VIDEO REVIEW: Rio Bravo

VIDEO REVIEW: The Living Coffin

VIDEO REVIEW: House on Haunted Hill

VIDEO REVIEW: Battle In Outer Space

VIDEO REVIEW: The Killer Shrews

VIDEO REVIEW: Black Orpheus

REVIEW: Battle in Outer Space

Battle in Outer Space
Director: Ishiro Honda
Year 1959

Aliens got you down? You're not the only one. In Ishiro Honda's epic alien invasion flick, the Earth is threatened by a race of beings who want nothing more then to take our planet from us and leave us to extinction. This Toho Production is spectacular, bringing together an expansive story of the Earth's survival, while focusing the conflict on the brave men and women who fought tooth and nail to repel its invaders.

The production and story may be as serious as a heart attack, but there's a lot of fun to be had with this movie. Simply put, it's the era in which it was produced that allows for this devastating story to have an edge of fun. The retro clothing and production design is so stylistically cool that you'll find yourself getting lost in the vibrant lunacy of it all. It's nothing that surpasses some of the most gaudy and fanciful productions of the time, but there's something special about the Japanese science fiction efforts that came out of Toho during this time period.

The miniature work and special effects also lend to that sense of retro wonder and wishful thinking that this is what the future would have been like. To the simple yet sleek designs of the alien and human spaceships, to the handcrafted look of the space-stations, and to the silly but highly effective approach of the moon tracker vehicles, the film has a consistent appearance that overshadows its aged effects and instead paints a complete picture of a world created by practical effects and painstaking efforts.

This era of sci-fi movie making has always astounded and impressed me, not because of the realistic effects and awe inspiring possibility of it all, but rather the combination of the overall complete package that the filmmakers are able to gather together. Nothing stands out on its own as wholly believable, but put them together and you have one cohesive and believable world within the context and confines of the screen. While these techniques work as a whole, the retro sensibility and time frame that the film is held in doesn't hurt the production either. I love me some retro sci-fi and can't get enough of the stylistic nature of it all, so I allow things like visible strings holding up space saucers and noticeable miniature work pass from my mind while I soak up all the vintage goodness.

Though the effects might be dated by some, the story is something of an obscure masterpiece, showcasing the entire world coming together for the common good of the planet in order to press back our invading foes. The story is somewhat inspirational, making the viewer believe that if we were put to the test, we would drop our differences and fight for the good of the planet. It's sentimental and quite cheesy, but within the world that the filmmakers set up, it just feels right. Die you alien SCUM!

Another strange approach to the material that I found rather refreshing, was the decision to make the alien menace more of a mystery then a full blown effects laden race of creatures. Throughout most of the run time of the film, we are only given representation of these maniacal creatures as flying spaceships and nothing more. We only get a fleeting look at the alien race far into the second half of the film (which ends up being pretty silly) and it's only for a few key moments. The rest of the film is played out much like the beginning half of the movie and that's with anonymous spaceships battling over the Earth's surface.

I really liked this approach because it allows the viewer to focus on the overall message of the invading force instead of fixating on their appearances. For me it made them that much more viscous and heartless, displaying them as an unknown race of creatures rather then individuals with possible stories of their own.

Battle in Outer Space really is a blast and it never ceased to amaze me that this film was as old as it was. It always felt vibrant and the film continuously threw new things at me that I didn't see coming. The concept of aliens using mind control to make earthlings do their bidding was something that really tipped the scale for the film and allowed the fixation on who these aliens were and what they looked like to be put on the back burner. It was the idea that Earth was in eminent danger of being taken over that drove the narrative along and it worked wonders.

To top that off, the stupendous effects work, that by today's standards is somewhat hokey, are breathtaking in their grand scale and ambitious execution. It was delightful to see the various practical effects work and miniature models during a time when these kind of effects were at their pinnacle point in cinematic history. Simply wonderful.

For me, the film was amazing from beginning to end, showcasing all the elements of an alien invasion flick, combined with a retro style that is just a blast to be bombarded with. After the credits rolled, I could think of nothing more appropriate to shout, then..... EARTH.......

Look up in the sky! It's a bird! It's a plane! It's a fucking UFO! RUN!

Hello up there. Take me to your leader.

Get down honey! Get down!

The models are set and ready for takeoff.

