Biutiful (2010)

A man finds he only has a few months to live. He is separated from his wife and takes care of their two children. He works supervising the illegal work of illegal immigrants. He reunites with his wife for a while.

Not a very interesting film. It seems to believe that conveying intense emotion is enough to grab a viewer's attention. The plot has some interesting elements, but apparently there was not the will to make them into an exciting whole. Too many subplots lead nowhere  and the main plot (whatever you think it is) doesn't lead anywhere very interesting either. Anyway I gathered from the movie that immigrants are not only good but necessary, because without them who will take care of our children when we die?

Rating: 37

The Pelican Brief (1993)

Second viewing; first viewing with original audio; previously viewed, dubbed in Portuguese, on August 15, 2001.

Two Supreme Court justices are executed. A law student does some research work on who might want to get rid of two men who diverged in almost every issue; she comes up with a suspect. She writes a brief detailing how she came to that suspect. After that brief reaches powerful hands, people around her start to die and she must run for her life.

This is a reasonably well-made thriller, but only in a purely mechanical sense. In what regards the plot, the whole thing is very flawed in an essential way. After the law student has divulged her theory to the press, she is no longer a worthwhile target, so the notion that the bad guys would chase her relentlessly and indefinitely is ludicrous. In fact, even before that, they couldn't know who else knew about her findings, or even would come to the same conclusions as her on their own. After all, she used only public information on her research. It is true that, in midfilm, she does come into possession of some relevant material items, but she only gets to that position because she was being chased, so a misconception somehow made the plot become more plausible. But, if you can get past that, the film does move along in an agreeable pace, and many individual sequences are entertaining. The more, say, personal, or emotional, aspect of the characters is a weak spot of the movie, and does not come across as credible. Also, there is a bizarre product placement in action here, where the product is the main actress. Through compliments from at least one other character in the movie, the filmmakers seem to want the audience to believe she is a stunning beauty. By what one reads in the press from that period, and even later, it seems to have worked.

Rating: 42 (unchanged)

Vai que É Mole (1960)

Three friends and partners in crime are released from jail on the same day. One of them receives the news that a relative of his died and named him a guardian of her young son. The chief of their gang wants to use the boy as an assistant in their thieving operations. After one of the three criminals decides to give back to its owner (a chorus girl) a purse they stole from her, the TV station for which she works decides to put him and one of his partners (the boy's father) in a show about honest people. Of course the girl doesn't know that they stole her purse, and they don't tell her either.

Although the plot is weak, relying as it does on every cliché we are used to in Brazilian comedies of that period, the film acquits itself a little better than its similars. It's basically a film for kids, or for adults with a kid's mind, but within that limited scope it manages to develop situations that signal its awareness of the social injustice in Brazil, which was acute in 1960 and still is. The emphasis is on slapstick and the pace is kept in a fast mode, only letting up for the occasional musical number.

Rating: 33

Tora! Tora! Tora! (1970)

A reconstruction of the Japanese attack on Pearl Harbor in 1941, and the events which preceded it.

This is a well-made war drama. It must be said that the first section, so to speak, of the movie, which accounts for about two thirds of it, and which explains how a series of errors on the part of the Americans contributed to the Japanese success, is quite dull, although I wouldn't know how to improve upon it. The last section is considerably more exciting.

Rating: 51

Samson and Delilah (1949)

Second viewing; first viewed between 1983 (probably) and 1986.

The Hebrew Samson gets involved with a Philistine woman, and then with another. But the Philistines are after him for his violence, and they use the latter of those women to capture him.

This biblical tale is a fantasy on the situation of living as a conquered or oppressed people. Closeness to the ruling ethnicity is at once dangerous and alluring. Many women lived this same dilemma in the war which ended four years prior to this film's release, and the ones who fraternized with the German enemy were shamed and punished. In the case of this movie it is a male who does the reproachable fraternizing. The fantastic element is given by the outstanding individual power of the protagonist. As a visual spectacle I found this film to be quite agreeable. As storytelling goes it does not really stand out.

Rating: 53 (up from 48)

Zé do Periquito (1961)

*spoilers below*

Zé Nó works as a gardener at a high school. He is somewhat infatuated with a girl student named Carmen, and that becomes an object of derision by Mexerico ('Gossip'), one of the boy students. Mexerico suggests to Zé Nó that he quit his job and try to make a fortune at some other line of activity, so that he becomes attractive to Carmen. Zé Nó accepts his suggestion and travels to a small town where he tries to earn a living by playing the barrel organ on the street. One local homeless woman nicknamed Pelanca ('Fold of Skin') approaches him and proposes a partnership which she says will make them rich. Pelanca knows every dirty secret of each person in town, and she helps Zé Nó establish a street commerce of selling little pieces of paper containing 'clairvoyant' information about the 'present, past and future' of each person. The fraud is enhanced by making a parakeet more or less randomly choose with its beak each piece of paper from a pile inside a box. Soon everyone becomes aware of the evil behind the façade of respectability of their fellow citizens, and that leads to feuds and enmities. Zé Nó returns to his earlier town with a sack of money. He proposes to Carmen, whose father is in a terrible financial situation, and sees Carmen's marriage with Zé Nó as a way out of his troubles. Carmen likes Zé Nó but is not attracted towards him; thus, she does not at first feel inclined to accept the marriage proposal. At her father's insistence, however, she accepts it. At the wedding reception, Mexerico plays a prank on the newlyweds and their guests: his wedding gift package when opened releases little mice which spread across the ballroom. After the mice are gone, Mexerico offers Zé Nó another package which he says has talcum powder which will take away the smell left by the mice. But it is actually itching powder which makes all the guests scratch themselves. Zé Nó returns to the small town where he made his fortune to collect Pelanca. By this time, the townsfolk have turned their rage against Zé Nó for seeding strife among the people. When Zé Nó shows up there, they chase him and he must hide from them. He and Pelanca leave town as fast as they can. Zé Nó then employs Pelanca as a maid at his home. Some days later, Zé Nó invites his wife Carmen to go out to the beach with him, but she says she prefers to stay at home. Pelanca then talks to her and scolds her gently for not going out with Zé Nó. After a while, Carmen's former school friends appear at her house and ask her out to the beach, where they hold a 'surprise' for her. Carmen decides to go with them, with plans to join Zé Nó at the beach. Once there, however, another devilish scheme by Mexerico unfolds: they take Carmen on a motorboat ride and then dump her on a stationed boat inside which is her high school sweetheart. Carmen gets furious and jumps to the sea, but before she can do it Zé Nó, who is looking through his binoculars from the shore, spots her and her former boyfriend inside the boat. When he gets home, they fight and she returns to her parents' house. The school principal happens to be visiting there, and he convinces Carmen to make up with Zé Nó, if she really likes him, which she says she does. Zé Nó says he will donate to charity all the money he earned with the 'clairvoyant' tickets, and he will only take Carmen back if she does not mind being poor. She says she doesn't. Zé Nó goes back being a gardener at the same high school he worked at before.

*end of spoilers*

This is probably the weirdest of all Mazzaropi movies which I have seen. The insertion of musical numbers at the most unexpected moments makes it even more bizarre. Every character except the female protagonist 'Carmen' seems to be a scumbag in this movie; as the film approaches the end, however, the film struggles to twist things in such a way that evil is concentrated in one single character ('Mexerico'), making him a sort of dramatic scapegoat. I didn't find this movie funny, let alone dramatically moving. But it is eccentric enough to arouse one's curiosity.

Rating: 32

Money from Home (1953)

Second viewing, at least; previously viewed on January 31, 1989, and possibly also earlier than that.

A gambler finds himself in debt to a gangster. The gangster tells the gambler that he must prevent a certain horse from entering a race. The gambler is forced to accept the mission. He passes his veterinarian cousin off as the hired jockey for the horse. Meanwhile they keep the real jockey, an alcoholic, locked up. But the gambler falls in love with the horse's owner.

This is not as bad as I thought upon my previous viewing. The most interesting section of the movie is the beginning, when some picturesque characters from the New York underworld are paraded. What follows is a formulaic comedy vehicle for the starring duo, but it has some funny moments and overall is not hard to watch.

Rating: 39 (up from 30)

Return from Witch Mountain (1978)

Sequel to Escape to Witch Mountain (1975). The two ESP- and PK-endowed kids from outer space are having a vacation in town, and are spotted by a duo of crooks who kidnap the boy with the intention of exploiting his psychic gifts. The girl befriends a gang of truant boys who help her locate and rescue her brother.

Less than electrifying adventure for juvenile audiences. While not an unpleasant watch, the parade of SFX-enhanced paranormality is unable to lift the film off from the strictly routine fare ground. I was left with a question from the first film, namely, why must they use a flying saucer to move to and from Witch Mountain, but it remained unanswered. Also unmet by this film was my curiosity about their "community", which is never shown.

Rating: 40

Toivon tuolla puolen (2017)

English title: The Other Side of Hope

The faithful translation of the title is reported by one IMDB user as being Beyond Hope. I cannot vouch for that. Google Translate gives it as I Hope Beyond That, which is somewhat different.

A Syrian refugee arrives in Helsinki. He applies for a staying permit, but is rejected. He escapes from his confinement just before his deportation and starts working at a restaurant whose new owner recently separated from his wife.

Bland fiction on the immigration topic which seems to be based more on propaganda than on the immediate reality of Europe. Its protagonist is conveniently without cultural particularities: he has abandoned his religion (though not faith per se), and has no political affiliation. On the other hand, Finland is depicted as having a xenophobia problem, at both governmental and street levels, an assumption which contradicts every personal and news-type report to my knowledge. As one comment on IMDB has implied, perhaps the writer-director's secret intention was to produce a warning against immigration to his country, and pose as a humane liberal while doing it.

