Second viewing; first viewed somewhere between 1983 and 1986.
A community of cattle herders conflicts with newly arriving homesteaders because the latter start to build fences around their properties. Amid this scenario, a wandering man is accused of horse theft and stands a summary trial presided by the leader of the cattlemen.
This Western has a comedic form which clashes with its dramatic background plot. It is made with the utmost care and the end result is perhaps flawed yet interesting. A good review was written by Robert J. Maxwell on the IMDB user review section (you will have to browse this page).
Rating: 58 (unchanged)
Monday, June 29, 2015
Sunday, June 28, 2015
A Pensão da D. Estela (1956)
The film depicts the life of the dwellers at a boarding house during a few days. The owner is a widow and has marrying designs on one of the customers, who is her accountant and has a mistress on the side. The latter shows up unexpectedly at the boarding house one day and decides to become a guest too. The owner's daughter is a singer who dates an unemployed young doctor. The new cleaning lady is also a struggling singer. Another customer is a monarchist who never pays his rent. And there is also a solitary woman who pretends to be married. The boarding house has a mortgage which has to be payed but there is no money.
Very tame comedy which was very successful in Brazil when it came out. Here you can find some stills and a text in Portuguese with some information.
Rating: 31
Very tame comedy which was very successful in Brazil when it came out. Here you can find some stills and a text in Portuguese with some information.
Rating: 31
Saturday, June 27, 2015
Totò sceicco (1950)
English title: Toto the Sheik
Antonio is a majordomo who travels to North Africa to rescue his employer who joined the Foreign Legion.
I am probably not going to do justice to this movie, so I will refrain from reviewing it. A sympathetic review is found on Wikipedia, so I suggest you just read it (provided you know a little Italian, that is).
Rating: 34
Antonio is a majordomo who travels to North Africa to rescue his employer who joined the Foreign Legion.
I am probably not going to do justice to this movie, so I will refrain from reviewing it. A sympathetic review is found on Wikipedia, so I suggest you just read it (provided you know a little Italian, that is).
Rating: 34
Thursday, June 25, 2015
Inside Llewyn Davis (2013)
A struggling musician struggles also with a cat.
The folk phenomenon of the 1960s was a cooptation of popular aesthetics by urban youths, gathering mostly in New York City. So, it was a bourgeois capitalist phenomenon from the outset, and thus an illustration of the alliance between Capital and the Cultural Left. One of the tropes of historiography is the conflict of, on one side, the several races in their respective homelands, and, on the other, foreign elements which come and go with catlike ease. The literary reference for this film seems to be Joyce's Ulysses with its circular narrative (I have not read the book). The templates for the novel's hero Bloom are many, from its ostensive Greek model to the Wandering Jew legend, who in turn may be a later version of Cain, the first homicide, who was doomed to perpetually roam the Earth. So, it is striking that both Capitalism and Leftist Liberalism have this in common, that they abhor borders. That they have joined to ape and profit from that which was essentially -- to quote the name of the book by Kip Lornell -- an ethnic, grassroots and regional genre is ironic, but what isn't in modernity? The film in question is a humorous piece, moderately enjoyable, as are the schoolgirlish attempts by critics at deciphering its erudite in-jokes.
Rating: 57
The folk phenomenon of the 1960s was a cooptation of popular aesthetics by urban youths, gathering mostly in New York City. So, it was a bourgeois capitalist phenomenon from the outset, and thus an illustration of the alliance between Capital and the Cultural Left. One of the tropes of historiography is the conflict of, on one side, the several races in their respective homelands, and, on the other, foreign elements which come and go with catlike ease. The literary reference for this film seems to be Joyce's Ulysses with its circular narrative (I have not read the book). The templates for the novel's hero Bloom are many, from its ostensive Greek model to the Wandering Jew legend, who in turn may be a later version of Cain, the first homicide, who was doomed to perpetually roam the Earth. So, it is striking that both Capitalism and Leftist Liberalism have this in common, that they abhor borders. That they have joined to ape and profit from that which was essentially -- to quote the name of the book by Kip Lornell -- an ethnic, grassroots and regional genre is ironic, but what isn't in modernity? The film in question is a humorous piece, moderately enjoyable, as are the schoolgirlish attempts by critics at deciphering its erudite in-jokes.
