente problemática encontrada morta boiando em um lago da cidade. Ele logo descobre que a garota era uma estudante exemplar e que, de alguma maneira, acabou no caminho da autodestruição, o que eventualmente levou à morte prematura.

Na subtrama mais interessante, uma dona de casa espancada regularmente pelo marido bêbado busca ajuda policial. O fato de Stone estar lutando contra o alcoolismo agrega camadas em sua compreensão do caso, potencializando o conflito com seus demônios internos. A oficial Molly (Viola Davis) questiona o óbvio, a razão que a impede de se separar do agressor. A resposta é repulsiva: "Sou católica, não posso me divorciar". Ela se submeteu à humilhação dentro de seu lar, ganhou peso, perdeu sua autoestima e, o pior, acredita que é culpada por seu fardo. A crítica aos dogmas estúpidos da religião organizada é algo que dificilmente o gênero defende, quase sempre escravo das rasas motivações por vingança.

Outra demonstração de coragem pode ser encontrada na trama principal dos pais da adolescente morta, uma crítica contundente à necessidade tola de se adequar aos moldes da sociedade. O pai, incomodado com as atitudes da menina, preocupado com o que os outros diriam dele, decidiu expulsar ela de casa. A direção de arte evidencia na sala do casal a artificialidade, pinturas genéricas e objetos que não combinam com nada, mas que são muito valiosos, além de um senso de limpeza/organização exagerado, típico de quem se preocupa mais em arrumar sua casa para impressionar outrem, ao invés de buscar o conforto no dia a dia. Ao ser questionado por Stone, o pai afirma sem titubear: "Eu mantenho altos padrões nesta casa". Os verdadeiros vilões da história, adultos irresponsáveis e sem qualquer vocação para paternidade e maternidade.

Excelente telefilme que somente melhora em revisões, o roteiro de "Crimes no Paraíso 2" é melhor que o de muitos projetos de alto orçamento que são despejados nas salas de cinema todas as semanas. 

quinta-feira, 19 de abril de 2018

"Quase Memória", de Ruy Guerra


Quase Memória (2016)
Com “Quase Memória”, o veterano diretor Ruy Guerra realiza um experimento surrealista sobre a fluidez da memória, adaptando o livro homônimo de Carlos Heitor Cony.

Em cena, o jornalista, dividido em sua versão jovem (Charles Fricks) e idosa (Tony Ramos), busca compreender as transformações em sua vida e, principalmente, enxergar de forma mais justa o legado de seu falecido pai (João Miguel). O diálogo estabelecido entre os dois é irônico, o conformismo frequentemente entrando em choque com a rebeldia, auxiliado por uma direção de arte que encontra formas criativas de driblar o baixo orçamento.

Mas o resultado é prejudicado por uma encenação que obedece a linguagem do teatro, inclusive cometendo o equívoco grosseiro de subestimar a inteligência do público já nos primeiros minutos, quando o roteiro explica que os dois atores vivem versões de um mesmo personagem. É constrangedor ver a técnica da mímica sendo utilizada, o recurso excessivamente didático toma um tempo considerável na cena e causa riso involuntário.

Outro problema é o texto defendido pelo elenco, nada soa minimamente natural, apesar da competência inegável dos artistas. Em alguns momentos é perceptível como o desconforto acaba atrapalhando a execução de falas teoricamente simples, destruindo a imersão emocional na narrativa. As tentativas de alívio cômico são engessadas, não funcionam exatamente porque são afinadas no mesmo diapasão.

As sequências de flashback, os fragmentos de memória envolvendo o pai e a mãe (Mariana Ximenes), são visualmente interessantes, com cores vibrantes propositalmente antinaturais e uma utilização inteligente da iluminação. A ótima cena da mesa de jantar, em que os focos de luz direcionam a atenção do espectador para o ponto de vista de cada personagem, apesar do histrionismo circense irritante na atuação, opção discutível, demonstra o potencial desperdiçado pela obra.

Excelente peça teatral filmada, porém, mediano e sonolento exercício enquanto cinema. 

* Crítica publicada no Caderno B do "Jornal do Brasil" (19/04/18).