Rating: 35

Escape to Witch Mountain (1975)

Second viewing; first viewed between 1983 and 1986

Two orphan kids endowed with telepathic and telekinetic powers are taken in custody by a man passing off as their uncle. This man works for a millionaire who wants to exploit the kids' powers for monetary gain. The kids escape and are helped by a solitary man driving a motor home.

Silly yet entertaining adventure for younger audiences. Although I always feel a little cheated by characters who use unrealistic powers to escape their predicaments, this film is so well made and moves at such an engaging pace that it is easy to overlook this aspect of it. There is not much to be said about the plot or the characters. This is, for better or worse, basically an action movie without further pretensions.

Rating: 57 (down from 63)

Comanche (1956)

The Comanche are raiding Mexican villages. The U.S. government has signed a treaty with the Mexican government by which the Comanche must be made to return to U.S. territory and stop their raids. An American emissary is assigned to meet with the Comanche chief and convince him to sign a treaty, but there is dissension amongst both White and Comanche.

B-Western with some long stretches of dialogue and a very conventional and predictable plot. Nestor Paiva does a very good Walter Brennan. The liberal-slanted plot portrays the Comanche in a favorable light, excepting a few bad apples amongst them. Their chief has enough good sense to admit they are better off making peace with the stronger White. Thus, the film's unstated assumption is that the pre-condition for a situation where diplomacy beats violence is a history of putting violence over diplomacy, without which Whites wouldn't be in a stronger position.

Rating: 32

Sabrina (1995)

Based on the play Sabrina Fair, by Samuel A. Taylor, first staged in 1953, and on the film adaptation which came out the following year.

Sabrina lives in the servants' quarters of a big mansion where her father works as a chauffeur. She has a crush on the boss's younger son David, who is a womanizer and a bon-vivant. The family business is run by David's older brother Linus. Sabrina's father's employer sends her to Paris to do an internship at a fashion magazine, all expenses paid. When she returns, some things have changed around the house, but she has changed as well.

Remaking a 50s movie without some plot modifications is very problematic, and this film suffers for it. Capitalism in the 90s was very different from Capitalism in the 50s. Marriage as a prerequisite for a business merger is a very rare occurrence, to say the least. To complicate things further, the romantic sensibility of the original film was already not exactly in tune with the ages. I do not remember the 1954 film all that well, so I checked for differences between the versions on the IMDB site. It seems the only relevant updating they did was to give the female characters a less subordinate position regarding their working status. But this is perfunctory considering that the main character is modeled after ancient fairy tale princesses and such. When you think about the film, it is hard not to notice that the most interesting character is, after all, Linus, not Sabrina. The film seems to want to demonstrate that it is unhealthy to devote one's life to work before one has sorted out a few essential aspects of one's personal life.

Rating: 32

Paris brûle-t-il? (1966)

English title: Is Paris Burning?

Dramatic reconstruction of the liberation of Paris. The Resistance is divided into several factions. The Allies initially intend to circumvent Paris, but are convinced to enter the city because the Nazis intend to destroy it in case of defeat.

This is a competent historical drama filled with impressive war action sequences, both staged and documental. Some people have complained that the plot is not easy to follow, but that is not true, although it helps to read the Wikipedia entry before watching the film. This film is ultimately a dramatization of a philosophical question: given the choice of saving a work of art and saving human lives, which is preferrable? In the film this question is a bit nuanced, since saving Art (which in the film is epitomized by the Louvre and Notre Dame cathedral) also implies saving the lives of Parisians; the question persists, however, because by circumventing Paris, while it meant sacrificing the art and the people of Paris, also meant putting a faster end to the war, and thus saving a greater number of lives. This is somewhat akin to the problem posed in The Doctor's Dilemma, a play by Shaw.

The version I saw was spoken in English, which meant all the non-anglophone actors were dubbed.

Rating: 60

Basic Instinct (1992)

Second viewing; first viewed on November 11, 1993.

A man is murdered during the sexual act. The police detective in charge of the investigation gets involved with the victim's sexual partner, who is a prime suspect.

Interesting thriller. Extensively parodied, it is by itself a comedy. I liked it better than on my first viewing. I still do not find it a great movie. Opinions apparently have diverged as to whether it is a feminist or a misogynistic movie. Males seem to lean toward the former and females toward the latter interpretation.

Rating: 50 (up from 44)

Above the Law (1988)

Second viewing, first with original audio; previously viewed -- with Portuguese dubbing -- on January 28, 2009.

A cop is suspended from the force and tries to investigate on his own a corrupt CIA agent.

Passable action thriller. Perhaps its most interesting aspect is that, while it attempts to express the view that State organizations are not above the law, it uses a protagonist who puts himself above the law to show it. The film never appears to be conscious of that paradox, except in the fact that in some countries it was titled Nico: Above the Law. Below is my first review of this movie, published here in this blog:

*quote*
A cop investigates a drug dealer and finds that he may be connected to corrupt
government agents. A senator and a priest are potential targets of this criminal
organization.

Dialogue and drama is very dumbed down and the action sequences are well staged.
The concept of a maverick cop defying corruption is an extremely enduring filmic
lineage which apparently developed without any real-life counterpart. In a very
minimum sense, it is done with competence.

*unquote*

Rating: 35 (up from 33)

Maverick (1994)

Second viewing; first viewed on August 14, 1994.

Based on the homonymous TV show created by Roy Huggins. It ran from 1957 to 1962.

A gambler is on his way to a poker tournament which will take place on a riverboat. He does not have the entire amount of the entry fee, so he plans to collect a few debts along the way, and earn the rest through gambling. He has vicious enemies which will do anything to prevent him from entering the tournament.

Western comedy with very lightweight humor, bordering on infantility. As a mild entertainment it works.

Rating: 37 (up from 23)

Suspect (1987)

Second viewing; first viewed on May 14, 1988.

A defense attorney and a member of the jury violate the rule that says they can't have contact with each other when they team up to investigate a murder case where the defendant is a homeless man. They follow a series of clues which might implicate powerful persons.

Suspense drama with very conventional characters and plot elements, but which arranges them in an unconventional manner. It is little more than a mechanical, contrived device, but it is moderately entertaining.

Rating: 40 (up from 28)

Jack (1996)

This film depicts the life of an individual with progeria, a disorder which is characterized by fast aging. Jack is at first homeschooled, but then his parents agree to send him to a school where he has to interact with other kids.

Cinema has courted abnormality ever since its early days. This film is a descendant of a long lineage which goes back to Freaks, and maybe even farther back. There is a certain amount of ambiguity in this sort of film, which borders on dishonesty, in that they somehow exploit the sensationalist aspects of abnormality, even though nearly all of them wrap them in a message of tolerance and open-mindedness about diversity. But Jack is considerably duller than Freaks, that's for sure, mainly because it's basically a monoconceptual movie (I would say it is a one-joke movie but the word joke would be somewhat controversial as applied here). The film's main artistic interest rests on the acting ability of its main performer. The script is weak, though, and oscillates between triteness and schmaltz.

Rating: 30

Hot Lead and Cold Feet (1978)

Western. A man fakes his own death and establishes in his will that his two sons, respectively a preacher and a gunfighter, ought to race each other for the inheritance. The race is comprised of several different stages: locomotive racing, mountain climbing, white water rafting, and stagecoach racing. The corrupt mayor, however, has plans to get the inheritance for himself.

Children might enjoy this, but probably not much, especially today's children. It is not very funny, but at least it's eventful. The villain turns out to be the politican (that happens all the time, doesn't it?).

Rating: 30

All That Jazz (1979)

Second viewing; previously viewed between 1983 and 1986.

An overworked choreographer and director who is also a womanizer, a chain smoker, a heavy drinker and a drug user suffers a heart attack and revisits his life choices as he deals wih the prospect of death.

Overrated musical with indifferent secondary characters, a trite approach to its themes, and a tiresome and repetitive structure. Some musical numbers are fine, and lend the movie a degree of watchability.

Rating: 48 (down from 63)

E o Bicho Não Deu (1958)

Translated from the Wikipedia page (words between brackets were my minor improvements on the original):

*begin quote*
New chief of police Dr. [Farias] launches "Operation Animal", determined to stop animal gambling (jogo do bicho) in town. He puts detective Bartolomeu in charge of infiltrating the outlaw organization under the command of Flirt nightclub owner and animal gambling boss (bicheiro) Madruga, and finding out who is backing [his] illegal gambling racket. As he proceeds with the plan, Bartolomeu encounters his childhood friend Jujuba and falls in love with Terezinha, a florist, the daughter of Frederico. But Frederico and Jujuba work for the gambling racket. When he finds out Jujuba is an illegal gambling worker, Bartolomeu chases him and, while doing it, hits his head. As a result of that, he develops a split personality disorder: he is sometimes a friend of Jujuba's [who is also] working for the gambling racket, and other times he is back being a detective. The switch between personalities happens when he hears a whistle.
*end quote*

Unpretentious comedy. It's not exactly remarkable, but has some degree of merit for depicting the persistent social phenomenon of illegal gambling in major cities of Brazil. Despite having all the appearances of a harmless business, illegal gambling has connections with organized crime and is widely used for money laundering. The film is mostly comprised of slapstick action. It has a few musical numbers too.

Rating: 32

The Last Boy Scout (1991)

Second viewing; previously viewed on December 30, 1992.

A private detective teams up with an ex-football player to investigate a dishonest sports club owner whose activities resulted in the death of a stripper.

The humorous dialogue and the eventful succession of action sequences make this a watchable film. The dramatic situations oscillate between downright absurdities and a rehash of elements from a previous film by the same writer. Mostly, it's a mechanical film which fails to generate any real engagement from the viewer.