You don't look so good buddy.

For some reason the Police Academy theme song is running through my mind.

Well someone looks guilty.

Surely you can't be serious. I am serious... and don't call me Shirley!

Oh my god! We've landed on the Moon!

Styling on the Moon.

Home Sweet Home.

The astronauts go marching one by one. Hurrah! Hurrah!

Now that's a pretty psychedelic Mothership.

Take that you alien bastards!

The flying Oscar Myer Hotdog Mobiles!

We have lift off!

Welcome to the spaceship jungle baby. You're gonna die!

Is everyone in the audience enjoying themselves?

Lady Liberty! Look out!

Oh please let the Tanner family be OK. DJ, Stephanie, Michelle... RUN!

Auntie Em! It's a twister! It's a twister!

You did it Earth. You're safe and sound...... For now.

X-MAS LOOT: 2010

Christmas has come and gone, and thanks to my beautiful wife and daughter, my movie collection is a little bit bigger. I received some pretty top grade flicks in the haul this year and some interesting films that I've still yet to check out. I'll give a quick run down on some of my favorites and then later on in the next couple of weeks I'll be reviewing the ones that really quench my insatiable and warped cinephile mind. I also included a choice image from each of the DVD's so enjoy the randomness of it all and I hope your Christmas was a blast.

Charade

Director: Stanley Donen

Year 1963

This is one of those films that, I hate to say, I've still yet to see. I've heard nothing but great things about the film though and I'm really looking forward to finally checking it out. The movie stars Cary Grant and Audrey Hepburn, two amazing actors, in what is described as a romantic comedy, thriller hybrid. I just finished up with a similar film, Arabesque, where Gregory Peck and Sophia Loren play a faint resemblance to Grant and Hepburn's characters and that movie was highly entertaining so I've got high hopes for this one.

 Now I told you, no more Christmas sweaters.

Fathom

Director: Leslie H. Martinson

Year 1967

I have been blazing my way through the spy genre as of late and have tackled films from Modesty Blaise, to the two Flint films, all the way to some obscure Eurospy films like Fury in Marrakesh and a handful of Agent 077 films, so I'm highly looking forward to checking out the lovely and talented Raquel Welch as she dives into the genre. The film looks like an absolute blast and I can't wait to give it a watch. Welch plays a skydiver named Fathom Harvill who is approached to take on a secret mission of utmost importance. FUN.

 The pilot thinks the view from here is just fine.

Humanoids from the Deep

Director: Barbara Peeters

Year 1980

Ever since I watched the crazy ass finale for this film on TV way back when I was a young lad, I've been dying to catch the whole bloody affair and finally my time has come. The film follows a group of wild and out of control aquatic hooligans as they rape, pillage, and basically massacre an entire population of a small fishing village. Sounds like a good time to me. Doug McClure of The Land That Time Forgot, The People That Time Forgot, At the Earth's Core, and Warlords of the Deep fame, takes top billing as Jim Hill who I only assume takes the fight to those damn dirty humanoid scum. I've enjoyed all of his previous roles, so I'm really looking forward to this one.

 The reactions from seeing grandma get run over by a reindeer.

Icons of Horror Collection

Sam Katzman

The Icons of Horror Collection consist of four movies, The Giant Claw, Creature with the Atom Brain, The Werewolf, and Zombies of Mora Tau. I've only seen The Werewolf and Zombies of Mora Tau from this set and both were pretty great flicks, so I'm looking forward to cracking open the other half of this set.

Creature with the Atom Brain

Director: Edward L. Cahn

Year 1955

Creature with the Atom Brain features the diabolic stylings of an ex-Nazi scientist who lends a friendly hand to an American mobster by providing him with a small army of radio-controlled atomic-powered zombies. Sounds pretty crazy and I have really no idea what to think. I'll just have to watch it to find out, but I really enjoyed Edward L. Cahn's Zombies of Mora Tau, so maybe it will end up being entertaining.

 The touch... the feel... of cotton. The fabric of our lives.

The Giant Claw

Director: Fred F. Sears

Year 1957

The Giant Claw.. Wow.. just from that picture below means an instant watch in my book. I mean where the hell are you going to see something like that in a film nowadays. They just don't make them like this anymore and wether that's a good thing or a bad thing, it doesn't really matter. The Giant Claw stars, you guessed it, a giant claw which happens to be attached to a big, angry ass bird. Again, see pic below. I have a strong feeling I'm going to be smiling a lot throughout this film.

