VIDEO REVIEW: Brazil

VIDEO REVIEW: OSS 117 - Mission For A Killer

VIDEO REVIEW: Black Orpheus

REVIEW: Black Demons

Black Demons

Director: Umberto Lenzi

Year 1991

Black Demons is a low budget zombie film that actually benefits from its low key origins and amateurish acting, resulting in a voodoo-centric tale that relies heavily on its atmosphere and creature effects to carry it along in the most stupendous of ways. Filmed on location in Brazil and directed by cult Italian filmmaker Umberto Lenzi, the movie is a mishmash of genre archetypes, infused with that nasty European horror flair which swept cinemas from the mid 70’s through the late 80’s in a trail of gore and guts. Shocking, surreal and sometimes embarrassing, Black Demons is a unique entry in the zombie genre, one in which missed the boat on the undead craze that was first started when Fulci’s Zombie came onto the scene, but still manages to replicate that movie’s potent atmosphere and creepy aura to great effect.

The film follows three college students, Kevin, Dick, and Jessica, as they travel through Brazil on vacation. Dick wanders off from the rest of the group and gets mixed up in a voodoo ceremony, in which he captures with his audio recorder while partaking in the bizarre ritual. After the ceremony, the group meets up and continues their travels into the country only to end up stranded after having car trouble. Lost in the middle of nowhere with no clue on what to do, the group is unexpectedly visited by a young local couple who offer to have them stay at their plantation. Once at the plantation, Dick decides to explore an old graveyard on the grounds, where he, in ritualistic fashion, begins playing his audio recording from the ceremony. Mysteriously, Dick’s recording brings six dead slaves to life, men who were executed almost 150 years ago during a slave rebellion. Armed with scythes, pitchforks, and knives, the six zombie slaves seek revenge for their deaths and deem the inhabitants of the plantation as the culprits to their plight.

When it comes to the acting of the film, Black Demons is sorely lacking and pathetically dry, but that doesn’t mean that there still isn’t a huge amount of entertainment to garner from this enthusiastic zombie effort. Joe Balogh takes on the role of the curious traveler named Dick, the one who accidentally or purposely raises the dead and sets this whole bloody affair into motion. As an amateur actor, Balogh does a good enough job, and even though you’ll find yourself laughing throughout his performance, there still is a great deal of fun to be had with his over the top descent into madness. Sonia Curtis plays the role of Jessica, Dick’s sister, and she ends up being the heroine of the piece. Always in danger and falling into every cliché in the book, Curtis does a commendable job with the material she’s given and I appreciate the effort that she gives on screen. Rounding out the group of travelers is Keith Van Hoven who plays the role of Kevin, Jessica’s boyfriend. In more than one occasion, Keith’s purpose in the film is to move the story along as he takes a more physical and proactive approach in the story. Out of all of the actors of the film, I’d say that his performance is the most solid.

Of course we can’t have a zombie movie without at least a few more people to be zombie chow and the cast is filled out by the presence of Philip Murray as Jose, Juliana Teixeira as Sonia, and Maria Alves as Maria the housekeeper and voodoo practitioner. Each of these lesser characters are a hoot, especially the awkward performance by the fro wonder himself, Murray, and the scared shitless portrayal of Maria Alves. Maria’s character is a one note pony as she stays in a constant state of shock throughout the entire proceedings, only veering off course a handful of times to dabble in some voodoo for the good of the group. Her character’s connections with witchcraft is one of the film’s most interesting sort of twists, because she often at times gets herself into hot water with the rest of the cast as they think that she is behind the raising of the dead, even though she is trying to protect them. All in all, there is no one performance that really stands out from the bunch as outstanding, but that doesn’t mean that there isn’t a great deal of fun to be had with the over the top acting that we are given in this film.

Now where the film really thrives is in its remarkable atmosphere and unsettling creature make-up. With the film being centralized within a secluded plantation and its surrounding properties, there is a tremendous opportunity for the movie to dwell on not just the visual aspects of the location, but on the storied events of the grounds past. With the back story of the slave rebellion some 150 years ago, the movie gives the location an unsavory creepiness that saturates the proceedings from the get go and only cultivates as the undead corpses begin to rise and terrorize our lead characters. Another thing about the plantation location that is so damn effective is that the place is like a tomb. Even though there are six people living inside its walls, the estate always seems void of life, especially during the night time scenes. Add on top of that the aged look of the place and you’ve got yourself an ideal setting for a fabulously grim zombie film.