Rating: 43 (down from 59)

Training Day (2001)

Second viewing; first viewing with original audio; previously viewed, with Portuguese dubbing, on April 17, 2005.

From the Wikipedia page: "Los Angeles Police Department's Officer Jake Hoyt is assigned for an evaluation headed by Detective Alonzo Harris, a decorated narcotics officer. Alonzo is known to be a corrupt cop to several other narcotics officers who are also on the take."

Police drama which exposes the ordeal of a young cop in the face of corruption. It's a non-realistic account, in which a sort of nightmarish fantasy is played out to its ultimate consequences. I found it entertaining and well acted.

Rating: 64 (unchanged)

Garota Enxuta (1959)

A TV station is producing a musical show sponsored by an automobile company. The daughter of the company owner wants to perform on the show, but her father is against it.

As a comedy this is terrible. The plot is banal, and the development is unimaginative. But the film somehow manages to entertain minimally, thanks to the agreeable musical numbers.

Rating: 31

Murder on the Orient Express (2017)

Based on the novel by Agatha Christie, first published in 1934.

On a train a murder is committed. A private detective who is on board is requested to investigate it. He discovers that several passengers are connected in various ways to a crime committed by the murdered man.

A tedious movie with good production values. It's just talk, talk, talk, and some mountainous landscapes in between. Long spoken expositions about each character's past lives succeed each other in a dizzying fashion and then a logical explanation caps it all. Perhaps the most interesting point of the movie is the implicit suggestion that the protagonist suffers from Obsessive Compulsive Disorder. The previous version is considered a better movie. I have seen it but at the time it didn't impress me greatly either.

Rating: 37

Mars Attacks! (1996)

Second viewing; first viewing with original audio; previously viewed with Portuguese dubbing on August 1, 2000.

Based on the trading card series released in 1962.

Martians land on the U.S.A. and are at first amicably received by the U.S.A. government. A series of incidents leave the American President in doubt about the aliens' real intentions.

A rather agreeable film. Some of it is very funny, but most of it is just mildly so. The big problem with this film is that TV, VHS and lately digital media have widely exposed 50s and 60s science fiction and turned it into an inexhaustible source of fun for modern audiences; any parody or "tribute" will pale in comparison. Aside from that I can't find anything necessarily wrong with the movie.

Rating: 60 (down from 65)

The Buccaneer (1938)

The context is the War of 1812 between England and the U.S.A.. Pirate Jean Lafitte plays a special part in that war by aiding the Americans. More details may be found in the Wikipedia page.

I was quite impressed with this film from the spectacle angle. It has splendid visuals of the swamps of Louisiana, good battle sequences, and an overall engaging pace. The plot is quite ridiculous in the Hollywood way, but that didn't bother me greatly. The performances are also very satisfactory. I don't suppose any of it will stick in my memory, just as the remake, which I watched in 2007 (and reviewed here), has vanished from it long ago.

Rating: 52

Full Metal Jacket (1987)

Second viewing; first viewed on January 28, 1988.

The Vietnam war as seen by a private. Boot camp occupies almost half the film. The problems of a fat soldier who has extreme difficulty to follow the drill are the focus of that section. The second half is the war itself, where the protagonist serves as a member of the news unit.

A good film, structured in one big segment at the boot camp and several shorter ones in Vietnam. The film's tone is a mix of sarcasm and moral indignation. It is technically well made, and the situations are interesting. On this second viewing it became clearer to me that the film is not trying to be realistic. It's really one big pamphlet against war, and, as such, everything is exaggerated or stylized.

Rating: 66 (unchanged)

The Lonely Trail (1936)

After the American Civil War, a Texas-born man who has fought for the North returns home. He finds the place being ruled by a corrupt and murderous capetbagger General. He enlists in his army with the intent of getting inside information on his moves. When the General notices that several of his targets start to flee before his troops' arrival, he develops a (correct) suspicion that his new recruit is an informant.

Low-budget Western which is short on length and on thrills, and routine in every aspect. There is, however, according to an IMDB commenter, an intriguing similarity in plot with Gone with the Wind. You can read his review on this link. You can read it in extenso below, in case they delete it for some reason:

*begin quote*

6/10

Before Margaret Mitchell began pounding out . . .

oscaralbert 11 September 2016

Warning: Spoilers

. . . that Racist Revisionist Endless Melodramatic Exercise in Hate Speech known as GONE WITH THE WIND (on the shelves of most every American Urban High School Library, while THE Great American Novel--THE ADVENTURES OF HUCKLEBERRY FINN--is Universally banned by the self-proclaimed Know-Nothings!), she was "inspired" (more accurately, Dispired) by this John Wayne flick, THE LONELY TRAIL. Wayne plays "John Ashley," to whom Ms. Mitchell pays homage with her similarly mealy-mouthed "Ashley Wilkes" character. TRAIL covers the entire War to Defeat Lazy Southerners' Racist Evil in about 12 seconds (beating GWTW by roughly an hour and a half--which most viewers will find to be a definite improvement!). Ann Rutherford plays the model for Ms. Mitchell's "Scarlett O'Hara," called "Virginia" here. To pad out GWTW into an Umpteen-hour soap opera, Mr. Mitchell splits Ashley and Virginia into a couple characters each. Otherwise, most of the familiar GWTW scenes are here, such as when Clark Gable convinces the Union Commander that Ashley is NOT the Grand Wizard of the KKK. By cutting out most of Ms. Mitchell's unseemly histrionics and cursing, TRAIL clocks in at a shade under 56 minutes, which is more than enough of a not-so-good thing.

*end quote*

I can't vouch for any of this information, as I have not read Gone with the Wind, and it has been some time since I watched its film adaptation.

Rating: 33

Pé na Tábua (1959)

A bus driver has to raise some money for his sister's operation. He is hired to transport to location the crew and cast of a film which is being made. There is a problem though: a man who wants to star in the film is sending letters threatening to kill the actual film star; the latter refuses to do his scenes until the would-be killer is caught. They come up with a plan: they will hire the bus driver as a stand-in in the hopes that he will work as a bait for the killer.

Terrible comedy with a few (weak) musical numbers. The plot is absurd, and the comicity is inane.

Rating: 26

Jaws 2 (1978)

The beach town of Jaws (1975)  is having some more mysterious deaths. Chief Brody alerts the mayor, but is faced with dismissal from him, who prefers to side with a greedy real estate businessman. Brody's insistence ends up with him being sacked from his job. To compound his afflictions, his two sons disobey him and sneak out to go sailing with friends.

Thriller pervaded by a distinctly conservative ideology about the dangers of adventure. Obey your parents -- that is the main message.

Rating: 40

Jaws (1975)

Second viewing, probably. I remember seeing it once on the occasion of its theatrical release where I live, in 1975 or 1976.

A beach town has some shark attacks just when the tourist season is opening. The police chief, plus a shark expert and a shark hunter, go out to hunt the shark.

This film is comprised of two sections, which are, respectively, variations on Ibsen's The Enemy of the People and Melville's Moby Dick. The dialogue and character interaction in general are poorly written and trite. On the other hand, the purely or mostly visual sequences are well filmed.

Rating: 51 (down from 58)

Stagecoach (1966)

Based on the 1937 short story "The Stage to Lordsburg" by Ernest Haycox, and the 1939 screenplay by Dudley Nichols based on it.

An assorted group of people travel by stagecoach through Sioux-infested territory. They are: a dance-hall girl who was expelled from town; an alcoholic doctor, also expelled from town; a liquor salesman; a card player; a bank employee who stole money from the bank; the wife of a cavalry officer; the town marshal; a fugitive from prison who was captured along the way and who wants to get revenge from the person who falsely accused him.

Passable remake, with an agreeable color cinematography, a competent cast, and well-filmed action sequences. Some aspects of the screenplay are perhaps questionable. For example, I did not find it very plausible that the dance-hall girl would get expelled just by being the cause of a fight between crazed soldiers; also implausible is the expulsion of the drunken doctor; neither of them seem to be a menace to society, and the man who ordered the expulsions is not clearly characterized as a villainous tyrant. But of course I never lived in the old West, and would not know for sure how things worked then and there. Also of note is the astounding degree of marksmanship of the passengers of the stagecoach. An IMDB commenter has pointed this, along with other fictional licenses, out:

Not Bad, but with typical western movie mistakes

Rating: 51

Entrei de Gaiato (1960)

A petty criminal decides to check in at a posh hotel passing off as a rich man and thus take advantage of the Carnival season to make some victims among the rich guests. One of his targets is a widow who is accompanied by her niece. The problem is that she is also passing off as rich when in fact she is looking for a rich husband for her niece (and if possible for her also). To complicate things further, there are international thieves at the hotel who are robbing the guests' jewels. And there is the upcoming arrival of an Oriental maharajah who might become the thieves' next victim.

Musical comedy with many musical numbers, nearly all of them featuring Brazilian Carnival marches. The plot has some points of contact with that of 24 Horas de Sonho (1941). The production values seem to be a notch above the average for Brazilian comedies of the period, but the sense of humor is just the usual in that kind of movie, that is, very simple and aiming at an undemanding audience. There is a step into bizarre territory when a minuscule comic actor who was famous in Brazil at that time sings a song in full drag.