"7 Dias em Entebbe", de José Padilha


7 Dias em Entebbe (7 Days in Entebbe - 2018)
No filme, Jose Padilha entrega seu trabalho mais fraco, apático, desorientado, narrativamente preguiçoso, inspirado na história real ocorrida em 1976, o sequestro do Air France Flight 139, que ia de Tel Aviv a Paris. Com apenas uma semana para cumprir o ultimato dos terroristas, após o pouso forçado em Entebbe, na Uganda, o governo de Israel deve tomar uma decisão crítica: negociar ou iniciar uma missão de resgate aparentemente impossível.

A estrutura deste thriller político é repetitiva, apesar dos esforços consideráveis do sempre competente editor Daniel Rezende, especialmente na utilização metafórica da dança contemporânea no ponto alto do filme, arrastando personagens caricaturais em uma sucessão de sequências desgastadas.

A tentativa de estabelecer um tom de sobriedade respeitável é boicotada porque não há investimento emocional, o espectador fica refém dos instintos mais básicos, logo, dependente do desfibrilador que o reanima pela tensão. O problema é que o ritmo é irregular, o senso de entretenimento se perde na retórica excessiva, não há suspense, não há catarse.

É louvável o roteiro evidenciar que o maniqueísmo só serve em histórias infantis, propondo uma análise justa e isenta do conflito entre Israel e Palestina, mas seriedade não é necessariamente sinônimo de frieza. Pouco coração e muitos letreiros. Em teoria, a trama é conduzida por cenas de ação, na prática, as soluções se sucedem de forma incompreensivelmente convencional e entediante.

Quando lembramos que Padilha injetou frescor no gênero com “Tropa de Elite”, qualidade que atraiu a atenção dos produtores norte-americanos, a sensação de frustração somente aumenta.

* Crítica publicada no Caderno B do "Jornal do Brasil" (19/04/18).

terça-feira, 17 de abril de 2018

TRAILER do média-metragem "SACRIFÍCIO" (Roteiro/Direção: Octavio Caruso)


Sinopse: A mulher há muito adiou o doloroso resgate de suas memórias. A vida decide oferecer uma última chance. Ela está pronta para seu maior sacrifício?

Roteiro/Direção: Octavio Caruso
Direção de Fotografia: Sihan Felix
Produção: Teresa Cristina Oliveira
Trilha Sonora Original: Sihan Felix
Arte do cartaz: Laísa Trojaike
Som Direto: Júlia Sotello
Fotos dos Bastidores: Vanessa Caruso

Elenco: Zaira Zambelli, Rosa Felix, Mônica Foroni, Tereza Filardy, Graça Felix, Eduardo Doria, Teresa Cristina Oliveira e Patrick Modenesi.

sexta-feira, 13 de abril de 2018

TOP - Obras-Primas do Cinema Mundial Que Você Não Deve Ignorar - Parte 4 (para o site norte-americano "Taste of Cinema")


In continuing the gold mining for obscure films around the world, and learning about different cultures through their rich artistic expressions, I’ve selected these 10 titles that deserve greater recognition.

An Innocent Witch (1965)
Japanese director Heinosuke Gosho has never crossed the border as his celebrated colleagues Kurosawa, Ozu, Mizoguchi and Miyazaki, among others, though his career is as consistent as that of all those cited, with a particular dedication to seek the beauty behind the sadness of common characters, an element that guarantees his best films an aura of fascinating melancholy. And it is worth noting, in this beautiful work produced by Shochiku studio, its language has survived impeccably to the arduous test of time.

The plot begins on Mount Osore, the entrance to hell, with the trepidant steps of an old woman seeking a blind shaman to help her get in touch with her deceased daughter. In flashback, we meet Ayako (Jitsuko Yoshimura), a naive girl from the interior who ends up having to work selling her body in the late 1930s, on the eve of the war, sacrificing her own life to feed her parents.

Upon arriving at the brothel, it attracts the attention of a repulsive older man who pays for the exclusivity of her services. The camera in the claustrophobic photograph of Shinomura Sôzaburô reinforces the confinement of prostitutes, often filming them through vertical wooden beams that simulate the bars of a prison.

Without revealing much about the development of Hideo Horie’s script, she will indirectly become involved in three client deaths linked by a family bond, something that will awaken in the hypocritical, sexist and ignorant society at the time; the fame that it is possessed by demons.