 Holy Shit!

The Werewolf

Director: Fred F. Sears

Year 1956

The Werewolf is actually a really solid addition to the rather large collection of wolf man movies. It follows a similar plot as most in the genre, where a lone man is haunted by an inexplicable and highly dangerous ability that enables him to transform himself into a blood thirsty animal without remorse. Steve Ritch plays the inflicted man who spends most of his time stumbling and bumbling through the woods, as he struggles to come to grips with each murder that he commits. It's a damn good movie with a classy feel that really reminded me of the old Universal Monster flicks. The film's definitely a great addition to the set and it's one of the main reasons I've been itching to add it to my collection.

 Bruce Campbell, you leave that nice wolf man alone!

Zombies of Mora Tau

Director: Edward L. Cahn

Year 1957

I immensely enjoyed Zombies of Mora Tau when I first viewed it a couple of months ago. For some reason it doesn't get much love amongst the cinema circle, but I thoroughly enjoyed its camp flavor and atmospheric nature. The film holds close to its voodoo origins, yet presents the walking dead as cursed sailors who are doomed to guard the wreckage of their ship that has been rumored to harbor a legendary container of diamonds. The film moves along at a brisk pace as a group of intrepid treasure hunters attempt to recover the diamonds, while fending off the slow but menacing advances of the undead crewmen. If you're into zombies, I'd recommend checking it out. It's a fun little film.

 Come here and give me a Christmas hug you old softy.

Return of the Living Dead 3

Director: Brian Yuzna

Year 1993

Zombies! More Zombies! I've been holding off on buying this film for a long while now and it's finally time to take its rightful place next to its brethren, Return of the Living Dead 1 and 2. Not having anything to do with the first two installments, other then containing the same toxic canister that reanimated the dead in the first two movies, the third installment breaks from the more comedic style of the original two and takes a more serious stab at the sub genre. Frankly I love it and I'm glad that they chose to do something different. Glad this baby is finally home where it belongs. Viva La Zombies!

Kind of beating a dead horse when your doing dental work on zombies.

Nirvana

Director: Gabriele Salvatores

Year 1997

Now here's a curious little movie that I'd not heard of until doing some research on different kinds of cyber-punk flicks. Nirvana kept creeping up on my radar, again and again, so I've been dying to get my hands on this film and see it for myself. It stars Christopher Lambert whose career has been all over the damn place, so I really have no idea what to expect from this movie. Lambert has done some pretty great science fiction and genre films like Fortress, Subway, and Highlander, so this could be another one of those cult hits that makes it on one of my favorite lists. Only time will tell, but you might be getting a full blown review if I end up really liking it. If nothing else, the screen shot below is enough to warrant a thumbs up from me.

 Look at all the pretty colors.

OSS 117: Lost in Rio

Director: Michel Hazanavicius

Year 2009

Dear god, is there nothing more perfect then the overall tone of OSS 117: Cairo, Nest of Spies, the first film in hopefully a long run of OSS 117 films. I've been counting the days to Christmas, until I was able to open up my copy of OSS 117: Lost in Rio, the sequel to one of my favorite films of recent memory, because this was the one DVD that I told my wife was a must have for Christmas. Luckily she heard my pleas and granted my wish, because it stands at the ready, next to my DVD player, waiting for the time when I call it to action. I'll definitely be reviewing both OSS 117 films, so stay tuned for that update in the near future.

 What a spectacular view... to a kill. Cue Duran Duran.

Suck

Director: Rob Stefaniuk

Year 2009

Another interesting flick that came out recently, is the cleverly titled Suck. I've been hearing some good things about this film and I kind of went out on a limb when suggesting it as something I wanted for Christmas. I'm sure that I'm going to like it, but I thought the same thing with Repo! The Genetic Opera and that one just didn't float my boat. I probably should give that flick another chance though, because it did have such a vibrant style to it.

Anyways, Suck is about a band that hasn't really made it big yet, that is until one of their members gets mixed up with a vampire and becomes all sexified! Yeah, I said it. Sexified! There's a large mash up of celebrity rocker cameos like Alice Cooper and Henry Rollins, so at least the music influences within the film should be rather interesting to have a listen too. This is another one of those flicks, that if I really dig, will be getting a review in the coming months.