Rating: 31

Sherlock de Araque (1958)

*spoilers ahead*
Deodato and Sertório are two cops who work on night patrol duty. Deodato is having troubles with his married life, since he only meets his wife for a few minutes when he comes home in the morning, and she is off to work. Sertório is unmarried, and intends to remain so, despite the insistent pressures he is getting from a girl he is seeing, who is a maid in a middle class home and bakes him cakes he loves more than her. Deodato is a lover of deductive science, and is taking a course on criminology in his off duty hours. He claims to be able to tell who is a criminal just by looking at a person. He is of course always wrong. The duo have their eyes on a man acting stealthily at night, and they even spot him through a window in his house wielding a big knife; they become sure he is a serial killer who is wanted by the police. It turns out he is a mere killer of chicken who is afraid of getting caught and having to pay a fine due to non-payment of a permit. On the other hand, another man they are passingly acquainted with, whom they take for an upstanding citizen, is actually a megacriminal who is the mastermind behind the planned robbery of the vault of a fancy clothes store. As it turns out, the robbers do not build the tunnel correctly and surface at the room where a fashion show is being held. They decide to kidnap the store owner instead and ask for a ransom. There is a search for the kidnapped businessman and several fights ensue. Other subplots involve the son and daughter of the clothes store owner, and their conflicts with their father, over a lazy lifestyle in the case of the son, and over a romantic choice in the case of the daughter. There is also a pickpocket who manages to repeatedly elude the policemen and ends up helping them locate the kidnappers' hideout.
*end of spoilers*

Weak comedy with childish dumbed-down humor and even some circus antics from one of the leading players, who was indeed a circus clown. There is plenty of action in the last section, but it is also of an extremely dumbed-down nature. There is only one musical number featuring a rock and roll band named Os Terríveis ("The Terribles"), a name which suggests some modicum of self-criticism, though they aren't as bad as all that.

Rating: 31

The Way West (1967)

The film follows a caravan of pioneer settlers heading for Oregon in the 19th century. The stern leader, the farmer who does not like him, the easygoing guide, the sexually curious (and imprudent) teenage girl, the boy who loves her even though she does not love him back, the newlywed man whose wife rejects him in bed, the Sioux, the stowaway preacher, the natural obstacles they all face, etc.

Not a bad film, but not a very good one either. It is hard to pinpoint what exactly the problem is. Some viewers mentioned its predictability, another one opined that the characters were underwritten, someone brought up the fact that 20 minutes of the begining were cut, many ridiculed a sequence involving a whip. There is probably a grain of truth in each of these critiques.

Rating: 50

Baile Perfumado (1996)

English title: Perfumed Ball

In 1930s Northeastern Brazil, a photographer and filmmaker gains access to the gang of famous bandit Lampião (nickname which translates to 'Lantern'), and has permission to film the daily life of that outlaw group of cangaceiros (that is the name they gave to bandits operating in the Northeastern hinterlands of Brazil in the early 20th century).

As the synopsis above indicates, there isn't much in the way of a plot in this film. The adventures and misadventures of the protagonist alternate with some episodes of cangaço, and that's it. It is badly filmed, badly scored, and badly put together. Furthermore, it's a film that can't make up its mind whether it's about the plight of an immigrant who tries to make it in a strange land, or about the tragic life and death of outlaw desperadoes. The cinematography and production design, on the other hand, are first rate.

Rating: 24

Chofer de Praça (1959)

Zacarias and his wife, both humble peasants, move to the big city where their eldest son Raul goes to medical school. Zacarias buys a car and starts working as a taxi driver, while his wife works as a washerwoman from home. Raul hides his poor parents from his friends and from his girlfriend, to whom he lies that he is from a rich family.

The first section of the movie depicts one day in the life of a taxi driver. It is mostly a series of comic episodes involving the passengers Zacarias takes. The second and final section is about the drama of a father and mother whose son is ashamed of them, despite all the effort they make to pay for his studies. Despite still being basically a schmaltzy low-brow dramedy, it is a notch above the average for a Mazzaropi film, thanks to a reasonably well written screenplay.

Rating: 39

Mad Max (1979)

Second viewing; first viewed between 1983 and 1986.

Set in the near future, it features road violence committed by a gang of motorbikers, and the police work trying to stop them. One such policeman, named Max, wants to quit the force, but suffers a personal loss which will drive him into vengeance.

Thriller which has well filmed car action, but is otherwise little distinguished. Poorly reviewed upon its release, its critical reputation has since grown enormously, for reasons which still elude me.

Rating: 46 (up from 41)

Sweet Charity (1969)

Second viewing, first one with the original audio; previously viewed, dubbed in Portuguese, on November 14, 2000

A dance-hall girl has hopes of finding a man to marry her, but is repeatedly disillusioned as she only meets crooks who are after her money. She finally finds a decent man, but will her past be an obstacle to their union?

Excellent musical numbers lift this film higher in enjoyability than its mediocre dramatic qualities would warrant. The plot is not uninteresting -- it was taken from a good Italian movie, with an important change at the final section: character Oscar is different from the original version. Here, he is not a scoundrel, only a weakling. And of course, there is the change in the protagonist's profession, which is a bit ridiculous...

Rating: 53 (down from 66)

Hey There, It's Yogi Bear (1964)

Yet again, Yogi Bear makes Ranger Smith cross because he is filching picnic baskets from tourists. After an argument, he gets sent to the San Diego zoo, but secretly convinces another bear to switch places with him. He then hides from everyone in Jellystone Park and only comes out of his secluded hideaway to raid picnic baskets disguised as the Brown Phantom. Cindy Bear thinks Yogi has indeed been sent to the San Diego zoo, and manages to get sent away too, but, unbeknownst to her, she is sent to the St. Louis zoo instead. She manages to get off the train at midway, and is then captured by two circus owners and made to perform in the high wire act...

Entertaining feature length animation with the famous TV characters. The animation here is lavish, unlike on TV, and there are songs too, which are quite agreeable.

Rating: 51

Donnie Darko (2001)

A schizophrenic teenager who escaped death because he was not home when an airplane turbine inexplicably fell into his bedroom has visions of a man-sized talking rabbit who tells him the world is going to end and directs him to commit acts of vandalism. His bunny friend talks to him about time travel, which prompts him to research that subject matter.

Like many films from the 2000s, this one has an unmerited reputation for innovativeness. But it does have an engaging cerebral plot -- a feature which was fashionable at that time. What lifts it up a bit is that, besides being a convoluted jigsaw puzzle about fate, it provides commentary about middle class life in America, which may or may not be true -- I would not know -- but at any rate is revealing about how people thought about middle class environments then. There is a somewhat problematic association made between psychiatric disorders and critical spirit, but I think the final word about this should come from professionals of that area of medical expertise.

Rating: 52

Poltergeist (1982)

Second viewing; first viewed in 1982, probably.

A  little girl is sucked to another dimension; concurrently to that, her house is affected by strange phenomena. Her family hires a team of experts to recover her.

This incoherent mess is, according to IMDB viewer poe426, a blend of two uncredited sources by Richard Matheson: The Twilight Zone episode Little Girl Lost and the movie The Legend of Hell House. There are many cringeworthy dramatic moments that punctuate Poltergeist, and some effective fright setpieces as well. Thus, despite being a very problematic film, it is watchable.

Rating: 40 (down from 49)

Chico Fumaça (1957)

Chico is a a humble peasant who, while walking through an open field, spots a massive land depression along the railroad, caused by a recent storm; he runs to alert the train which is coming, thus saving it and the lives of its passengers. He becomes a local hero. A politician who happens to be visiting his hometown decides to use him for his own political advantage. He offers Chico a reward and an interview with the president, at the capital. The trip to the big city is a new experience for Chico, and he is targeted by crooks who want to swindle him out of his reward money.

Unpretentious comedy, a kind of Third World distant cousin of films like Mr. Deeds Goes to Town. The humor is simple, and there is a bit of elementary political satire, which was usual in comedies of that period, invariably depicting politicians as liars and money-grubbers; this one's party is named the Opportunist Party, just to give you a rough picture. The musical numbers are nice but nothing extraordinary. Here's one of them, featuring the famous samba 'Agora É Cinza', by Bide (b. Alcebíades Maia Barcelos) and Marçal (b. Armando Vieira Marçal):

Rating: 32

The Last Starfighter (1984)

Second viewing; first viewed between 1983 and 1986.

A video game whiz has just received word that his student loan request has been denied. He lives in a trailer park and had dreams of going to a college in another town. He is tired of being his community's handy man and having no fun and no life prospects. His girlfriend, on the other hand, is afraid that he will go away and leave her. One night, after he breaks the performance record on a video game, a stranger in a car appears to take him away to a secret place. He soon finds out he is going to take part on a real space war analogous to the one he fought in the video game he played.

Mildly entertaining sci-fi comedy, nicely paced and technically well done. There is nothing especially memorable in it, and the proof is that I watched it for the second time and didn't remember a thing.

Watched it in pan-and-scan, same as my previous viewing.

Rating: 45 (unchanged)

Halloween (1978)

Second viewing; first viewed between 1983 and 1986.

An escapee from an institution for the criminally insane returns to his hometown with murderous intentions. His potential victims are some babysitters and their boyfriends who are at the vicinity of the house where he committed the murder who led to his institutionalization 15 years earlier.

I was quite intrigued by the success enjoyed by this film, and also by the critical attention, both positive and negative, it has garnered. So I decided to give it another shot. Unsurprisingly, its significance continues to elude me. But I think I have come to a law of sorts regarding film hermeneutics. The more devoid of meaning a film is, the more meaning will be ascribed to it by film scholars and critics. The explanation is not so hard: an empty space has more room for stuff. Anyway, although films like this are strictly scare machines, they need a story, however shallow it may be, to keep things moving. Any story is bound to reflect themes and values of the time when it was conceived, and it is inevitable that intellectuals will see all sorts of ideological implications in how those themes and values are woven into the story, and how it relates to the violence that is the prime purpose of the movie. Also of note is that this film is not the independent product of its writer-director's mind; the real originator of the concept is its executive producer. In other words, it is also a strictly monetary operation. All that being said, this is the first time I have viewed it in its full widescreen format, and I acknowledge it is quite well filmed.