Rating: 57
Cape Fear (1962)
Second viewing; first viewed on September 25, 1996
A man, seeking revenge against a witness whose testimony sent him to prison, moves to his target's town and makes veiled threats against his wife and teenage daughter.
A very thrilling movie, despite its far-fetched premise. It postulates a very sound and plausible main thesis, namely that the law tends to decrease in effectiveness as it increases in liberalism. In real life, one is not likely to find the violence and the organization displayed by Cady in one single individual. Thus, for the film to be properly understood, one must consider that he and his surrounding characters are a simplified fictionalization of a sum of forces: on the one hand the disorganized violence of individual criminals and on the other the organized ideology of leftism.
Rating: 77 (down from 82)
A man, seeking revenge against a witness whose testimony sent him to prison, moves to his target's town and makes veiled threats against his wife and teenage daughter.
A very thrilling movie, despite its far-fetched premise. It postulates a very sound and plausible main thesis, namely that the law tends to decrease in effectiveness as it increases in liberalism. In real life, one is not likely to find the violence and the organization displayed by Cady in one single individual. Thus, for the film to be properly understood, one must consider that he and his surrounding characters are a simplified fictionalization of a sum of forces: on the one hand the disorganized violence of individual criminals and on the other the organized ideology of leftism.
Rating: 77 (down from 82)
Saturday, June 20, 2015
An American Tail (1986)
A family of Jewish mice in Russia emigrate to America. At mid-trip the young son falls overboard and is given as dead.
Disappointing animated fictionalization of the immigration phenomenon at the beginning of the 20th century in America. While it manages to evoke certain real-life events and characters with some success, certain incidents in the narrative, such as the cats, poorly translate to real-life concepts. Ultimately, the film sacrifices meaning to the need to entertain an audience of kids in the usual corny way.
Rating: 40
Disappointing animated fictionalization of the immigration phenomenon at the beginning of the 20th century in America. While it manages to evoke certain real-life events and characters with some success, certain incidents in the narrative, such as the cats, poorly translate to real-life concepts. Ultimately, the film sacrifices meaning to the need to entertain an audience of kids in the usual corny way.
Rating: 40
Thursday, June 18, 2015
Pas de problème! (1975)
English title: No Problem!
A man dies at a young woman's apartment, and she asks a man she meets at a nightclub to help her dispose of the body. The situation gets complicated, involving further people.
Comedy which borrows, as IMDB user dbdumonteil reminds us, the premise from The Trouble with Harry. The film is funny, the actors are marvelous, everything works well. It is not meant to be groundbreaking or anything, but it made me laugh several times. A series of stills from it are featured in this review.
Rating: 60
A man dies at a young woman's apartment, and she asks a man she meets at a nightclub to help her dispose of the body. The situation gets complicated, involving further people.
Comedy which borrows, as IMDB user dbdumonteil reminds us, the premise from The Trouble with Harry. The film is funny, the actors are marvelous, everything works well. It is not meant to be groundbreaking or anything, but it made me laugh several times. A series of stills from it are featured in this review.
Rating: 60
Tuesday, June 16, 2015
Path to War (2002) (TV)
A dramatization of the Johnson administration, focusing primarily on the Vietnam War.
This film does make for a very acceptable crash course on the Vietnam War, and I am glad I watched it. However, no TV drama is complete without those ridiculous human interest adornments which, among other dubious points, will lead an ignorant man like myself to deduce that Mrs. McNamara's stomach problems were just another nasty effect of the war. Johnson comes across as a semi-moron, and I have no further information that will put this labeling into question. The Negro question serves as a countertheme, and is perhaps useful for an analysis of what really happened both in American and in Asian hearts and minds at that period. The question of why would America get involved in the affairs of a distant country at all, apart from the sound military considerations by George Ball, is not once raised in the movie. Vietnamese division into two countries makes for a stark contrast to the cohesiveness of the North Vietnamese people, and is a matter of wonderment to me. Why would anyone try to politically divide a people which is so homogeneous in everything else? The reverse of that question is, why is Johnson so emphatic in his speech about his policies being not for the North, nor for the South, but for the whole America? Why would anyone try to politically unite a people which is so heterogeneous in everything else?