 Malcolm McDowell is checking his list.. and checking it twice.

The Tingler

Director: William Castle

Year 1959

Ah, Tingler. The name just rolls off the tongue. You really can't go wrong with Vincent Price. Everything the man touches is gold and when you add to that already perfect equation, the directorial efforts of the legendary William Castle, well your in for a rather pleasant evening of fright and macabre filled acting. The story is actually pretty interesting, if not insanely out there.

Vincent Price plays a pathologist who comes to the conclusion that the fear that one feels during a scare is caused by a creature that lives inside us. Say whaaaaaaat? From that premise we're catapulted into a series of situations where Vincent Price is determined to provide the proof of this creature and obtain it any way necessary, even if it means MURDER. Like all Vincent Price movies, I can do nothing else but to highly recommend this for any horror movie cinephile.

Vincent Price didn't get what he wanted for Christmas. What a baby.

Well, there you have it. This was just a select handful of my Xmas Loot and hopefully you found something in there that might have peaked your interests and given you a inclination to hop on amazon.com and order it for yourself. Now I'm off to put one of these bad boys into the player and get lost in Christmas bliss. Later for now and Merry Xmas.

REVIEW: Black Orpheus vs. Orfeu

Black Orpheus

Director: Marcel Camus

Year 1959

Black Orpheus is a beautiful and magical film that borrows elements from the Orpheus and Eurydice myth and transports it to the majestic shores of Rio de Janeiro during the wondrous time of Carnaval. This film is a vision to behold and it captures the essence of a time long lost as the age of cinema progressed into its modern form.

We are introduced to our two main character very early on in the film. Eurydice, played by a stunningly classical young woman named Marpessa Dawn, is a young woman fleeing from her home in fear of a stalker and a recurring nightmarish vision. Orfeo, played by a charismatic young man by the name of Breno Mello, is a trolley conductor and musician who has recently been engaged to a beautiful woman named Mira, played by the vivacious Lourdes de Oliveira. One day both Orfeo and Eurydice meet as Eurydice arrives in Rio de Janeiro and a small but simple spark ignites between the two.

Orfeo the trolley conductor as he sees

the beautiful Eurydice for the first time.

The imagery during this city scene as everyone prepares for the coming of Carnaval, is a sight full of visionary pleasures, with the brash and vibrant colors of the city bursting at the seem. The entire feel of this opening scene and the quality of the shots remind me of the cityscapes of San Francisco in Alfred Hitchcock's 1959 film Vertigo. I wonder if director Marcel Camus was at all influenced by Hitchcock's imagery or if it's all just a coincidence. Either way, both films are masterpieces and are examples of classic cinematic films. These brilliant images whisk you away to a world that only seems to exist in the celluloid fantasy of the director's mind.

Eurydice, as she is surrounded by the colors of Carnaval.

As the two get to know each other better, their friendship slowly starts to grow into something much more. The director knows how to frame the gorgeous landscape of Rio de Janeiro and the scenes with our two actors interacting with each other in such a breathtaking setting is an awe inspiring sight, one that cinema was made for. The scenery combined with the blooming of their relationship is a copious vision of exquisite brilliance and one that develops even more as the film progresses.

Their love begins to bloom.

I really can't say enough about the beauty of Rio de Janeiro. Marcel gives us enticing vistas of the surrounding areas that water the mouth and glisten the eyes, begging us to fall prey to its ever alluring sight. We are given glimpses of these heavenly views in between each scene, showing both night and day in this stunning city. Each shot looks stripped from a painting, moving with such grace that it carries you along with the story. Marcel has given us some stunning photography with this film and all of his efforts have paid off.

Just a few of the marvelous shots that Marcel has captured for this film.

Marcel, not being satisfied with giving us a captivating love story of two innocents and placing it in such a wondrous place, brings a darker element into the story. Eurydice's visions of a stalker that has driven her from her home and has now followed her to Rio de Janeiro, are quite haunting. But are they really visions or is there in fact a stranger closing in to seal her fate? She sees a masked man peering from a doorway and it shocks Eurydice cold, seeing the nightmarish image of the skull faced man in this place and time. She fears for her life and knows that death will find her one way or another.