Rating: 30 (unchanged)

Um Candango na Belacap (1961)

Four variety artists form two male-female duos. At first the duos are racially mixed, one from Brasília and the other from Rio; they all meet in Brasília. After a partner exchange in Rio, they become a white duo and a black one (the latter also becomes a married couple). After a conflict with their scheming boss they decide to start their own nightclub in Rio.

Musical comedy with a plot which perhaps might be construed as an allegorical reflection on the race situation in Brazil. The plot development is tedious and the comicity is poor, except in the elaborate musical numbers, above the average of Brazilian productions and certainly the better part of this movie. As a side note, the word 'candango'  here is a designation of the first inhabitants of Brasília, and 'belacap', from what I gathered, refers to Rio de Janeiro and is a contraction of 'bela capital' (beautiful capital), as opposed to 'novacap', which stands for 'nova capital' (new capital), i.e., Brasília.

Rating: 31

Juliana do Amor Perdido (1970)

At a small fishing village, a young woman named Juliana is thought of as having magical powers, and is kept in a life of seclusion by her father, who is in collusion with an outsider who is the village's only contact with the outside world and also the only buyer of their fish. Juliana finds solace in watching the passing train and beckoning to its engine worker. One day, during a stop, they talk to each other and from then on a romance starts. She elopes with him, but the villagers chase her.

This is a potentially interesting idea badly developped. The editing style, relying as it does on endless slightly varying repetitions of shots, is annoying. The script leaves a lot to be desired, especially in the dialogue, and furthermore has some contextualization problems which could be resolved by setting the film in a vaguer time frame, or, say, in a post-apocalyptic era. As it is, certain elements are bound to raise an eyebrow, without really adding anything to the film's fruition. Take for example the ceremonies performed in the village. They seem to be African in origin, but the ethnicity of the villagers is predominantly white. Also, there seems to be no explanation for the fact that, at a conflict between the villagers and the train workers, there is not a single person bearing a firearm, on either side of the conflict.

Rating: 31

Meteorango Kid, Herói Intergalático (1969)

A day in the life of a youth in a big Brazilian city. He is a nihilist who spends his time smoking hemp, having sex, hanging out with friends, etc.

Amateurishly made sillines which tries to be a sort of snapshot of the late 60s' zeitgeist, but is probably closer to being a snapshot of the author's mind. If anything is to be made of the plot, it is that the seeds of revolution do not produce healthy trees in Brazil, but rather teratological ones. Ironically, this outwardly amoral tale won an award from the Catholic Church. Perhaps they, not entirely without reason, saw in it an implicit denunciation of the terrible effects of an education devoid of a moral reference. Also, they probably have approved of the association of cannabis, violent crime, and irrationality, an association which the film seems to imply. What I find curious is that films like this, which are seen only by a handful of students of cinema and hardcore cinephiles, are Brazilians' idea of 'cult movies'. There is a widespread mistake in that country -- probably derived from the popular meaning of the Portuguese word 'cultura' -- which misassociates the word 'cult' with hermeticity, intellectualism, or erudition.

Rating: 25

Jeca Tatu (1960)

The main character is a rural dweller who owns a small property and who suffers from chronic indisposition to work. It follows that his wife and children are overburdened with work. But the main plot is really about his daughter's romance with a richer landowner, and the schemes by another suitor to instill enmity between the two families.

This low-brow comedy is no Shakespeare for sure but does nevertheless come across, in plot at least, as a blend between Romeo and Juliet and Othello. It contains some political satire as well, which may be the best part of the movie. That subplot has the protagonist travelling the State capital to offer a Congressman the votes of his community's members in exchange of help to rebuild his burned house. The main character was inspired, in name and in behavior, on a homonymous one created by Monteiro Lobato in the early 20th century, who appeared first in short stories and later in a publicity text. That publicity text was part of a campaign to curb hookworm infection among rural populations, and was sponsored by a pharmaceutical company which used the publicity to advertise a concoction it produced (a "biotonic" unrelated to the object of the campaign). The message of the campaign was that the rural worker was not averse to working because of a personality defect, but rather as the result of a worm-related illness, which was in turn the product of bad hygiene habits. In the film there is no explicit mention of any of that; all we see is a scene where the protagonist apparently has itching feet. Viewers who are unfamiliar with the campaign may easily be led to conclude that the main character is indeed just lazy. Now enjoy a musical number from this film featuring the beautiful "Estrada do Sol", by Antônio Carlos Jobim and Dolores Duran:

Rating: 31

O Noivo da Girafa (1957)

*spoilers below*
Aparício is a a simple-minded zoo employee who is picked on by his work colleagues, who have tagged him as 'the giraffe's fiancé' for his affection towards that animal. At the boarding house where he lives he is not well treated either. They complain about his smell and alleged lack of hygiene and when the landlord's young daughter falls ill Aparício is blamed and urged to take a blood test. He asks the zoo's veterinarian to test him for infections. Aparício messes up the blood samples, causing the vet to mistake a terminally sick ape's blood for his. The zoo manager gives Aparício a vacation and instructs the other employees to conceal Aparício's horrible fate from him, and to reveal it to the people at his boarding house with the recommendation that they treat him well but not tell the truth to him. So, they start to treat Aparício well, and even the landlord's older daughter starts to respond politely, though not exactly amorously, to Aparício's courting. The landlord plans to marry her to Aparício before he dies, and thus make her entitled to a huge inheritance from a rich relative of Aparício's. Meanwhile, the ape who was terminally ill dies, and the veterinarian wises up to the blood sample mix-up. Just before the marriage ceremony is completed he shows up at the boarding house and clears up the confusion. Aparício is then subjected to all sorts of insults and is expelled from the boarding house. Two of his fellow boarders solidarize with him: a nightclub performer nicknamed 'Poet' and a young woman who is in love with him but is not loved back. Some time later, his former landlord shows up at the zoo and he is very courteous again to Aparício; he has brought a lawyer with him, who tells the news of Aparício's rich relative's death and that Aparício is the sole heir.
*end of spoilers*

Comedy with a few musical numbers and a sense of humor as simple-minded and childish as its protagonist. A curious thing is how obsessed with the 'easy money' topos Brazilian comedies of the 1950s were. Anyway, it is a watchable movie if you are in an undemanding frame of mind.

Rating: 32

Empire of the Sun (1987)

Second viewing; first viewed on April 10, 1988.

In 1941, during the Japanese occupation of Shanghai, and subsequent evacuation of the British colony, a boy gets separated from his parents, and ends up in a prisoner camp.

This is hardly a great war story; rather, it is a collection of clichés which all the same make for a passable juvenile cinematic entertainment. The tone and filming style seem to mirror the manic personality of its protagonist. Grandiose pauses are injected when the boy enters his "Japanese" moments, with the musical score rising to the occasion. At other instances, trivial bike rides through an empty house seem to aim for the opposite poetic effect. None of that is really effective, coming across as merely artificial, but some critics seem to have bought it. Anyway, this film is an interesting example of the comic-book aesthetics that took over cinema and literature around the time it was made.

Rating: 51 (up from 50)

Hit! (1973)

A policeman whose teenage daughter dies from a heroin overdose rounds up a team of ordinary people whose lives were affected by drugs to perform the extermination of the members of the French drug cartel who is responsible for supplying the American market.

The outrageously comic-book-ish plot is unfortunately unable to inject juvenile fun into this action thriller, thanks to the predominantly serious tone and extremely laid-back pace. Still, it is very well filmed and at least one sequence is fairly impressive, a very well done car chase. The basic assumption is that killing rich criminals is more effective than killing poor ones. That is not very convincing; even Mafia bosses are replaced pretty quickly, and anyway France was also a middleman in the drug business, since it did not produce them. Arguably, from a social justice angle it does make for a more satisfying revenge, and maybe that is the unspoken point of this unexciting movie.

Rating: 33

South Pacific (1958)

At a Polynesian island where an American World War II outpost is seated, several stories unfold. A newly arrived lieutenant falls in love with a native; a nurse falls in love with an older French man who has made the island his home; a secret mission on a neighboring island which is controlled by the Japanese is to be launched.

This is an awful film, and not just because of the botched "color filters" effects. The story is terribly uninteresting, and the songs are just passable. One particular change in regards to the source novel makes the story nearly incomprehensible. In the novel, the nurse feels revulsion towards the idea of becoming the stepmother of some dark-skinned children, but is OK with the lighter-skinned Asian children from another woman. In the film, there are no dark-skinned children, and she is OK with the Asian ones, but has a problem with her prospective husband's late wife, because she was Asian. This notion of retrospective racism towards a dead person is much harder to fathom, if you want my opinion. The film is a manifesto for miscegenation, and the ideological pièce-de-resistance is the song You've Got to Be Carefully Taught. The purported moral lesson seems to be that, since racism is, allegedly, not inborn, but learned, it is not a good thing. Regardless of what one should think, or not, about racism, the argument seems odd, especially in a war movie. After all, fighting a war in a place thousands of miles from home, because of an aggression which took place in Hawaii, does not seem to be the kind of behavior that springs naturally from instinct. Anyway, it is alway nice to be preached at, and Hollywood is just the preacher we all need.

Rating: 21

Capitu (1968)

Based on the novel Dom Casmurro, by Machado de Assis, first published in 1899.

Man marries his childhood sweetheart. He is happy with her until he begins to suspect his only son's biological father is his deceased best friend.