Rating: 63
This film does make for a very acceptable crash course on the Vietnam War, and I am glad I watched it. However, no TV drama is complete without those ridiculous human interest adornments which, among other dubious points, will lead an ignorant man like myself to deduce that Mrs. McNamara's stomach problems were just another nasty effect of the war. Johnson comes across as a semi-moron, and I have no further information that will put this labeling into question. The Negro question serves as a countertheme, and is perhaps useful for an analysis of what really happened both in American and in Asian hearts and minds at that period. The question of why would America get involved in the affairs of a distant country at all, apart from the sound military considerations by George Ball, is not once raised in the movie. Vietnamese division into two countries makes for a stark contrast to the cohesiveness of the North Vietnamese people, and is a matter of wonderment to me. Why would anyone try to politically divide a people which is so homogeneous in everything else? The reverse of that question is, why is Johnson so emphatic in his speech about his policies being not for the North, nor for the South, but for the whole America? Why would anyone try to politically unite a people which is so heterogeneous in everything else?
Rating: 63
Monday, June 15, 2015
The Big Knife (1955)
Second viewing; first viewed on February 7, 1998
A Hollywood actor is facing a matrimonial crisis. The crux of the matter is his wife's opposition to the renewal of his contract with a producer. He can't get away from it without facing some dire consequences, though.
The review by Bosley Crowther, while it gives a good idea of the movie, is perhaps a little short-sighted (or narrow-minded) about it (the same probably goes for Pauline Kael, who called it "garish and overdone"). It all pivots on the question of whether the flaws pointed at were intentional or not, whether they were funny or not, and whether it matters whether this comicity is intentional or not. I am not able to settle this matter, but surely enjoyed the movie more than Crowther did. The obviously stupendous performances are Palance's and Winters'; on Steiger's hangs a similar doubt as I have about the movie.
Rating: 67 (unchanged)
A Hollywood actor is facing a matrimonial crisis. The crux of the matter is his wife's opposition to the renewal of his contract with a producer. He can't get away from it without facing some dire consequences, though.
The review by Bosley Crowther, while it gives a good idea of the movie, is perhaps a little short-sighted (or narrow-minded) about it (the same probably goes for Pauline Kael, who called it "garish and overdone"). It all pivots on the question of whether the flaws pointed at were intentional or not, whether they were funny or not, and whether it matters whether this comicity is intentional or not. I am not able to settle this matter, but surely enjoyed the movie more than Crowther did. The obviously stupendous performances are Palance's and Winters'; on Steiger's hangs a similar doubt as I have about the movie.
Rating: 67 (unchanged)
Saturday, June 13, 2015
El bruto (1953)
English title: The Brute
A slum's landlord issues a note of eviction to all the slum's tenants so that he can sell the land. Some tenants will not take this quietly, and that's when the titular character -- an employee at a slaughterhouse and the landlord's protégé -- enters the picture as an agent of dissuasion to the rebellious tenants.
As IMDB user dbdumonteil remarked, this has parallels with Frankenstein; perhaps it's even closer to The Golem, being the Marxism and Class Consciousness analysis of that story. The plot practically writes itself once the premise is established, but it is a nice watch all the same, with the usual cruel touches which are the director's trademark.
Rating: 61
A slum's landlord issues a note of eviction to all the slum's tenants so that he can sell the land. Some tenants will not take this quietly, and that's when the titular character -- an employee at a slaughterhouse and the landlord's protégé -- enters the picture as an agent of dissuasion to the rebellious tenants.
As IMDB user dbdumonteil remarked, this has parallels with Frankenstein; perhaps it's even closer to The Golem, being the Marxism and Class Consciousness analysis of that story. The plot practically writes itself once the premise is established, but it is a nice watch all the same, with the usual cruel touches which are the director's trademark.
Rating: 61
Vou Te Contá.. (1958)
The infant son of a wealthy man is kidnapped. A reporter wants to find it and get the reward. At nearly the same time, another baby is taken from its carriage during an absence of its caretaker and, by a coincidence, the reporter is the baby's uncle and lives in the same house. Also coincidentally, the maid at that house is courted by a man who works for the kidnapper of the first baby.
As you may have noticed, the plot is full of coincidences. The film is a near-total disgrace, a disjointed mix of unfunny narrative and musical numbers. The latter are nothing special, although the kind of Brazilian music they show is not unpleasant. The most remarkable thing about the movie is the abundance of racial references in the dialogue and even in one song. The most curious one is perhaps a line by the black male servant about the mixed-race gangster: "when a guy is neither white nor black, beware of him!" This article (in Portuguese) has a commentary about this and another remark by the same character, besides similar ones in other Brazilian movies. Here is an extensive online review (also in Portuguese) which, despite getting the plot appallingly wrong, has some useful information about the actors and singers in the movie.