The zombie effects are also extremely disturbing as the filmmakers make an extra effort in realizing these undead mounds of flesh as believable walking corpses. They are bloody, disgusting, and oozing with a chilly presence that perfectly mimics death as it slowly stalks its prey. One of my favorite visual looks for a zombie is used in this film, and that would be the glazed over white eyes of the antagonists. Void of life and distressing to look at, these zombies are top notch and of the utmost of quality. As I mentioned above in my introduction, the movie may be of meager origins but the inclusion of both the plantation as the central location and the outstanding visual effects of the zombies, really makes this entry in the zombie genre stand out amongst its counterparts. Forget the atrocious acting and strange set-up and just relish in the otherworldly nature of the film as it tells its little tale of the macabre.

Black Demons is a sadly under-appreciated zombie flick, as it hit the scene just a tad bit too late to make an impact on the once thriving genre efforts of George Romero, Lucio Fulci, Bruno Mattei, and even Lamberto Bava’s zombie-centric series of films. Filmed in that same dire sense and drenched in a nasty disposition that Italian horror was so known for in its hay day, the production is a real treat for those that are looking to extend their zombie love into new and less glamorous territory. Umberto Lenzi does an excellent job with this little zombie yarn, and you can see that his love for the zombie genre hasn’t faltered since his last undead effort some 11 years ago in the excellent Nightmare City.

If you set aside the passable acting and just go along for the ride, Black Demons proves that it has the atmospheric punch that is needed to bring about an unsettling tale filled with gory moments, spooky locales, and expertly crafted and imaginative vengeful dead. In my opinion, that is all that is really needed in order to capture the spirit of this niche genre. It’s not a very complicated film category, but nailing that tone and capturing that look can sometimes take out even the most well-intentioned of film directors. Luckily for us, Umberto Lenzi has constructed a gem with this one. If you’re looking for a zombie film outside of the regular Romero/Fulci ilk, then give this one a go. You might just find something that tickles your fancy, your zombie fancy that is. Black Demons is an…..

The group wasn't too impressed with Jose's fabulous fro.

Someone put the coins on Maria's eyes cause she sure don't believe what she is seeing.

Only you can prevent graveyard fires.

High-five man! I'm free!

Quit making love to that voodoo doll and get back to work!

Sir you look stupendous!

Listen, the fabulous fro has got to go Jose.

I've got my eye on you.

Even this sneaky zombie is distracted by the fabulous fro.

I told you I'm turning seven this year! You forgot a candle you ass!

Maria just got one hell of a zombie beat-down.

Not only was Jose's fabulous fro distracting, but he sipped water like an asshole.

Quit hanging around and get back to work!

Look at my camel toe when I'm talking to you!

I warned you about the fabulous fro, but you wouldn't listen!

Ok Keith, just scan the area with the flashlight, but don't look directly at the camera.
Jesus Keith! What the shit did I just say!

HERE'S DICKY!

REVIEW: The Man of the Year

The Man of the Year
Director: Jose Henrique Fonseca
Year 2003

The Man of the Year is an excellent Brazilian film that exudes an undeniable and excruciatingly original tale about an ordinary man accidentally thrust into the spotlight and made a local hero among his people. The film stars a young man living in Rio named Maiquel, played by the charismatic Murilo Benicio, who has recently lost a bet and must dye his hair blonde. This seemingly harmless change brings about a cataclysmic shift that propels his life into unparalleled territories of unprecedented fame.

Maiquel before gaining his blonde locks.

This seemingly inconsequential event, provides Maiquel with the confidence to ask out a hairdresser by the name of Cledir, played by a beautiful Claudia Abreu, a woman that he has been pining over for the last year. In a self reflecting monologue, Maiquel describes the feeling of looking in the mirror and seeing a different person, one that he doesn't recognize. He feels that he is finally free from the person that he used to be.  This newfound personality thrusts him into action when asking the hairdresser out and it will further propel him in many other situations throughout the film. This domino effect drives the narrative forward and into some precarious and entertaining positions.