The vision of death as it mocks Eurydice.

Orfeo, feeling compelled to stand guard for anymore unwelcomed visions made flesh, decides to sleep outside of Eurydice's house. Orfeo is worried about Eurydice's visions and fears that he could lose this person that he's just starting to feel a connection with. The sequences with the horror element of the skeletal man is a precursor to what will eventually come in the final closing moments of the film. It is an impending sign of doom for one of our characters and one that rears its ugly head from time to time, to pluck us from this heavenly world of warm sunsets and remind us that all our time in this world will soon come to an end one way or another. It's haunting in its simplicity and effective in its masked form, while the guarding of Eurydice's house by Orfeo is a sign that maybe they can overcome this shadow that has blighted their otherwise peaceful love.

Orfeo guards Eurydice's house from unseen demons.

There's a beautiful scene that happens the next morning, as two young boys believe that Orfeo has the power to make the sun rise by playing music to entice it back into the waking world. It's a sweet moment and one that pacts an emotional punch. The imagery of the boys watching as the sun rises from the ocean horizon, is something to behold. There is so much heart in that scene and so much human spirit, that it seeps through the screen and into our hearts with the warm rays of the rising sun. It's just another one of those magical moments that this film has so many of.

A beautifully magical scene where Orfeo plays music to make the sun rise.

The Carnaval scenes are absolutely pulsing with life and energy as the full wonder of the event is captured with great excess. The spirit of Carnaval washes over the entire screen as you're witness to its brilliance. Both Orfeo and Eurydice attend the event, but Eurydice has to cover her face with a costume so Mira, Orfeo's fiance, won't know her identity. The gentle conspicuous play of Mira's character as she tries to figure out who is under Eurydice's costume is strung out with a curious hand and teases the mystery with a tension that builds until it bursts from the weight of the query.

There's some fantastic imagery that comes with the Brazilian Carnaval.

As Mira's curiosity gets the better of her, she flings back Eurydice's vail and is taken aback once she sees her face. She goes into a wild rage and attempts to kill Eurydice. Eurydice escapes, but only by the help of the very mysterious stalker that has been plaguing her visions. He halts Mira's hand, only to pursue Eurydice on his own terms. This chase sequence, that resembles a masked killer type slasher film, delves deep into the surreal as they take their chase through harsh red light filled factories and green hued accented halls. It's as if we have time traveled to 1963 into a Mario Bava film with its expressive lighting schemes and rich shadows. These vibrant scenes resemble some of Bava's most atmospheric work such as Black Sabbath, The Whip and the Body, and Blood and Black Lace. I wonder if Bava was some how influenced by Black Orpheus and was entranced by the saturated colors of these particular chase scene?

The chase scene emits such haunting imagery.

I was startled by how dynamic this horror element was in the story. It kind of caught me off guard and left me glued to the screen as each brand new color was presented into the frame. It's an engaging visual device that has been used in some of my most beloved italian horrors. Dario Argento went wild with this concept in his 1977 film, Suspiria. It's amazing to see that this Brazilian film could have influenced such diverse directors as Bava and Argento and started a trend that would thrive in the Italian cinema.

An ominous shot of the masked stalker as he watches Eurydice.

If it wasn't for a lack of body count, you could even say that Black Orpheus was the very first slasher film. We have all the elements that it takes to be considered among the genre. We have the young lovely couple as their love is jeopardized by a masked killer. We have these intense scenes with the masked man stalking his victim all with the hauntingly horror like visuals. Could this also have sprung the idea into the minds of Bob Clark, John Carpenter, and again Mario Bava when they went on to make their groundbreaking films Black Christmas, Halloween, and Bay of Blood? If so, this film delves even deeper into forging some of the logistics of the horror genre and has helped establish it in its very own way. 

Orfeo, lost in the red haze of hell as he searches for Eurydice.

Like all myths, Orfeo and Eurydice's love ends in tragedy, but I'll let you put the pieces together for yourself and see how you come to interpret it. It's a very ambiguous conclusion and one that gives the film an extra hint of mystery and builds on the legendary myth. Its story is one of hope, that is shattered by our very nature to be human and to follow our curious tendencies. Whether this is a morality tale or a tale of mourning we are given the impression that love might withstand all things, but in the end it's up to us to decide.