Rating: 12
As you may have noticed, the plot is full of coincidences. The film is a near-total disgrace, a disjointed mix of unfunny narrative and musical numbers. The latter are nothing special, although the kind of Brazilian music they show is not unpleasant. The most remarkable thing about the movie is the abundance of racial references in the dialogue and even in one song. The most curious one is perhaps a line by the black male servant about the mixed-race gangster: "when a guy is neither white nor black, beware of him!" This article (in Portuguese) has a commentary about this and another remark by the same character, besides similar ones in other Brazilian movies. Here is an extensive online review (also in Portuguese) which, despite getting the plot appallingly wrong, has some useful information about the actors and singers in the movie.
Rating: 12
Friday, June 12, 2015
Rue de l'Estrapade (1953)
English title: Françoise Steps Out
A woman finds out about her husband's infidelity and leaves home, setting up a new home at a modest apartment in a building with some other interesting lodgers.
This is possibly a seminal film for a genre that has become very popular, especially from the 1970s onwards, having as protagonist a cheated-on woman who after separation acquires a new outlook on life. While this is a genre that has steadily radicalized itself towards hatred of the male sex, this is not the case in question here, as this early item is very circumspect and would be deemed conservative by modern-day feminists. Anyway, it is not an especially inspired film, struggling as it does in its middle section to find incidents to fill the void between separation and reconciliation. But the acting is good, and the mood is light and agreeable.
Rating: 40
A woman finds out about her husband's infidelity and leaves home, setting up a new home at a modest apartment in a building with some other interesting lodgers.
This is possibly a seminal film for a genre that has become very popular, especially from the 1970s onwards, having as protagonist a cheated-on woman who after separation acquires a new outlook on life. While this is a genre that has steadily radicalized itself towards hatred of the male sex, this is not the case in question here, as this early item is very circumspect and would be deemed conservative by modern-day feminists. Anyway, it is not an especially inspired film, struggling as it does in its middle section to find incidents to fill the void between separation and reconciliation. But the acting is good, and the mood is light and agreeable.
Rating: 40
Sahara (1983)
Young American heiress to an automobile industry, and auto racer, goes to Africa to take part in a Sahara rally. Trouble is, there is a tribal war along the rally route.
Reportedly a variation on The Sheik (1921), with echoes also of The Wind and the Lion (1975), it is also an allegory on World War II, where Gypsies stand for Jews, and the two warring desert tribes stand respectively for the Nazis and the Allies. It would not be an unreasonable interpretation to say that circumstances dictated that America, a young virgin, would go to bed with the Soviet Union. Further parallels could be drawn at one's own risk. Apart from this amusing allegorical aspect, the film is antiquated, and will provide for some entertainment only on the most basic level.
Rating: 33
Reportedly a variation on The Sheik (1921), with echoes also of The Wind and the Lion (1975), it is also an allegory on World War II, where Gypsies stand for Jews, and the two warring desert tribes stand respectively for the Nazis and the Allies. It would not be an unreasonable interpretation to say that circumstances dictated that America, a young virgin, would go to bed with the Soviet Union. Further parallels could be drawn at one's own risk. Apart from this amusing allegorical aspect, the film is antiquated, and will provide for some entertainment only on the most basic level.
Rating: 33
Wednesday, June 10, 2015
Baby It's You (1983)
The late sixties. A well-behaved high school girl with acting ambitions is courted by an academic misfit from a lower social class than her. If their relationship seems improbable even while they live in the same city, will it survive after high school is over and they have physical distance between them?
I suppose many people have known or heard about couples like the one in this film. Probably not exactly identical, but sharing some aspects with them. Anyway, this kind of story is always interesting. The "firstness" factor is crucial, and the filmmaker himself says as much. The film relies on this appeal, and handles the development in a correct way. Among the curious incidents, a teacher proposes a "puzzle" about Ulysses S. Grant to his class.