The intense third act displays a brave criticism of organized religion, highlighting the psychological damage that dogmas and ritualistic lies have caused the protagonist, who, believing herself to be guilty of all that has happened, agrees to go through the ruthless and stupid ceremony of supernatural purge.

Ayako, a pure flower of gentleness who was unable to respect the rigid code of never surrendering her heart to work, suffers humiliated before a bunch of arrogant, deluded and superstitious priestly vipers.

The Troops of Saint-Tropez (1964)
“An agent of order is always unpopular.” The phrase said austerely by police officer Cruchot, played by Louis de Funès in the first film of the franchise, synthesizes his hilarious devotion to work. When the dream of his troubled colleagues is shown in a moment of leisure, he is the only one who does not seek the pleasures of the flesh, only the heroic fulfillment of his function in society.

The French actor who charmed the audience with their faces and mouths is best known for “The Mad Adventures of Rabbi Jacob,” but I think his most relevant contribution is in the six projects of the Gendarme (police), especially in the first and third, addressed in this text, enriched by the killer chemistry of the protagonist with his superior in command, Gerber, played by the impeccable Michel Galabru.

“The Troops…” is uneven but has unforgettable sequences, such as the frenetic transition from black and white to color at the beginning, a troubled nun-driven car ride, and the police odyssey to arrest a group of nudists at the beach.

After several disastrous onslaughts, injured by a watchman sitting on the branch of a tree, the officers receive an embarrassing lecture by Cruchot, who outlines the most stupid strategy, something that might well have come out of the mind of Inspector Clouseau: training the men without uniforms, so that they come near naked from the place.

Without raising suspicions, they fight against time while they dress in their costumes, approach the nudist mourners, and in an ingenious touch of the script, ask for their documents.

Many Wars Ago (1970)
Francesco Rosi is almost never mentioned in lists, but his set of works is spectacular, having influenced names like Oliver Stone, Costa-Gavras and Gillo Pontecorvo, in addition to being quoted with much admiration by Francis Ford Coppola and Martin Scorsese.

Choosing to adapt the book “Un anno sull’altipiano” by Emilio Lussu, the director joins the author’s blunt speech, denouncing the insanity of war with a personal analysis of power relations in male groups, courageously confronting political clarity and questioning the interventionism.

Everything beautifully framed by the photography of Pasqualino De Santis (who would make Visconti’s “Death in Venice” the following year), creating unforgettable moments like the soldiers’ march through the smoke of the bombs, and especially the bluish night illuminated by the explosions in the war of trenches.

The plot approaches the despair of demoralized soldiers, led by a general (played by Alain Cuny) who’s willing to sacrifice his men even in unnecessary situations, by simple egocentric whim. Riot is a only a matter of time, when the nails that keep the monstrous and stupid machinery of war running end up realizing that death is a more dignified condition than the subhuman reality of existence.

The Brute and the Beast (1966)
Italian director Lucio Fulci is recognized worldwide for his work in horror (works such as “Zombie 2” and “Dark Horror”), but he made some westerns, with “The Brute and the Beast” being his first and best work in the genre.

Franco Nero (coming from the recent success in “Django”) is associated with Uruguayan George Hilton (who would establish itself in the genre, including interpreting the mythical “Sartana”) in one of the best sequences of action already captured in the Spaghetti Western genre, which is only one of the qualities of this work.

The excellent soundtrack (by Coriolano Gori, with the theme song sung in English, as usual by Sergio Endrigo) and the violent whipping scene suffered by the hero were not only spared by the cruel action of the time, but managed to keep their efficiency intact. The comic relief in the figure of the smart digger (played by Chinese actor Tchang Yu) will induce the viewer to laugh with the same skill.

Inspired by the psychological western of Raoul Walsh, “Pursued,” the film was a watershed for the director (who would attract the attention of producers) and his two protagonists. Nero would confirm with this success with his lucrative charisma (replacing Giuliano Gemma in the eyes of the fans), while Hilton would build a career thanks to this supporting role, which eclipses the protagonist.

The high point (including inspiration for filmmaker John Woo) is the final shootout, where the show of destruction (prior to “The Wild Bunch,” which Sam Peckinpah would make in 1969) disrespects any verisimilitude, with Nero leaping acrobatically and already falling while shooting.