I really enjoyed this captivating journey into two lovers lives as they come to grips with finding each other only to be ripped apart by an unknown destiny. The horror elements of this film are greatly appreciated by this viewer and help drive the conclusion of the film home. If surreal tales of mythic proportions are what move you at the cinema, then I highly suggest that you check this film out as soon as you can. Its magical web of hope and tragedy will spin through your mind long after the abrasive colors of the Carnaval lights have faded.

Orfeu

Director: Carlos Diegues

Year 1999

In this reinvention of Black Orpheus and the myth of Orpheus and Eurydice, we are brought into the modern world full of gangsters and violence and given a heavy dose of a Romeo and Juliet like tragedy that strays away from the magic of the original 1959 film, but builds up its own mythology full of love and death.

 An enchanting opening shot with style to spare.

We are introduced to a handsome young man named Orfeu, played by the talented Toni Garrido, as he strums his guitar in front of a warm morning sunrise. The same delightful concept plays out in this film, with a strong mythology that Orfeu can make the sun rise from playing on his guitar. Opening with this idea really brings us into the fantasy of it all and allows us to be swept up into this modern day fairy tale. Also the imagery of Orfeu playing from his window as the sun rises in the background is simply stunning and is a great addition to the palette of this powerful piece.

Stunning photography that propels us into this fairy tale.

Orfeu is loved by his fellow neighbors that inhabit the Rio Favela, a shanty town in the otherwise beautiful city of Rio de Janeiro. The location is bursting with potential for a story rift with poverty in such a stunning part of the world. This beauty contrasted with the compacted areas of the slums lends a intriguing opportunity for metaphorical comparisons between the two worlds of Orfeu coming from the slums and his heavenly music that lifts itself up above the shackles of the congested and troubled lifestyle below.

Orfeu as he looks out at the rising sun and the dawn of a new day.

The imagery that the Brazilian city of Rio de Janeiro provides is absolutely stunning and director Carlos Diegues uses every last drop of scenery to engulf us with the beauty of the region. Even the shanty town, with its endless sea of houses, looks so alive and alluring, disguising the horrible living conditions and daily struggle that lie underneath its shingle tiled belly.

A view to die for of the city of Rio de Janeiro.

We are then introduced to Euridice, played by a beautiful unknown actress named Patricia Franca. Euridice is a young woman who has just lost her family and is trying to start anew when she meets Orfeu and they begin a tender love affair. Orfeu, at the beginning of the film, is portrayed as a sort of womanizer, but after his meeting with Euridice he seems to change his tune rather quickly and does everything in his power to win her heart. Patricia plays Euridice's character with a sweet innocence that conflicts perfectly with the corrupt tendencies of life in the slums.

Innocence born in the form of Euridice.

There are many dream like images throughout this fantastic fairy tale yarn. The imagery is otherworldly, making us believe that anything is possible in this euphoric story. There are many differences between Black Orpheus and Orfeu. Black Orpheus is definitely the better film, but Orfeu does some wonderful things that make it stand out from its origins and brings many new concepts to the table that actually turns it into an entirely different film. These changes are greatly appreciated and I love the magical tone that this film provides. It's almost an exaggerated visual image of what falling and being in love is like. It's a very spiritual sense that the director has captured and one that is impressionable on the minds of people that still hope that love is what makes the world go round.

A very surreal shot of Euridice floating among the stars.

The music throughout the film is very enjoyable and gives an original flavor to help aid the story on setting itself apart from its predecessor. The samba music that flows through the veins of this film really give it a pulse and bring the story to life. Orfeu's playing also encourages the spirit of the slums as his music travels to every corner of the shanty town, enjoyed by the villagers as they rest under the night sky. There is just something peaceful about many moments in this film, that help you reflect on what you are seeing on the screen.

Orfeu playing some sweet tunes on his guitar.

There is also some imagery that harkens back to the original film of Black Orpheus. We are treated to a great shot of Euridice as she looks at a vigil that emits a colorful red light that brightens her face and resembles the atmospheric conclusion and ultimate demise of Eurydice from the 1959 story. It's both haunting and beautiful in its morbid reflection and a wonderful addition to the film's caliber of scenes.