Rating: 50
I suppose many people have known or heard about couples like the one in this film. Probably not exactly identical, but sharing some aspects with them. Anyway, this kind of story is always interesting. The "firstness" factor is crucial, and the filmmaker himself says as much. The film relies on this appeal, and handles the development in a correct way. Among the curious incidents, a teacher proposes a "puzzle" about Ulysses S. Grant to his class.
Rating: 50
Tuesday, June 09, 2015
Bullseye! (1990)
An American nuclear physicist develops a fusion technique for energy generation and, in partnership with an English aristocrat, has plans to sell it to the highest bidder. Two criminals who happen to be their respective lookalikes try to rob them, and in the process are coopted by the American and English secret services to help them get the recipe.
Moderately entertaining farce, fast and eventful. The dual lookalike premise dates way back (The Comedy of Errors), and, more recently, was used in Our Relations (1936). The editing is quick and the filming has a penchant for odd low-angles and very near close-ups.
Rating: 50
Moderately entertaining farce, fast and eventful. The dual lookalike premise dates way back (The Comedy of Errors), and, more recently, was used in Our Relations (1936). The editing is quick and the filming has a penchant for odd low-angles and very near close-ups.
Rating: 50
Monday, June 08, 2015
Le cercle rouge (1970)
Second viewing; first viewed on January 25, 1998
English title: The Red Circle
A man who has just been released from prison teams up with a fugitive from police custody and an alcoholic ex-policeman who is an expert marksman in the spectacular robbery of a jewelry store. The police detective from whose custody the second man escaped leads the investigation to catch them.
Strangely compelling, slow-moving policier. Crime is a sordid business which the fiction machine transforms into a seductive dreamworld very much analogous to a casino where desperate characters lay all their chips on one job, and callous lawmen eschew ethics in the pursuit of their goals. Both cops and robbers lead lives on the margin of society. You could say this is Rififi on ice. A curious bit of dialogue is when detective Mattei's chief wonders about the race of his subordinate ("he has blond hair and light eyes, he's very much unlike a Corsican"). If you care to read some reviews, I suggest Christopher Mulrooney's and Ted Goranson (tedg)'s (in both cases, you will have to browse the page).
Rating: 66 (unchanged)
English title: The Red Circle
A man who has just been released from prison teams up with a fugitive from police custody and an alcoholic ex-policeman who is an expert marksman in the spectacular robbery of a jewelry store. The police detective from whose custody the second man escaped leads the investigation to catch them.
Strangely compelling, slow-moving policier. Crime is a sordid business which the fiction machine transforms into a seductive dreamworld very much analogous to a casino where desperate characters lay all their chips on one job, and callous lawmen eschew ethics in the pursuit of their goals. Both cops and robbers lead lives on the margin of society. You could say this is Rififi on ice. A curious bit of dialogue is when detective Mattei's chief wonders about the race of his subordinate ("he has blond hair and light eyes, he's very much unlike a Corsican"). If you care to read some reviews, I suggest Christopher Mulrooney's and Ted Goranson (tedg)'s (in both cases, you will have to browse the page).
Rating: 66 (unchanged)
Sunday, June 07, 2015
My Foolish Heart (1949)
An unhappily married woman recollects a wartime love affair.
There are some good moments here and there, and the theme of war and its effect on sexual morals is interesting, but mostly it is a lame melodrama, being neither convincing nor engaging.
Rating: 36
There are some good moments here and there, and the theme of war and its effect on sexual morals is interesting, but mostly it is a lame melodrama, being neither convincing nor engaging.
Rating: 36
Friday, June 05, 2015
The Scarlet Pimpernel (1934)
Second viewing; first viewed on December 10, 1995
Based on the play and the novel, both 1903, by Emma Orczy.
An English aristocrat leads a group of his peers to save French people from the guillotine in 1792 terror-ruled France. His identity is kept scrupulously secret.
Very well-made adventure. The premise is quite depressing, as are all films about fictitious interferences in historical catastrophes (except for those "what if" stories where history is significantly changed). The general tone is juvenile, but the film is fairly enjoyable and the actors do a good job, especially Howard as the titular character.
Rating: 56 (down from 68)
Based on the play and the novel, both 1903, by Emma Orczy.
An English aristocrat leads a group of his peers to save French people from the guillotine in 1792 terror-ruled France. His identity is kept scrupulously secret.