Checking out the new doo in the rearview. Slick man, real slick.

As the two go on their date that night, another random act occurs courtesy of his newfound hair color. A young local thug decides to tease Maiquel on his new stylistic change, sending Maiquel into a heated mindset that can only be quenched by killing this same thug later that night. After committing this act of murder he begins to receive gifts and condolences of admiration from the local community. Even the police congratulate him on a job well done, for cleaning up the streets and ridding the neighborhood of a prominent and proper scumbag, leaving Maiquel to ponder over his newly acquired fame.

No one makes fun of his hair... no one!

I really love how this one single change can bring about such an abundant change in Maiquel's life and personality. He would never have taken action before dyeing his hair in either asking Cledir out or killing the undesirable thug, yet this notion that he has been changed both outwardly as well as in his inner spirit is an interesting notion and one that really makes you think about what you would do, given this new look on life. Another interesting thing is how all of these consequences for his actions begin cropping up as the movie moves along. His life changes so rapidly and sometimes into the direction that he wasn't intending or ever really wanted. Murilo does an excellent job of portraying this reluctant hero in all of his confidently driven actions and through his contemplative doubt. Maiquel is a complicated character and Murilo tackles him with great skill and finesse.

So let me get this straight, you kill a guy and

you get tons of presents. Where do I sign up.

The look and feel of Rio is natural and ingrained in color from its blue skied days to its neon filled nights, there is never a dull composition to be had. The director knows what he's going for and presents it in such a lovely way. I was surprised at how vibrant this film looked and wasn't expecting such a visual treat when first suggested this film and it really is a treat. The sleek look of the nightlife in Rio is so enthralling and the colors that can be seen from Maiquel's apartment is like a viewfinder from a kaleidoscope, with the colors just bouncing off each other in pleasing rays. The Man of the Year is simply a beautiful film that really must be seen for its colorful flavor and appetite for striking visuals. 

The nightlife in Rio is bathed in color.

There's also some unneeded attention that Maiquel gets from killing that thug. He is greeted one day at his doorstep by a fifteen year old girl named Erica, played by an outstanding Natalia Lage, that says that the thug that Maiquel had killed was taking care of her so now he will have to take care of her. Without thinking straight, Maiquel takes her under his wing and lets her stay in his apartment. This later brings more consequences when Cledir and Maiquel become pregnant and marry. The tension begins to mount between the two women as each tries to vie for the attention of Maiquel.

She's just fifteen years old, leave her alone, they say.

I've been noticing with the more Brazilian movies that I view, that there's a sort of vibrant lifestyle that energizes itself onto the screen in Brazilian cinema and begins to take a life of its own from the celluloid frame. Every film I've witnessed has had this unmistakable energy and magic to it, I really can't explain it. From Black Orpheus, to Orfeu, and to City of God, they all have this humanly radiant style to their story and visuals that are just so appealing on film and shine when presented in this format. The Man of the Year is a perfect example of this unexplainable flare that Brazilian cinema has brought into the world and I'll definitely be searching for more films that have this same lust for life that the already mentioned films have in abundance.

The shot of Maiquel's apartment balcony is breathtaking.

As Maiquel falls deeper into his alter persona, we notice that he starts to revel in his reckless abandon of being a sort of lone ranger of the neighborhood. He sets out to put an end to the corruption and is commissioned by a few wealthy recipients in helping organize a clean sweep of the criminal organizations. You can tell that Maiquel loves being a somebody and having a purpose and even when he starts falling into some corrupt situations himself, you feel for him because you know that he's becoming lost in the persona and encumbered by this new lifestyle which bombards him from every angle and threatens to consume him.

Maiquel's got a gun.