One could never realize by watching Capitu that it is based on one of the best, perhaps the best, Brazilian novel of all times. This is a mediocre film, shot in a minimalist style that at times borders on the lazy. Also, the length of the film is excessively short to convey all the subtleties of the novel. The actors give passable performances, although they are all or most of them cast against type. I was especially curious about the real age of the leading actress. She looks too old for the title role, and on the Internet her birth year is variously given as 1931 or 1938. Her looks in this film point to the former date as the likelier one. One curiosity about the source novel is that in Brazil  there are heated discussions about whether the title character was really unfaithful. Critics affiliated with the left are generally dismissive about the evidence pointing to the occurrence of adultery; instead, they accuse her husband of being an agent of 19th century patriarchy. I suppose that, on the other hand, they place their unwavering trust on the "me too" accusers of today. After all, the burden of proof is always on the oppressor, and we all know who that is, right?

Rating: 32

Red Dawn (1984)

Second viewing; first viewed between 1984 and 1986.

The United States of America are invaded by a U.S.S.R.-led coalition of troops. A group of teenagers take refuge in the mountains and engage in violent resistance against the invaders.

Military dramatic adventure with a weirdly unrealistic plot. I am not talking about the premise -- think what you will about that -- but the development. As some have noted, the resistance group never grows, which is kind of odd. Nobody comes to join them, and they, in turn, never make an effort to contact other groups. It is really hilarious. It is not a well made film, in the sense that, apart from action scenes, it lacks dramatic and scenic elaboration. At times, characters just stand there, like living dolls or something. At other times, they engage in trite dialogue. All that being said, it is not a worthless film. If there is one American with a minimum of historical conscience, he will see in this film a mirror image of what they did to South Vietnam. The only difference is that Vietnam happened, and this did not.

Rating: 30 (up from 23)

Pleasantville (1998)

Second viewing; first viewing with original audio; previously viewed on April 2, 2002.

Brother and sister of opposite temperaments are transported into a 50s TV show set in a small town where people live very sanitized lives. They are inserted into that fictional universe by taking the place of two pre-existing characters in that show. They bring with them their own worldview, which causes a local revolution spanning natural events and human behavior. This is signalled by a gradual onset of color into that hitherto black-and-white world.

This is an idiotic film which spawned a critical response which is no less than fascinating as a window into how people's minds work. They clearly saw things which were not in the movie, but were their own preconceptions about the movie. On its Wikipedia page, there is a section about its reception; a curious fact is that Reason smartly noticed that the film was "misunderstood", but then went on to present a slightly less absurd but equally imaginary notion that the film "contrasts the faux '50s of our TV-fueled nostalgia with the social ferment that was actually taking place while those sanitized shows first aired"; in fact, the film does not "contrast" those things because it simply does not go that deep into any social issue. Entertainment Weekly was more accurate: "Pleasantville is ultramodern and beautiful. But technical elegance and fine performances mask the shallowness of a story as simpleminded as the '50s TV to which it condescends". I think "condescends" is the key word here. In its arrogance, Pleasantville forgets that its own "modern" world is just as, or even more, sanitized than the fictional version it depicts. In Pleasantville's world, 90s teenagers have very active sex lives, but are never shown getting pregnant, or concerning themselves with contraception or STDs. As a final note, the wink to "no coloreds" signs is merely opportunistic and means absolutely nothing; by the way, I do not remember having seen a single black person in this film, either in the 90s-set sections or in the 50s-set ones.

Rating: 29 (down from 35)

Sphere (1998)

Second viewing, first one integrally with original audio; first viewed on September 14, 2007.

A group of experts in several fields are requested by the U.S. government to gather at a place in the middle of the ocean where the debris of a strange object was found. It turns out to be a spacecraft. Their mission is to discover its origin and contents.

Derivative science fiction with a by-the-numbers plot. Here is my previous blog post:

*quote*
Synopsis: A group of scientists is summoned to investigate a strange ship found
in the bottom of the ocean.

Appraisal (spoilers): The theme of wishes coming true in a secluded place has
been tackled with in Lem's Solaris (and in two films from that novel). The
approach here is different, this film is a thriller. But the result is very lame
throughout, really painful to watch, totally unsatisfying from the
science-fiction angle, and ridiculous from the dramatic one.

Note: I watched most of it with Portuguese dubbing.
*unquote*

This time I did not find it as painful to watch as I had during my previous viewing. It has some minor value as a pastime.

Rating: 33 (up from 10)

A Grande Vedete (1958)

Janete is an aging revue performer who does not realize she is no longer a big star. Her manager nurtures her illusion by providing fake admirers for her. A struggling writer has written a play which he intends for his ballerina fiancée to star on, and tries to persuade Janete to produce it and play a secondary role. She mistakes his approach for a romantic one, and retributes. To complicate things further, she decides to play the lead role.

This film is an odd combination of farcical and pathetic elements, with musical numbers thrown in for good measure. One could argue that it falls short both in the dramatic and comic aspects, but the musical numbers are above the average for Brazilian films of that period.

Rating: 31

O Barbeiro que Se Vira (1957)

Based on the play The Barber of Seville, by Pierre Beaumarchais, written in 1773.

*spoilers*
Rosinha, an orphan, loves Leonardo, but Clementino, who is her stepfather and tutor, does not consent to their marriage because he wants her to marry Basílio, her piano teacher. Unbeknownst to her, Clementino has made a financial agreement with Basílio through which the former will get most of Rosinha's fortune in the event of her marriage with Basílio. The town barber, who is also dentist, pharmacist and veterinary, dislikes Clementino and feels for poor Rosinha, whom he tries to help. When Leonardo is arrested for a theft which was really committed by Basílio, the barber dresses as Rosinha's seamstress and, after releasing Leonardo from jail, heads to Clementino's house; Leonardo goes along, dressed as a female assistant to the seamstress.  Inside the house, they reach Rosinha and try to think of a way to prevent her wedding from taking place.
*end of spoilers*

Musical comedy with more plot than laughs. The comic star is a former circus clown who repeats here some of the shticks which became his trademarks in his previous career. He is not a great comic, but his performance is serviceable. The musical numbers are not very memorable either, but they too are serviceable.

Rating: 31

Jekyll and Hyde... Together Again (1982)

Based on the novella Strange Case of Dr Jekyll and Mr Hyde, by Robert Louis Stevenson, first published in 1886.

Dr Jekyll announces that he will retire from surgical practice to devote his time to pharmacological research. The hospital owner wants him to perform one last surgery on an elderly millionaire. Jekyll accidentally inhales some chemical products during an experiment, and suffers a physical transformation.

This is a very bad film, and yet a curious one when taken as an experiment whose creative process seems to mirror its subject matter. It adopts a no-holds-barred, anything-goes approach to comedy, never shying away from bad taste or, for that matter, any kind of unpleasantness. Its four writers, one of whom is the director, have done decent stuff elsewhere. In other words, they all have respectable Jekyll careers and this was their Hyde moment.

Rating: 3

Home Fries (1998)

Second viewing; first viewing with original audio; previously viewed on June 18, 2002.

*possible spoilers below*
Dorian and his brother Angus are goaded by their mother to give their stepfather a scare on account of his ongoing extramarital affair. Both being pilots, they decide to use a helicopter from their military station to accomplish that goal. Things get out of control, though, what with their target's heart condition. To further complicate matters, they realize that their conversation inside the helicopter leaked to the radio devices used by the workers at a nearby fast food restaurant. Angus asks Dorian to infiltrate the restaurant as an employee, and investigate whether anyone there wised up to the meaning of the leaked conversation. Dorian complies. He befriends pregnant waitress Sally, unaware at first that she is the woman with whom his stepfather was having an affair.

The above is a very imaginative premise for a movie. The real problem with it, however, is that the development is not on the same level of imagination as the premise. Said development consists mainly in family fights and on contrived plot devices through which characters realize stuff about other characters. And of course there is also a romantic relationship which is not fully convincing, but then again they never are, either in film or in reality.

Rating: 56 (down from 63)

I Walk Alone (1947)

After serving a 14 year prison sentence, Frankie seeks out Noll, his former partner in bootlegging. Noll now runs a fancy nightclub. They had agreed that if one of them got caught, he would be entitled to half of the other's operation after his release. But Noll is not willing to comply to that agreement. Concurrently to that, Noll gets on the wrong side of his girlfriend Kay, a singer at his place, because he is marrying one Mrs. Richardson, allegedly for business reasons. Kay allies with Frankie, to whom she feels attracted. Noll's accountant Dave is disgusted at how badly Noll treated Frankie...

Undistinguished criminal drama, which is passably well made and lets itself be watched without great pains. The 'Frankie' character does not seem very bright. Perhaps the most famous sequence of this movie is when Frankie, along with a few hoodlums he rounded up, demands a share of Noll's business and Noll explains how that would not be possible due to its complex corporate structure. That sequence is interesting, but it does not make much sense, or at least it doesn't to me. One thing is the impossibility to convert a certain asset into money at short notice. But here they seem to be saying that any transfer of ownership is impossible. I find that incomprehensible. I was considerably confused also by how Frankie's men switched to Noll's side instantaneously. Another dubious instance is when, after having extracted Noll's confession, Frankie reveals that he was using a pen in his pocket passing up as a weapon. I do not see how that makes the confession any less invalid, but the IMDB user going by the nickname theowinthrop says otherwise (he gets a certain detail wrong, but the general idea is what matters):

*quote*
He does in a manner that today would not pass muster. He entraps Douglas by pretending to have him at the end of a loaded gun, forcing Douglas to make a confession before the police. Douglas, naturally frightened, does admit information that only the criminal involved in the crime would have known, but at the end, he sneers at Lancaster saying that the confession was gotten under duress. But then Lancaster shows his gun was empty. Civil libertarians today would denounce this trick, saying the confession was tainted. In 1948 it was perfectly legal.
*unquote*

At any rate, this is not a remarkable picture and the points I mentioned above are merely samples of a poorly written script. But the film does have atmosphere and good performances.

