I did not know his name, I came to know is Maria Pia . Thus begins Armpits , the last film by José Fonseca e Costa, with scheduled debut this week, six months after his death, at age 82, at a time that was still going on the running adaptation of truculent tale Armpits and Other Stories indecorous, Brazilian author Rubem Fonseca.
a job that Paul Thousand Men would ensure completing the shooting and making effective assembly. However, the field work was done, the script in partnership Fonseca e Costa with Mario Botequilha), clearly opting for a Portuguese born that celebrates a certain Lisbon reality, a sort of cross between the parochial miss the Marialvas and taverns but no problems to tackle the taboos of Holy Mother Catholic Church, as well as a current and derision to “owners of all this’ .
as can be seen, this film produced by Paulo white, follows a tragicomic record, telling the story of Lazarus Jesus (Pedro Lacerda is a perfect choice for the role), realizing, after the funeral of the grandmother (Elisa Lisbon in an assertive and appropriate record), which after all not it was the grandson, but adopted, and would not receive any of the big buck inheritance of fortune. Puta old , say to know the luck that it was him. It is that the grandmother had selected it as a mutt in a kennel, to see him in the orphanage with a donkey ears hat. And instead of his name, Bruno Miguel, christened it in time to a more appropriate Lazarus Jesus, sentencing, is a block where will carve a martyr.
No wonder therefore that Lazarus let seduce more by conversation tasca, around the Tintol , to the camaraderie instead of the bed plowing, celebrating the achievements of Benfica ( which the director was staunch supporter) than the daily confessions, which was forced to pay 20 “ euritos ” to cure (Fernando Ferrao), in exchange for some Hail Marys. However, his life would change to find carnal pleasures hidden in the office ‘grandfather’. In particular a poem that praised the hidden mysteries of the armpit of a woman and other openings.
struck by this image, which rivaled much with exposed vagina realistic picture of Courbet, The Source world Lazarus will find this closeness in a Gulbenkian violinist (Maria da Rocha, a role that is his) passing to pursue as a limpet. It is from here that will draw the most tragic side of this film, which ends up by generating a final that wanted more accomplished. It would be the need to germinate the film?
We can see this need of romantic provocation of the author of Kilas, the bad tape , exemplified in the delightful lesson catechesis for couples in that delicodoce catechist (Navy Daisy) tells the couple how to evaluate the cervical mucus vaginal discharge; but also in political and social splinter when later on about the banker friends ‘godfather’ (André Gomes) where Rui Morrison in the role of a proud manager of a major national banks (a clear allusion to BES ), points to cronies on his property the location of the “hut the fuck out .”
After all, this is an admittedly corrosive film director who was chased by the police policy, but it turned out to be assistant Antonioni in his forced exile. be welcomed here in a particular way his enormous passion for the capital, by its people, the parochialism, the streets. Armpits is thus a bigger film, especially to celebrate the nonconformity and the cultivation of a certain permanent roguery
Best:. The color of . deep realistic nature of characters who make us regain a certain mystique of Lisbon essence
the worst: the final was unbalanced and it seems to have it resolved in a somewhat hasty.
Paul Portugal
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