The images I keep in mind after the session are those in which the duo clearly amuses themselves while performing their revenge, exchanging arms with each other. The camaraderie between people who respect each other (even with differences), uniting in a common goal.

The Experiment (2001)
Director Oliver Hirschbiegel adapts Mario Giordano’s novel and turns it into a distressing cinematic experience. Knowing that this is a real story helps to keep our eyes from blinking as we get sucked into the plot.

A team of scientists summons 20 men from different backgrounds to a psychological experience in exchange for a cash prize. The participants are placed in a prison and randomly divided into two groups: eight of them play the role of guards and the other 12 of inmates. Prisoners must obey the rules imposed by colleagues who represent authority figures.

At first, comradeship reigns in the environment. But in a short time, the false guards change their behavior and violence (even if forbidden) fills in the gaps. The inmates become increasingly submissive and the guards increasingly aggressive.

A psychological study of unprecedented human behavior and a work that will hardly get out of your mind. At the end of the session, it is very clear that we only really know one person after giving them power.

Razor in the Flesh (1969)
Brazilian director Braz Chediak was able to establish an oppressive atmosphere that is practically unbearable, beginning with closed plans and long planes-sequence, with a wise use of silence that goes beyond the almost 30 initial minutes only with diegetic sounds.

The corrosive text of Plínio Marcos, defended in a naturalistic way by the trio: Jece Valadão/Glauce Rocha/Emiliano Queiroz fills and consumes the claustrophobic environment, the fetid and disorganized room that serves as a microcosm of a hypocritical society.

The conflicts originated by acts of pure pettiness cause gratuitous aggressions, like a cancer that slowly spreads out of the organism. The pimp who takes pleasure in humiliating his prostitute, extravasating with physical and psychological violence, a coined homosexual desire, an element suggested in several scenes, pointing with sadism the signs of precocious aging in the woman who lives in the appearance.

In this pension room, collective hatred, born of social dissatisfaction and natural weariness in the face of empty rituals, brings the characters to the edge of resistance. Silence throughout the first act, more than a resource of style, also serves, with its unnaturalness, to emphasize the metaphorical characteristic of each subsequent dialogue.

All feelings are meticulously potentialized, for it is not a simple case that could stamp the headlines of a tabloid newspaper, but an existential poplar, tired beings trying to avoid imminent extinction due to natural evolution. They purge the truths from their lips, their words like sharp knives, like razors in the flesh, for they know that in that corrupt society in formation, only the lie would survive.

The Truth (1960)
“The Truth” delivers good doses of sensuality in flashbacks, but in essence it’s a flawless courtroom drama. The actress had for the first time a material that truly challenged her. She plays the rapturous Dominique, who is accused of murdering her lover, played by Sami Frey, who was engaged to her timid sister. As we accompany her judgment and witness testimony, we are presented with the journey that has led her to that dreadful destiny.

The script was written by Clouzot and his wife, Vera Gibson-Amado, who would die soon after. The touch of genius is to make the viewer’s view of the young person change to each new situation revealed; the text urges us to judge every action on screen in an untimely manner, just as society does in the macrocosm, trying to reduce the complexity of feelings of humans to an easily identifiable pattern.

The girl is good or bad, without shades of gray. And the plot involves this simplification with the mantle of cruelty, the denial of empathy, the arrogant detachment from the vain figures of authority, lawyers, judge and jury, who see the girl as statistic, as one more case among many.

What matters, at the end of the day, is to be superior; defense and prosecution lawyers seek respectability, and as the clash lasts until the final hammer, the two defend only the money in the account. Whether or not the young woman will be condemned to death, other clients will come.

In a brilliant scene, the two professionals, in the heat of the silent battle arena, consciously omit for convenience snippets of a letter being read, shaping the facts without any remorse. It’s part of the job. What does truth matter to them?

Dominique stole her sister’s fiance with the clear intention of assaulting her, always so courteous and sweet, but the boy also acted wrong: he did not care about the bride’s feelings. After achieving his goal, she became disinterested in him, returned to his routine of parties and much flirting; the boy rebelled and became jealous.

