REVIEW: Solaris (1972) vs. Solaris (2002)

Solaris

Director: Andrei Tarkovsky

Year 1972

Solaris is a hypnotic Russian science fiction film brought to us by the legendary director Andrei Tarkovsky. This amazing masterpiece weaves a story about a man named Kris Kelvin, played by a haunted Donatas Banionis, who is assigned to replace a scientist onboard a space station that is orbiting and monitoring the oceans of a strange and mysterious planet. The planet seems to be emitting some form of intelligence that is able to manifest physical objects by prodding the minds of the men onboard the space station, making for some interesting and terrifying outcomes in a secluded place where your mind can play tricks with you. This film is beautifully shot and it revels in its surreal imagery.

Kelvin, lost in a sea of memories.

There are some interesting choices that the director applies to the overall presentation of the film. At random times, specified specifically by the director's well crafted hands, the color images switch over to a crisp black and white stock, bringing about an entirely different feel for the scene that it is applied to. These moments are usually reserved to better highlight a certain situation and bring our attention to a particular mood that the character is going through. It is an interesting choice and one that makes Solaris that much more strange and unique among its Sci-Fi brethren.

A hauntingly peaceful image that thrives in black and white.

Unlike other science fiction tales, Solaris focuses on a more personal story, staying close inside the mind of its main character and delving into his private relationships and secret fears. It's entrancing to follow, and through this mind set, a part of us is now with Kelvin as he journeys into unknown territories. We learn about Kelvin's past love named Hari, played by the most saddest women in the world Natalya Bondarchuk, who died 7 years ago in the film and these memories of her still haunt him to this day.

Cheer up Hari, you're gonna find the golden

ticket and earn a seat on the space station.

The images of space and the space station are all done in a practical style and they look amazing. I've always loved the way model work was used so much in these early science fiction films. There's just something concrete and real about them that computer graphics still haven't found a way to master yet. The view of the space station as Kelvin slowly makes his approach and docks his spaceship, is beautifully paced and sets the mood up perfectly as we enter into a world not like our own. This entire scene has a magical touch that conditions us for what's to come.

A great practical model of the space station.

Inside the space station, there's an abundant array of 70's style design that floods the eyes with its simplicity and sterile form. The sets are so plain, yet they have so much character in them, that it's really a great display at what the art department was able to do with this film. The locations inside the station are all diverse with the living quarters feeling completely different from the hallways and laboratories. I would say that the station itself is a character all of its own, providing great exposition for the camera to take in.

What a wonderfully weird room.

I enjoyed the incorporation of futuristic tech that the director subtly applied throughout the film. Nothing was in your face, but rather tucked into the background to serve as a functioning object of this world. The best science fiction films are the ones that treat the technology of the world as a practical tool that can be used and appear to exist as it is. Many of these future techs seem functional and born from the world that the film is set in, like the large screen where Kelvin views his predecessors diaries. This video screen not only seems functional and real, but it also provides an amazing visual that the director can use to promote his stunningly visual style. Tarkovsky does a wonderful job of melding all of these things together, making a living breathing world full of functionality and believability.

After viewing the scientists log, Kelvin

popped in a movie and vegged out.

Not only are the sets, model work, and technology done to perfection, but the story is quite entrancing and mentally intriguing. The idea of a planet being aware of its surroundings, almost suggesting that it is in fact an alien life form able to manifest ones darkest and most personal thoughts, is such an outstanding concept. This idea is never squandered by the filmmakers as they delve deep into a humanistic view of how we would deal with an encounter of such unusual measure. Kelvin is rocked by his manifestation, who comes in the image of his long dead wife. He struggles with comprehending how this is even possible and at first he is greeted by fear, even trying to send his wife's false image out into space only to have her reappear only moments later in his living quarters.

The first appearance of Hari arrives in a beautiful fashion.

After spending some time with his manifestation of Hari, he begins to grow accustom to it. He's been without his wife for 7 years and having her back now is like a dream come to life. Kelvin slowly starts to prefer this alternate reality to the real world, seeing that in the real world he doesn't have the companionship that he had with Hari when she was alive. He falls under the spell of the manifestation and denies the fact that she is not real and just something that sprung from inside his mind. This concept is surrealistically tackled by Tarkovsky and the way he handles the initial meetings of Kelvin to his manifestation are quite remarkable. The idea of meeting someone that you've loved for the first time is rather perplexing and the director knowingly brings this feeling to the film and uses it for all it's worth. You almost feel as if you are lost in a dream, as nothing ever feels truly real, but for Kelvin's character it's real enough. 

Kelvin struggles to come to terms with what he is seeing.