Rating: 43

Le jeune Karl Marx (2017)

English title: The Young Karl Marx

The German philosopher is sent to Paris to write for a socialist newspaper. He is married to an aristocratic woman whom he turns into a serial procreator. He befriends the son of a wealthy industrialist who revolts against his bourgeois upbringing and environment. Marx tries to inject a little theory into the workers' movement. He is expelled from France and relocates to Brussels.

Very well-behaved and nearly hagiographic biographical drama. I watched it mainly because I wanted to get a feeling of the socialist milieu and of the exact chronology of Marx and Engels' meanderings through Europe. I suppose the film satisfied those particular needs. Although it is hard to extract any real insight from such a conventional and superficial narrative, one might get struck by a perverse pattern which one may observe into our present days: people who cannot afford children have an abundance of them, and those who can afford them opt for not having any. Feminists are strangely silent on Jenny's predicament (they probably would not even admit it may be called that). One of the characters expresses disgust toward 'dirty money' which comes from her husband's family. I found it hard to believe that real people in need would be so simple-minded, and yet the film offers no challenging point of view. I have always considered Marx to be a disagreeable man with very foolish ideas, and this film did nothing to dispel such notion. The production design is first rate.

Rating: 40

Austin Powers: The Spy Who Shagged Me (1999)

Second viewing; first viewing with original audio; previously viewed on September 20, 2002.

Dr. Evil builds a time machine and goes back in time to 1969. He has one of his agents steal Austin's mojo -- a bodily fluid responsible for sex drive -- from Austin's cryogenically stored body. Dr. Evil then carries out a new plan: to place a laser gun on the moon and demand ransom for not destroying Washington, D.C. with it. Austin travels back in time to recover his mojo and foil Dr. Evil's schemes.

Mostly enjoyable comedy. Its framework is a parody of spy movies in particular and the 60s in general. It is structured in comic sketches in a very TV-like manner, heavily character-driven and dialogue-driven. That choice of style puts a definite formulaic limit to the film's humorous scope.

Rating: 52 (unchanged)

Dakota (1945)

John Devlin marries Sandy Poli without the consent of her railroad tycoon father. They elope to Dakota, which in the year of 1871 when this story is set was still federal territory. Sandy has sold one of her father's paintings for $20,000 and convinces her husband to go to Fargo and buy some land, which is bound to value greatly as she knows her father plans to pass a railroad through that town. They meet an obstacle in the person of Jim Bender, who has some crooked schemes of his own. Bender makes the wheat farmers sign a contract with him that will give him all their land in the event of an unsuccessfull harvest.

Western which alternates between the dramatic and the comical. One of the staples of the comicity is the character 'Sandy', who employs deceitful ways to get her way despite her husband's opposition, and whose indiscreet tongue repeatedly puts them in danger. Another is 'Captain Bounce', the owner and conductor of an old riverboat, with which he talks as to a woman. His assistant Nicodemus is always sleeping, adding to his constant aggravation. Nicodemus is responsible for the funniest exchange in the movie:

*quote*
Captain: What's going on over there?
Nicodemus: Why, why you has to ask me that, Captain? Man goes someplace, is a visit. Bunch of men go someplace, is a party. Everybody goes someplace, is a meeting. Whatever is going on over there got to be a meeting, Captain... because that's where they're all at.
*unquote*

Overall, not an especially interesting or funny movie, though.

Rating: 41

I'll Sleep When I'm Dead (2003)

A petty drug dealer is raped and kills himself. His brother, a former gangster who left his hometown to live as a lumberjack, returns and vows to avenge him.

A bad film which would certainly have provided me with abundant hilarity had I not been perfectly deluded throughout its duration that it was a perfectly serious drama. Never mind, who knows in the next incarnation I will watch it in the proper mood.

Rating: 23

How to Marry a Millionaire (1953)

Second viewing; first viewing with original audio; previously viewed between 1983 and 1986.

Based on the plays The Greeks Had a Word for It, by Zoë Akins, first staged in 1930, and Loco, by Dale Eunson and Katherine Albert, first staged in 1946, and in turn based on their short story published in Cosmopolitan in 1945.

*mild spoilers below*
Three working-class women rent a high-class apartment as part of a strategy aimed at catching rich husbands. One of them is a divorcee whom experience has hardened; she is courted by a handsome millionaire whom she repeatedly shuns because she thinks he is poor; she has her eyes instead on an older man, also very rich; the second girl is perhaps even greedier than the first but considerably less intelligent, besides being extremely shortsighted; she meets a man who acts like a millionaire but is diagnosed as a phony by girl number one; the third girl has a sentimental side which she still cannot curb satisfactorily; she has a date with a married man with whom, through a misunderstanding, she goes to spend a weekend on a secluded mountain cottage; a handsome forest ranger has his eyes on her. Concurrently to all that, their rented apartment's owner wants to sneak in and retrieve some documents from the vault for the Internal Revenue Service.

Agreeable comedy. The task of joining two different plays into a single movie may prove a little awkward, but in this case it was done in a passably seamless way. On the other hand, there is a slight feel of anachronism from having a 1930 play adapted for the 1950s. The world had changed since that earlier date; the style of plays also. Women who took part in a World War, either in the factories or abroad taking care of the wounded, were certainly less receptive of the kind of attitude displayed in the movie. Much of the wit here is definitely dated; there is a scene which is particularly flawed, in which the divorcee character remarks "Two more pounds and she could be arrested for bigamy". The intended meaning is not hard to fathom from the words alone. As it appears in the movie, however, it does not work and may puzzle some modern viewers. Perhaps the scene was poorly conceived for clarity; the main problem, though, for audiences used to the likes of Schwarzenegger and Stallone is that the physique of the male actor who plays the character to whom the witticism is referred will not stand out as oversized.

Rating: 61 (unchanged)

Zulu (1964)

First viewing with the original audio; previously viewed dubbed in Portuguese on May 26, 1996.

South Africa, 1879. The Zulu attack a small detachment around a British field hospital. There are 150 soldiers to defend the hospital site from 4000 Zulus. The detachment leader decides to resist at any cost.

This is an exceptionally well made film which, nevertheless, makes painfully clear the impossibility of mixing History and drama without telling lies. The worst lie in this film is to depict as pacifists respectively the missionary and the surgeon. This creates drama, without which the film would be considered rather monotonous. But real life closed environments produce populations with uniform worldviews. It is rather absurd to assume that pacifists could thrive in a war environment. They wouldn't want to be there in the first place. And you can check Wikipedia and confirm that indeed they lied about this. Another pathetic lie is the Zulu salute at the end. War is not about bravery and noble feelings. It's just another human affair which has its own rules and which throughout the centuries has molded the human brain and given it the capacity of hatred and violence. But, again, that would not make for emotional drama, so... This criticism should not imply that this film does not have many qualities and is all fantasy. The military aspect is, to all appearances, very realistic. And it makes for an entertaining spectacle.

Rating: 57 (up from 50)

Family Plot (1976)

Second viewing; first viewed between 1983 and 1986.

Phony psychic Blanche, assisted by her cab driver boyfriend George, is engaged in milking gullible women for their money. Blanche expects to collect a fee for finding a rich woman's nephew who was given for adoption as an infant. But it so happens that said nephew is a jeweller who, with the assistance of his wife Fran, kidnaps important persons and collects the ransoms in diamonds.

Suspense thriller with a comedic tone. It is a very organized movie, with a cleverly thought-out script, precisely rendered into images, but with few particularly memorable sequences (the out-of-control car, perhaps?). The acting is more or less uniformly good. False assumptions and beliefs based on false appearances are underlying motifs of the narrative.

Rating: 58 (up from 41)

Guys and Dolls (1955)

Second viewing; previously viewed between 1983 and 1986.

Based on Damon Runyon's short stories The Idyll of Miss Sarah Brown, Blood Pressure, Pick the Winner, and perhaps others, first published in 1932.

When one watches too many films from a certain era, he is bound to start noticing how some plotlines get repeated over and over, to the point that one asks oneself: is it lack of inspiration or sheer obsession? The premise of betting in association with seduction is one of those; recently I reviewed a movie with a similar plotline, and provided a list of forerunner works.

My review of G.I. Blues

Guys and Dolls is a pleasant enough spectacle. It does get a bit on the tiresome side, eventually. The depiction of the underworld is funny, and completely devoid of violence. It is hard to believe any outlaw environment would work like that, but I don't know, after all those were other times. The songs are adequate, but, in my opinion, seldom more than that. I am not a great fan of the Broadway musical concept, anyway.

Rating: 60 (down from 69)

Let's Dance (1950)

Donald and Kitty are a dancing duo working in wartime entertainment for soldiers. Donald wants to marry Kitty, but she marries a rich guy instead. She becomes a widow with a son. She does not get along with her late husband's mother. There is a conflict over the child's custody.

Tedious, poorly written musical. The only slightly original touch is a protagonist who does not really like to dance; he prefers the stock market. He is completely incompetent as an investor, though; he later advises a rich woman, who is equally clueless, financially speaking. And since we are speaking of class, the underlying assumption of the plot is: rich people bad, poor people good. But they are careful enought to frame it as a merely individual thing. They want to captivate the audience, who is predominantly poor; they definitely do not want to start a revolution. You see, the people who made the film are not exactly poor. Of course, sometimes an extremely shrewd viewer will connect the dots and ask: if every movie has rich people as bad, am I to conclude that all rich people are bad? Those viewers are in the minority and, yes, will have to be dealt with. Off screen! The songs and dances are nothing special.

Rating: 31

Class (1983)

The film is about an upper middle-class student named Jonathan and his adventures in prep school, from his very first day there. He shares a room with a student from a very traditional and wealthy family. The center of the drama is Jonathan's relationship with an older woman whom he meets during one of his escapades into town. This adventure turns out to be dramatic indeed, for reasons which will become clear if you watch the movie or read spoiler-infested sites like Wikipedia.