His life gets even more complicated when his new wife Cledir, cooks his pet pig for his birthday dinner party. You can tell that this is the point where the already reluctant Maiquel has finally had enough with marriage life and how his persona has led him to this point. He begins to break as an individual and starts to rely on his alternate persona to get him out of this situation. The story unfolds nicely to set up this demise of the pig, which was a gift from the neighborhood for his first murder of the young thug in the beginning of the film. His apprehensiveness to keep the pig, later grew into a love of the strange animal, and eventual acceptance of the creature as part of the family. The cooking of this family member by Cledir will not go without consequences, and you can really see the pain and the lost expression in Maiquel's eyes as he stares at his friend on the dinner table. It's kind of heartbreaking and a nice side of Maiquel that we hadn't gotten to see yet in this film.

Maiquel's birthday was shit. He lost his best

friend and didn't even get a Nintendo 64.

The devastating event of having his best friend cooked alive, really pushes Maiquel into another world, filled with adultery, deception, and finally murder. He finds comfort in Erica and consoles in her over the loss of his pig. They eventually fall into a relationship of their own and plot the demise of Cledir. Though when the murder actually happens it is more a spring of the moment type act, perpetrated by Maiquel as tempers flare between him and Cledir over the discovery of his affair with Erica. The sorted love triangle ends in a confusing mess and a sloppy murder that begs the question, can this local hero get away with the murder of his own wife. These situations seem deemed for an afternoon soap opera, but the direction and style that is infused into this film by the director, lifts it up from those drab surroundings and gives it a fresh edge and new voice that leaves those typical stories in the dust.

Maiquel finds himself in a strange situation.

As Maiquel tries to hide the evidence of his wife's murder and both juggle the demands of being a local hero, we feel the great weight that rides on his shoulders. He came into this situation just wanting to do what was right and make a change, but is now recanting on those decisions and is just wishing for a normal life, like the one he had before all of this happened. It's hard to not feel sorry for Maiquel's misfortunes, because we were there with him at the beginning and it's a testament to what the director has accomplished in this character. He was able to present a murderer as a sympathetic every man that just got way over his head and couldn't handle the new found fame that was thrust upon him. He isn't necessarily a bad person, but he is constantly doing bad things. Now in any other story like this one we would dub Maiquel's character as an anti-hero, but because he has such charisma and is intentionally just trying to do the right thing, he becomes something much more complex and far more interesting then a simple anti-hero.

You didn't think you'd get through The Man of the Year

without seeing a Man of the Year ceremony did you?

There is a turning point for Maiquel's character in which he realizes that he has gone astray and that certain people have been manipulating his impressionable persona and fame. He decides to right all of these wrongs by extinguishing these last few strands of his alter ego life, and then falling back into his original life, the one that he so longed to return too.  It's at this point that we see that Maiquel's character has made a complete circle back to who he originally was, yet he is still different in the fact that he made it through all of those experiences and learned a good deal about who he is and how the world reacts to you when you seem to have it all. This learning experience shines through Murilo Benicio's performance and you can see that he is a changed man by the way he carries himself in these closing moments. It's a credit to his craft and a great display of what he can accomplish by showing the wears and tears of his characters personality. Even though Maiquel is back to being the person he originally was, he has grown and changed and Murilo presents this metamorphosis with great class and skill.

Maiquel, righting all the wrong that he has committed.

To visually bring the change home to the viewer, Maiquel's character goes back to his original hair color, leaving the untamed blonde hair in the past and moving forward to his new future. With both Murilo's acting and the physical transformation of his hair color, we are given a poignant end to a film that tackled many issues and emotions with a vibrant sense of awe and skillful story telling.

Maiquel, feeling like his old self, yet strangely different.

The Man of the Year is a wonderful and visually pleasing journey through the life of one man as his life is turned upside down from one simple decision that ultimately changes his life forever. The ideas and themes presented in this film are all expertly executed by the director, and nothing is spared as he weaves this tale of a hero that makes all of the wrong moves while lamenting on all the decisions he has made in his alternate life. The concept of power and how it corrupts and how absolute power corrupts absolutely is displayed beautifully across this piece. The sudden fame that our character is given leads him down a path of destruction effecting everyone in his life. It is a lesson that is laid out with extreme care and given to us in a most vibrant package. I highly recommend this film for anyone who's interested in seeing one of the most outstanding films to come out of Brazil and for people who love their films to have a certain visual impact that drives the narrative along at an unrelenting pace.

4 out of 5 stars     A Powerful Brazilian Film With Matching Visuals.

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!