A parallel look into the comparisons of the 1959 film and the 1999 film.

Every night time scene is proceeded by a beautifully captured morning scene, emphasizing the sublime landscape and strengthening the extravagant idea that Orfeu rises the sun with his music. Each time we see Rio de Janeiro in this lighting, it's a treat, and the vistas are so inviting that we never tire of the different angles of its mountainous terrain.

A beautiful sunrise brought on by Orfeu.

Both Euridice and Orfeu's happy affair is not without its ominous moments. There is much violence in the slums, with gang warfare running rampant. This blight, brought on by the poverty stricken economy of the slums, seeps into every corner of Rio Favela, corrupting the innocent citizens and effecting their lives with dire consequences. Orfeu gets mixed up in this turmoil over an altercation he has with one of the gang leaders named Lucinho, played by an underused Murilo Menicio. The two have a sorted past, and both are polar opposites of each other. Murilo just isn't given enough time in this film to leave a lasting impression, which is quite a shame since he is known in Brazil for making fantastic films like his underrated 2003 film, The Man of the Year. I really must review this film, because it is amazing, but I'm still trying to figure out how I can play region restricted DVDs on my computer in order to get my screen grabs. Damn the system.

Euridice can feel the coming storm.

These moments of ominous foretelling are few and far between, but they leave a lasting impression and imply that something bad will come from this squabble of jealousy and personal neglect. There are also silent threats from Orfeu's jealous ex lovers as they plot to end their happy union. There's no shortage of danger and it seems that the world is against them as they continue on, lost in the oblivion of love as the Carnaval sets into full swing.

The flamboyant festival of Carnaval in the thriving Rio de Janeiro streets.

During Carnaval, Carlos directs these kaleidoscope images with a careful eye, always giving us a new and exciting angle that really shows the scope of the world renowned festival. The energy in the air is thick as the music pounds unto the world, sending the hundreds of colorful costumers to dance with the rhythmic beat of the samba drums. There really isn't anything more livelier then Carnaval and we're given a front row seat courtesy of this talented director.

Not everyone is joining in on the festivities though. A sniper rests on a rooftop across the street, waiting for his chance to take out the pesky Orfeu. He was sent by Lucinho to settle the score and rid himself of anymore interfering inclinations that could keep him from ruling the streets. Will this be Orfeu's last Carnaval?

Superman is finally pushed over the edge.

In all good myths there is a tragedy, and this film really piles the sorrow on in its last few acts. We are given a dramatic scene between Euridice and Lucinho that doesn't end well for our young lover. Unlike in Black Orpheus, we are not given a masked killer as the antagonist, but a drug lord bent on jealousy and high on something other then life. His jealous tendencies brings about the downfall of another and ultimately starts a domino effect that ripples all the way to Orfeu, giving him a choice on whether to keep his moral compass or succumb to the violence that he so valiantly stood against. It's an interesting concept asking the question that if you grow up around violence are you doomed to live a violent life?

Lucinho confronts Euridice in her final moments.

Orfeu and Lucinho stand at the edge of a cliff overlooking the city. Both characters stand on the precipice of making their final decisions in life, one that will determine how they leave this world. The outcome is anything but pure as we are shown a bloody conclusion that condemns Orfeu to his horrible fate as his past conquests come back like the wings of kharma, bringing about his demise.

It's a sad ending, but one that is filled with hope as a new generation is passed the torch in the form of a guitar. Will they come to the same fate as our star crossed lovers, or will they find a way to coexist among the jealousy and violence that festers in the slums of Rio Favela. We are given the hope that they could find away in this turbulent region of the world.

The film Orfeu, is a tremendous accomplishment for the Brazilian director and one that holds its own as it borrows the story from Black Orpheus and manipulates it for its own purposes. I do believe that Black Orpheus is the better film, but what Carlos has achieved with this film is quite impressive and he sets it apart from its original form with great results. The modern setting and fairy tale tone add to the myth of Orpheus and Eurydice and create an intriguing story packed with flashy visuals and heart soothing music. This is definitely recommended for music lovers and anyone that enjoys a good foreign drama with a flare for life and love.

BLACK ORPHEUS

5 out of 5 stars       A Classic Myth Brought to Vibrant Life!

ORFEU

4 out of 5 stars                   An Amazing Modern Fairy Tale!