bambini e ragazzi abbandonati che diventano ogni giorno che passa scarti umani, se non muoiono prima.
Pixote non te lo dimentichi più, in questo film unico - Ismaele
…Then comes her last scene with Pixote, which is so
sorrowful and cruel it is barely watchable. He is still, after everything, a
little boy. Sueli has recently performed an abortion on herself (she explains
it in cruel detail to Pixote), but now, just for a moment, she imagines a life
in which she will return to her town and family, and Pixote will be like her
son. Pixote turns to her breast, not in a sexual way, but in need, and we see
the child who has always hungered for a mother he never had.
It is a hushed, sacred moment,
and in another film, it would be the last shot. A similar scene concludes John
Steinbeck's The Grapes of Wrath--
the novel, not the movie. But then Sueli hardens, and all the anger of her
pitiful life focuses on Pixote. At this point the film fits the classical
definition of tragedy, which requires the death of a hero. But Pixote is not a
hero; his life has been a half-understood reaction to events. And he doesn't
die, except in his heart and soul…
…But "Pixote"
stands alone in his work, a rough, unblinking look at lives no human being
should be required to lead. And the eyes of Fernando Ramos da Silva, his doomed
young actor, regard us from the screen not in hurt, not in accusation, not in
regret -- but simply in acceptance of a desolate daily reality.
…Les mineurs ne pouvant
être inculpé par la justice – ils ne risquent que quelques mois en maison de
redressement -, ceux qui se retrouvent plus ou moins sans familles deviennent
bien évidemment les proies de gangs qui les utilisent pour diverses besognes à
moindres frais. Au sein de cet enfer se crée bientôt un petit groupe autour de
Pixote, des enfants aussi perdus que lui, mais plus âgés. Dito, Chico, Lillica,
un travesti dont l’homosexualité n’est jamais questionnée par ses compagnons,
se rassemblent naturellement ; en dépit des différences, il s’agit-là d’une
tentative de reformer un semblant de famille, mais on y reviendra. On ne peut
guère taxer le regard que porte la caméra de Babenco sur ces enfants incarcérés
de complaisant, pourtant Pixotemérite sa
réputation de film violent et dérangeant ; si le réalisateur ne s’attarde pas
sur les séquences de meurtre et de viol, il montre de façon froide la réalité
quotidienne de ces enfants dans ce qu’elle a de plus sordide…
…If your idea of homeless
children and prostitutes are special episodes of "Baywatch" or the
laughably awful "Pretty Woman," then this may not be the film for
you. Pixote sees so much death and mayhem in his life, he is surviving by
instinct. He is not a brilliant boy trying to better himself, he is just trying
to stay vertical and keep breathing. The drug and sex scenes are rough, and
Babenco does not turn these young addicts into heroes like
"Trainspotting" or "Drugstore Cowboy."…
The classic movie about criminal, exploited,
nihilistic kids in peril that predates the much more stylized City of God and
the spoiled Kids. Like Lilya 4-Ever and Christiane F., this goes for gritty
realism, and even uses real children from the slums. Pixote is a 10 year old
boy who is taken to a detention center along with other young delinquents, and
witnesses brutal homosexual rape, murder, abuse, the criminal exploitation of
boys by thugs and corrupt authorities. After an escape, he becomes involved
with pimps and drug-dealers, then mugs men for a depressed alcoholic prostitute
who just gave herself an abortion. Realistic, disturbing, and terribly
pessimistic, with a tragic ending.
…The film seemed to
capture the spirit of the ‘arthouse’ cinema of Hollywood of the late ’60s and
early ’70s, itself influenced by European art films and Italian neo-realism. Incidents
in Pixote don’t seem to be set up for the
cameras; the film seems to follow the characters no matter what they do or say.
The ending is
genuinely tragic, more so because in reality da Silva was actually killed by
police bullets in 1988, when he was 19. And so the ending seems to foretell his
real death – after being rejected by the mother figure of Sueli, Pixote/da
Silva is walking along a railway line, gun in hand, away from the camera, his
figure disappearing in the distance, out of the film (documentary or fiction),
and out of our lives.
…The
film seemed to capture the spirit of the ‘arthouse’ cinema of Hollywood of the
late ’60s and early ’70s, itself influenced by European art films and Italian
neo-realism. Incidents in Pixote don’t seem to be set up for the
cameras; the film seems to follow the characters no matter what they do or say.
The ending is genuinely tragic, more so
because in reality da Silva was actually killed by police bullets in 1988, when
he was 19. And so the ending seems to foretell his real death – after being
rejected by the mother figure of Sueli, Pixote/da Silva is walking along a
railway line, gun in hand, away from the camera, his figure disappearing in the
distance, out of the film (documentary or fiction), and out of our lives.
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