As the film progresses and the communication with the ocean planet continues, we are shown shots of the planet's surface and notice that each time we are given one, that the planet is changing and moving. Each visual we get of the liquid surface is more turbulent then the next, begging the question, is this constantly rising tension in the surface structure safe and are there any ill effects from extended contact with this alien like being? The severity of the situation is apparent as our director projects those fears into our characters as they struggle to coexist with their apparitions and find some kind of peace.

The expansive oceans of the mysterious planet.

Of course, peace is hard to come by when two separate life forms begin meeting for the first time. There is a great many cases of trial and error, as Kelvin begins to understand the limitations of his manifestation and the slow learning curve that it has. At first it can't stand to be out of his sight, resorting to bashing through doors in order to be near him. Then realizing that the manifestation is just that, a manifestation, it decides that it will end its existence, giving over to many questions of if this is in fact an alien life form that Kelvin is communicating with or if it is a creation of this life form, meant to make peace between the two cultures. These questions are smart and deep and that's just what you get from this film. It's a great platform for ideas to be passed around and theories to be quantified.

Is this manifestation alive or not? You be the judge.

As Kelvin slips into nightmare scenarios and then wakes to be comforted by a sweet dream like apparition, we are thrown with him into this wild ride, not knowing if reality has ever been present in this film. He's confronted by so many things that he had once kept locked up in his mind and are now running rampant in physical form, that it's amazing that he hasn't snapped long before the credits begin to role. The journey he is on is a spiritual one and possibly a test by this unseen alien force that proceeds to conjure these manifestations to pry into our knowledge and test our integrity.

The disorientation of this film is felt by all of the characters.

If there's one thing that this film excels in it's creating a story that is so ambiguous in nature yet so specific in its intentions that it literally boggles the mind. We are meant to question the existence of the manifestation and wonder on the validity of the planet's intelligence. Nothing is spelled out in this film and I for one think that it's better for it. This film thrives in a spiritual sense and it should be different for each viewer to determine what is real and what is of the mind. I think this is a very special way to handle such a strong concept and frankly its the only way to go for this film. Even in the beginning of the film, we are placed into a world that never fully felt tangible, always lost in a cloudy like dream. The pacing is so patient and the visuals so vivid that we're disconnected from any kind of reality right off the bat, so I think that it's perfect for the film to leave you in a constant state of questions without concrete answers. This very idea is what makes Solaris so intriguing and captivating.

Tarkovsky can make some breathtaking images.

Solaris is a film that is more of an experience then a linear narrative. It probes deep into the human psyche and asks the question if we can handle all that we truly desire. Can we accept the unfamiliar and embrace the indefinite proof that we do not know all that is out there in the universe. After trudging through the long and pain staking journey to find ourselves, will we still be intact both mentally and physically, or will the strains of bending our mind around something we just can't quite understand be the result of our ultimate demise.

This is what makes Solaris great. This is what makes it a masterpiece of science fiction and of cinema in general. It brings these concepts to the table and allows us to pry into the idea of finding ourselves through the films mirroring journey of understanding. We can only get from the movie, what we're willing to put into it and that is an amazing thing to provide to an audience that thirsts for new ideas and innovative concepts. This film is recommended to anyone that enjoys abstract cinema of the science fiction variety.

Solaris (2002)

Director: Steven Soderbergh

Year 2002

Solaris, directed by Steven Soderbergh, is an immensely captivating film that borrows heavily from the original Solaris' plot, but streamlines it for a more cohesive narrative that moves along at a brisk pace while keeping true to the nature of Tarkovsky's masterpiece.

The title role goes to George Clooney, as he brings the same grim and silent internal struggle that Donatas brought to his role of Kris Kelvin in the 1972 film. In this version, Chris Kelvin the psychologist, receives a strange message from a friend that is on board the Solaris. He tells him to join him on the space station after strange events begin to occur resulting in the death of their commander.

George Clooney as Chris Kelvin aka Sad Bastard.

One of the benefits of updating a film from the 70's is infusing it with the latest and greatest in computer special effects. Luckily, Soderbergh doesn't let this idea alone drive him in making this film, and he applies these new effects with great love and care, only applying them in the subtlest ways. The effects work is breathtaking to say the least and it works perfectly for this new updated and slick looking version of an original and amazing film. These effects really bring the space exploration to life and the space station and pivotal planet look just gorgeous. I still prefer the original and its practical use of models, but this is a beautiful rendition of an already astounding scene.

The station and surrounding space look great in this update.

Along with the update on effects, we are given a modern day look with a slightly futuristic accent for the technology. Like the original though, none of these future technological marvels are plastered all over the screen taking your attention away from the story at hand. Everything is infused into the world that we are being shown and it all seems natural and in place, giving it all a lived in feel. Soderbergh did an excellent job of staying true to the concepts that made the original such an enthralling film. It may be sleek and glossy as all hell, but its got the true nature of the original and that's good enough for me.