Very well-made adventure. The premise is quite depressing, as are all films about fictitious interferences in historical catastrophes (except for those "what if" stories where history is significantly changed). The general tone is juvenile, but the film is fairly enjoyable and the actors do a good job, especially Howard as the titular character.
Rating: 56 (down from 68)
A Baronesa Transviada (1957)
The IMDB plot summary ("Manicurist finds out she's the daughter of a rich baroness, and inherits her fortune. Now, she'll have to fight her mother's parents, with help from some of her friends.") is almost right: "parents" should be replaced by "relatives".
The title of this Brazilian comedy has, perhaps involuntarily, a double meaning; the apparent one ("the perverted baroness") and a less obvious one ("the stray baroness") related to the premise of a child which got separated from her mother. Although this film was made to please general audiences of all ages, its display of moral wretchedness is somewhat disturbing. The emphasis on grotesque elements wouldn't be out of place in a movie by John Waters or Jack Hill, for example (except for the sex, that is absent here). Some of the verbal wit is heavily dated; take, for instance, the line (the accuracy of whose transcription is as good as the poor audio and my ear allow): "Inteligente é o cor de abóbora, que tem o Pedro Álvares Cabral nas costas." ("The orange-colored is the intelligent one, because it's got Pedro Álvares Cabral on its back."). You would be clueless about its meaning, unless you knew that at that time there was a money bill in Brazil which was orange-colored and had the portrait of Cabral on it (come to think of it, even after knowing that I am still not sure about its meaning). Although it screams low-brow on every frame, there is a sense that there might be something more to this film than a superficial glance will show, a sort of anarchy in its conception (or lack thereof) that attenuates its obvious shortcomings.
Rating: 31
The title of this Brazilian comedy has, perhaps involuntarily, a double meaning; the apparent one ("the perverted baroness") and a less obvious one ("the stray baroness") related to the premise of a child which got separated from her mother. Although this film was made to please general audiences of all ages, its display of moral wretchedness is somewhat disturbing. The emphasis on grotesque elements wouldn't be out of place in a movie by John Waters or Jack Hill, for example (except for the sex, that is absent here). Some of the verbal wit is heavily dated; take, for instance, the line (the accuracy of whose transcription is as good as the poor audio and my ear allow): "Inteligente é o cor de abóbora, que tem o Pedro Álvares Cabral nas costas." ("The orange-colored is the intelligent one, because it's got Pedro Álvares Cabral on its back."). You would be clueless about its meaning, unless you knew that at that time there was a money bill in Brazil which was orange-colored and had the portrait of Cabral on it (come to think of it, even after knowing that I am still not sure about its meaning). Although it screams low-brow on every frame, there is a sense that there might be something more to this film than a superficial glance will show, a sort of anarchy in its conception (or lack thereof) that attenuates its obvious shortcomings.
Rating: 31
Thursday, June 04, 2015
Le vice et la vertu (1963)
English title: Vice and Virtue
In occupied France, two sisters choose opposite paths: one becomes a German officer's mistress, the other marries a Resistance member.
Pulpish dialogue and situations, well filmed, with a penchant for mirrors. The association of Sade and the Axis is a seminal one which would spawn the nazisploitation genre in the 70s and Salò.
Rating: 51
In occupied France, two sisters choose opposite paths: one becomes a German officer's mistress, the other marries a Resistance member.
Pulpish dialogue and situations, well filmed, with a penchant for mirrors. The association of Sade and the Axis is a seminal one which would spawn the nazisploitation genre in the 70s and Salò.
Rating: 51
Monday, June 01, 2015
O Homem que Comprou o Mundo (1968)
Englisht title: The Man Who Bought the World
A working-class man receives a trillionaire check from a dying man, and all of a sudden disturbs the balance of power in the world.
A variation on The Man Who Could Work Miracles, without supernatural elements. Unlike its predecessor, it is very shallow on its psychological and political considerations, favoring absurdist comedy instead. Released during the military regime in Brazil, it displays some mild criticism of that period's authoritarianism.
Rating: 31
A working-class man receives a trillionaire check from a dying man, and all of a sudden disturbs the balance of power in the world.
A variation on The Man Who Could Work Miracles, without supernatural elements. Unlike its predecessor, it is very shallow on its psychological and political considerations, favoring absurdist comedy instead. Released during the military regime in Brazil, it displays some mild criticism of that period's authoritarianism.
Rating: 31
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