Mostly a teenage school movie with the usual pranks and sexual jokes, but there is an underlying theme which is implied by the double-meaning title. The question is whether one's position in society is on a par with one's real inner qualities. The film examines the issue by showing a clearly dysfunctional family. The father is a laissez-faire enthusiast except when it comes to tariffs ("How you gonna compete with the foreigners?") -- that is exactly Trump's doctrine, incidentally. The mother is unfaithful and an alcoholic -- the film implies that it is not her fault (but further scenes excusing her behavior were cut). The film is a little vague about main character Jonathan. I guess he is upper middle class because I gather it takes money to buy an SAT's results, but the fact that he is very impressed with his roommate's estate seems to be evidence that he is not all that rich. Oh well, perhaps this film was not that well thought out. As I said, just another teenage movie, and not one of the better ones.

Rating: 35

Hello Down There (1969)

This film's IMDB  page provides an adequate summary for it: "A marine scientist volunteers to have his family live in a prototype underwater home to prove it's practical."

The satirical elements (rock music, computers, corporate greed) arguably make for the best parts of the movie. There are some well-made underwater adventure sequences which are mildly entertaining. The inside of the underwater house has some nice visuals. All in all, nothing special, but nothing terrible either.

Rating: 42

Traktoristy (1939)

English title: Tractor Drivers

Klim is a demobilized soldier who decides to stay at a collective farm, working as a tractor mechanic. He falls in love with a fellow worker, but she has an agreement with another man to pretend they are engaged, and he mistakes it for a real engagement. He is made the leader of an all-male tractor driver unit, which engage in a productivity contest with the all-female unit. With the war looming on the horizon, they all must prepare to move from tractors to tanks.

Artistically and intellectually poor propaganda film, which was part of the pre-war effort in the USSR. André Gide said that "it is with good intentions that one makes bad literature", and it would probably apply just as well to other arts, except that saying that Stalin was full of good intentions is controversial.

Rating: 17

The Dark Knight (2008)

A bank robbery is committed by a gang led by a man known as The Joker. An examination of a few remaining money bills reveals to the police that it was a Mob bank. The police now have the names of all banks used by the Mob, and raid them. A Chinese businessman named Lau, acting as a Mob accountant, has, however, moved all the money to a secure place. A vigilante variously known as Batman or The Batman, who acts in tacit agreement with the police, travels to Hong Kong to seize Mr. Lau and deliver him to the American authorities. A new District Attorney named Dent works on Lau to persuade him to inform on his Mob associates. Dent is a rising star and is on the verge of cleaning the City from the Mob. After a few more plot turns, The Joker is hired by the Mob to kill The Batman.

This film is ranked fourth in IMDB's best movies of all time according to user votes. I confess to not having enjoyed it all that much. I suspect that the filmmaker or filmmakers' design was to produce a filmic equivalent to its protagonist's subjective experience from inside his armor. That would explain why the plot feels so overcrowded, and so does every frame, and why the narrative seems to move in such a jerky and heavy-handed manner. As numerous viewers have noticed, the plot is full of holes, and yet there is a semblance of deadly seriousness and an almost maniacal attention to detail. The topic of vigilantism versus the rule of law is discussed in superficial terms. The film has psychological and thematical aspects akin to those found in the popular Saw franchise, initiated in 2004. Those aspects are mostly related to moral quandaries which are artificially imposed on the characters, and which occasionally reproduce game-theoretical scenarios. The ending is an inversion of the premise for the short story Theme of the Traitor and the Hero, by Jorge Luis Borges, which was first published in 1944 and inspired the film The Spider's Stratagem. This literary parallel has not escaped a few attentive viewers before me, as in the following internet text:

Traitor and Hero, Borges and Nolan

Rating: 45

A Carrocinha (1955)

At a small town, the mayor hires a dog catcher and instructs him to collect and impound every dog in town, regardless of them having an owner. That mayor is a henpecked husband who is forced by his wife to share the conjugal bed with the family dog. At first the dog catcher does not carry out his assignment successfully, because the dog owners protest. He gets other transport assignments for a while. One day he meets the daughter of a small farmer and, after a short courting time, proposes marriage to her. But marriage requires money, which he does not have; that forces him to agree to an even gruesomer task than his initial one. Will he go through with it?

This is structured as an allegory, but ends in a conventionally comic fashion. There is an identification between the man in charge of the atrocities and his would-be victims; in other words, he has a canine personality. The motivation for the mayor's anti-dog crusade is left vague: it is supposed to be a ruse intended as a justification for the capture of his wife's dog; but perhaps it is also an outlet for his universal hatred of dogs. In one of the musical numbers, starring the leading actor as singer, there is a curious scene which would probably raise a riot if made today: two black women stand cheek-to-cheek with him while he is not paying attention to them. He initially displays pleasure with their contact, but after he looks at them he displays repulse, then  pushes them away and pulls two other women, both white, towards him.

Rating: 35

V shest chasov vechera posle voyny (1944)

English titles: Six P.M.; Six O'Clock in the Evening After the War

Two soldiers are serving in the same artillery unit. They are best friends and share everything. One day they receive a morale-boosting card from some Kindergarten children with their teacher, inviting them to visit when they can. They find the schoolteacher very attractive in the photo. They all soon meet, and one of the guys begins a war romance with the schoolteacher. The couple set up a rendezvouz in Moscow, as per the movie's title. Through all of the war's twists of fate, will they be able to keep it?

Slightly off-putting in its unwavering intensity, yet fascinating as a historical document, this is a musical drama having World War II as backdrop, and obviously intended for consumption by the very men and women who were fighting it. You will not find in it much to stimulate your intellect, but I defy you not to be moved by its ending.

Rating: 31

Vesna (1947)

English title: Spring

A film studio intends to do a film based on the life and works of a scientist who is developing a solar energy system. They put an ad out in search of lookalikes for that scientist. A dancer-actress performing in stage musicals applies for the job. When her boss refuses to release her from her contract, she looks up the scientist and asks her to fill in for her when the film rehearsal schedule conflicts with her theatrical appointments.

As the person nicknamed Shezan points out in a review on this movie's IMDB page:

*quote*
"Vesna" (Spring) is a cross between "Ninotchka" (mannish Soviet career woman discovers silliness and sophistication) and "The Prince and the Pauper" - Shatrova, the singer-actress, exchanges roles with Nikitina, the renowned scientist whom she's supposed to portray in a lightweight movie, and each woman (both played by Lyubov Orlova, a real Soviet film star who's not especially glamorous but plenty talented) finds love in the other's universe.
*unquote*

Ninotchka was a critique of Communism. Since this is a film made in a communist country, it was expected that they would somehow deflect all critical discourse away from Communism. And that is exactly what happens. In Vesna, they replace Communism with Science, and Capitalism with Art. In a way, it is a response to Ninotchka, and an attempt of rebuttal of it. They try to show that love of life and a love life are not dependent on particular political systems, yet it may be influenced by personal temperament and the professional environment. It is worth pointing out that both films have female protagonists; it is as if they were saying that women cannot get too serious without losing some of their humanity (but men are somehow immune to that). All this may sound very interesting, but the truth is that this is not an especially well-written movie. It starts out well enough, but soon gets repetitive and strangely uneventful at some parts. The musical numbers are lavishly executed, but the odd thing is that they don't relate in any way to the story and add nothing to it.

Rating: 34

Vozvrashchenie Vasiliya Bortnikova (1953)

English titles: Vasili's Return; The Return of Vasili Bortnikov

A man returns home from the war to find his wife married to another man. The new husband steps aside and the old one resumes his life beside her and their two kids. He cannot shake his jealous feelings, though. He is made president of a kolkhoz -- a collective farm -- which is facing problems of productivity deriving mainly from the malfunctioning of tractors. An engineer is summoned to find the root of the problem.

This is an example of Soviet Socialist Realism. There is a didactic function which the movie sets itself to meet. One of the angles is the reconstruction of a fractured home. Another one deals with the inner workings of a collective farm. Several portions of the film are quite technical and may put some viewers to sleep. There are different moral lessons for the respective conjugal and farming subplots. In the former case, one recommends frankness and equilibrium in overcoming emotional problems; in the latter one, one is taught that seemingly minuscule errors may cause huge problems.

Rating: 41

Maraviglioso Boccaccio (2015)

English title: Wondrous Boccaccio

Based on stories from the Decameron, by Giovanni Boccacio, first published around 1350.

In 1348, Florence is hit hard with the plague. A few youngsters (3 men and 7 women) decide to take refuge at a nearby country estate. During their stay there they pass the time by telling stories to one another. The action shifts between them and the stories they tell, which are the following: (1) a young married woman has the plague. Her family have her transported to a retired place, and while on the road her condition worsens. A man who is in love with her is following her carriage. (2) At an art studio, two painters decide to play a prank on a third one. They pretend they know of a certain stone which makes people invisible. (3) A young widow goes back to live with her doting father. The latter has a young metalsmith friend who lives near him. (4) At a nun's convent, a young nun is caught with a man in her bed. The other nuns summon the mother superior. (5) A young man has an unrequited  love for a married woman. He comes to lose all his possessions, except one house and his pet falcon. The woman's husband dies; she goes to spend one summer near where the young man lives. Her only son befriends the young man and becomes attached to his falcon. The child becomes very ill.

Agreeable adaptation, with lovely cinematography and overall competent mise-en-scène. It is hard to say what went into the filmmakers' minds when they selected those particular 5 stories, but there is a subtle unifying theme to them, namely how appearances cast a veil on reality and induce one into error. This theme is evident enough in all the stories except perhaps number (3), but I think one may find it there also, in the disclosing of a dark side to a father's apparently benign feelings.

Rating: 60