It is here where the film delivers one of its most beautiful scenes, one of strong symbology. He is a conductor, he lives in music and in art, he likes to control everything. She, a force of nature, detached from social norms, free. Abandoned, the one who laughed in the face of conservatism, the one who believed to be so self-sufficient, enters hidden in its place of work and cries stupefying to see him ruling.

The greatness of that sound, so unlike anything she used to hear, activates something within her that had never been stimulated. Genuine love, not caring for child competition for attention, a feeling that does not go away by not being reciprocated, since it does not depend on acceptance. It simply exists. This moment further magnifies the brutal outcome of the work, adding precious layers, highlighting how fragile the concept of judgment is.

The journalists who covered the case, even before the last words were spoken, have already left the place. What matters is the headline, and what matters is to be the fastest to deliver the matter. The human material in this equation is garbage.

8. Westfront 1918 (1930)
Radically different from what happens in the overestimated “All Quiet on the Western Front,” released that same year, which exhibited the anguish of World War I with a showy lacquer, the eye of the director GW Pabst, demonstrating security in his first foray into spoken cinema, is directed at the courageous de-romanization of combat, denying all possibilities of solving scenes by empowering action as a facilitator of any emotional catharsis, failing to exploit any moment that has violence as the main factor in the narrative.

He refuses the formulas of films of the genre, with his static camera capturing the destruction without aesthetic pretensions, also avoiding the common place that always inserts the military experience as defining element of the character of the soldiers.

The script, based on Ernst Johannsen’s book, shows that all those men would have made much more money if they had stayed in their homes; that war is stupid, a tremendous and absurd waste of time. Even the few moments of necessary fun that the film tackles in its first act, naive vaudeville presentations, are shown at a slow pace, evidencing the feeling of emptiness and disorientation.

The photograph of Fritz Arno Wagner, who had been responsible for Murnau’s “Nosferatu,” helps to give realism to the episodically structured scenes of the trenches, following the adventures of four soldiers placed in a grotesque reality, obeying orders to annihilate others strangers, but equal, who already consider themselves dead in life. It is also interesting how the script treats the desperate reality of the women of the soldiers, who were forced into prostitution, evidenced in the scene that shows the flagrance of a betrayal.

It’s beautiful the way the work ends, putting two dying enemy soldiers side by side. One no longer breathes, while the other recognizes no reason for the hatred that put them in that situation.

The strong message that remains in the mind after the session: to feel the presence of death, hand in hand, two victims in a simple need, the satiate of thirst. But the most powerful image remains that of the soldier collapsing emotionally on the battlefield, uttering a terrifying cry, contemplating the whole dimension of human insanity.

Tattooed Life (1965)
One of the biggest inspirations for Tarantino’s “Kill Bill.” That’s what you normally write when you approach this movie. It’s a tremendous injustice to reduce this spectacular masterpiece to the position of being an influencer of a smaller, yet popular and entertaining project.

Without revealing much about the plot, so as not to spoil the experience, it was the first time that Seijun Suzuki received an alert from his superiors about having gone too far in his style, which by itself already would be reason enough to arouse his interest and make him redouble his attention, especially in his magnificent outcome.

The story prompts emotional investment, something that is not usual in his filmography, so I consider it an excellent starting point. The second act has an intelligently slower pace, precisely to establish carefully the relationship between the brothers, especially their antagonistic motivations, which favors the psychedelic catharsis that occurs in the third act.

There is even less room in the script for a romantic subplot. “Tattooed Life” shows Suzuki mastering the perfect balance between his authorial inventions and the need to deliver a product of commercial value.

The Diamond Arm (1969)
The idea is a satirical blend of James Bond films, which were extremely popular at the time, with a devious insight into the way of life of the Soviets. But what really stands out is how the libertarian script subverts the film conventions from the initial credits, which promise a prologue, division into parts and epilogue, an epic pretense that is already broken in the first sequence.

There is no prologue, there is no epilogue, and the second part is announced after an interval just minutes before the end. It is understandable the fame of the work in some countries: it is not a simple comedy, as it embraces varied strands, from slapstick to the more refined humor usually found in British films. The duo of Yuriy Nikulin (who was a circus clown) and Andrey Mironov lavishes charisma, especially in the superior third act.

Writer/director Leonid Gayday has some bright moments, like the scene of the young man who “walks on water.” He admired Chaplin, so the inspiration is clear in the clever use of silence.