dentro c'è il Brasile del sertão e quello della metropoli, c'è la dittatura e la guerriglia, c'è mito e realtà, e anche surrealismo.
davvero un film che apre un mondo e che guardi a occhi aperti, come dice qualcuno (qui) è un film unico, che unisce Gabriel Garcia Marquez e Benny Hill, con lo sguardo satirico di Dusan Makavejev.
provare per credere - Ismaele
…Deals with racism, a black inferiority complex, lazy, repressive, corrupt or violent society, and many other things that probably only Brazilians are likely to get. Cartoonishly silly and absurd surrealism.
…Using cannibalism as a metaphor for the evolution of
Brazilian culture as a consequence of exploitation in the aftermath of
colonialism (of national resources and the subjugation of people), capitalism
(of workers in the pursuit of profit), and imperialism (of industrialized
countries in their economic domination over underdeveloped nations) - in
essence, the dynamic consumption and assimilation of other cultures into the
forming of an indigenous, often contradictory national character - de Andrade creates a droll and
absurdist tale on urban alienation, essential identity, and the
irrepressibility of the human spirit…
The spiritual traditions all have a
role for the prankster — Nasrudin in Sufism, Coyote in Native American
spirituality, the Holy Fool in Christianity. These minstrels of madness want to
drive us out of our minds, knowing that from there we will see things from a
different perspective. Maybe we will realize that we are not in charge and that
play is a way to relax a bit and let go of our habitual ways of being in the
world. In some Indian tribes, these crazy ones are called sacred clowns. They
take on animal forms, disrupting solemn proceedings with their bawdy antics of
wild sexuality.
It's good to keep such masters of
revelry in mind while watching this 1969 Brazilian movie written, directed, and
produced by Joaquim Pedro de Andrade. This robust comedy includes elements of
buffoonery, satire of studio movies, political commentary, and a quest motif.
The only way to make it through all the zany twists and turns and silly moments
is to let your inner child take over for a while. Put aside your critical
consciousness and go with the flow of the comic bits, the outrageous shifts,
and the Dionysian rhythms of the story.
…director Joachim Pedro de Andrade lacks filmmaking expertise, he slaps together a hodgepodge resembling Gabriel Garcia Marquez by way of Benny Hill, with loads of campy laughs, slapstick humor, and a plot as mind-bogglingly satiric as Dusan Makavejev (SWEET MOVIE)…
…Which is not to say
that the film, adapted from a 1928 novel by Mário de Andrade (no relation to
the director) is lacking in seriousness. Underneath it all is a meditation on
the riddles of Brazilian identity and the agonies of Brazilian politics. In
1969, Brazil was in the grip of a military dictatorship, and
"Macunaíma," one of whose minor characters is a sexy urban guerilla,
hums with a joyful and pointed anti-authoritarian spirit.
In the first scene, the hero,
Macunaíma, drops fully grown from his mother's belly onto the dirt floor of a
hut in the Amazon. There he is raised alongside two brothers, one black and one
white. Eventually, Macunaíma, who is born black, turns white himself, a
transformation that, in keeping with Brazil's complicated racial ideology, is
at once enormously important and completely meaningless. The hero finds his way
to São Paolo, where he dresses in marvelously (or hideously) bright clothes and
takes up with the lovely guerilla before returning home to his mother. In the
course of his odyssey, he encounters witches and giants, episodes that turn
"Macunaíma" into a raucous and hallucinatory fairy tale. Its
infectious craziness stays in your mind like a novelty pop song that, after a
while, starts to sound like a classic.
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