George wearing his thunder dome helmet in style.

I also love the casting of Jeremy Davies as Snow, one of the scientists on board the Solaris. He's such an amazingly estranged actor and can play such a curiously weird character, that this film so desperately thrives on displaying. I've immensely enjoyed his parts on LOST and Ravenous and his disturbingly accurate portrayal of Charles Manson in the film Helter Skelter. In Solaris, he gets to thrive doing what he does best, portraying an off kilter scientists that makes you wonder, what's this guy on? I think the addition of his character in the film, breathes new life into the overall feel of the movie, and it made me care a little bit more for the other existing members of the Solaris crew.

You kooky bastard you.

We are also given another manifestation for Kelvin to interact with in the character of Rheya, played by the doe eyed Natascha McElhone. She was Kelvin's mentally strained wife who killed herself years ago, but is now freaking him out and making him question his sanity. We are given some great moments from the original, when Kelvin tricks his wife to get into an escape pod, jettisoning her into space only to reappear moments later. Natascha's portrayal of a women convinced that she is real and not a manifestation of some planet, is quite compelling and unsettlingly sincere. She does such an amazing job just acting with her expressive eyes. The woman is an outstanding actress and she really shines in this emotional and personal piece.

Here's looking at you kid.

Soderbergh captures some beautiful moments and exquisitely framed shots in this film. The look is so artistically sound and expertly delivered, that you can't help but think that this is one of the best looking remakes to come out in a long while. Even though he doesn't keep the same pace as the original, with its long graceful takes, he still manages to slow the flow of the film to a standard that still melds well with the current generation of fast paced films. The narrative is always pushed forward and we always feel like we are making new ground and headed to a definite conclusion.

This film is chock full of fantastic imagery.

A choice that the director makes that differs from the original film, is the decision to incorporate flashbacks to better flesh out the relationships between Kelvin and his long dead wife. We get to see the happy years along with the steady decline of Rheya's mental stability. I rather enjoyed this little addition to the fabulous formula, and I felt myself caring personally for the characters more then I did in the original story. This is a welcomed addition and one that I think really works in bringing the characters into a more sympathetic light.

The manifestation of Rheya insists that she is the real thing.

Concepts and differences aside, the cast really does do an astonishing job with their parts and they bring a sense of urgency to their roles that give a pulse to their perspectives and ground the film in reality. Tarkovsky's 1972 film always felt like the characters were in a dreamlike state, giving heavy doses of the surreal, while Soderbergh's seems set in the real world with real consequences all driven by moral dilemmas that feel relatable. I really don't know which I prefer over the other, but each film accurately accomplishes what they set out to do and both work perfectly in there respective categories.

A shot of the planet surface as it changes.

Much like Kelvin in the original, George Clooney's character has to come to terms with his manifestation. He resists at first, but eventually comes to care for the apparition of his dead wife, feeling that he has a chance now to make up for all of that lost time since her death. Clooney does a great job with his character and you sympathize with his plight of reliving past memories and the opening of past wounds. You can see the excruciating emotions that he's going through as he has to relive the thoughts of losing her all over again. I haven't really been impressed with any of Clooney's movies post his explosive portrayal of Seth Gecko in From Dusk Till Dawn, but here he shows me why he is a top actor in his profession. He delivers a performance with such heart and honesty, that you really have to stand up and commend his efforts.

Clooney takes a moment to think things over.

The mystery of the manifestations and the overall plot of the film is not as mystically portrayed as it is in the original, but that doesn't mean that it isn't intriguing. It just isn't focused upon as much as the characters interactions with each other are in this film. I guess you could say the superb acting in this version distracts you away from the bigger picture of things and allows you to be pulled in to the drama that occurs between the characters and their personal lives. I was far more interested by Clooney's portrayal of Kelvin and his interactions with his wife, then I was with the original Kelvin and his.

That doesn't mean that Donatas didn't do an amazing job with his character because he did, but in my opinion the 2002 version is more character driven and Soderbergh allows his characters to express themselves more giving us a more personal portrayal of their lives. I also think the flashbacks help, because we are offered a window into their past lives before they were secluded from society aboard the Solaris. I do enjoy knowing a bit more about Kelvin and seeing him interact with people outside of the space station. It's a welcomed addition to the remake, that doesn't take anything away from the original concept. It only adds a new flavor and gives us a side of Kelvin that we weren't privileged to before.

Ok Clooney, I think you've had enough

time to think things over. Get back to work.

The 2002 version of Solaris is an enjoyable film that lays out the same concepts of the original, but scales it down a bit for an Americanized version of a beloved Russian classic. I love both movies and I think what both Soderbergh and Tarkovsky have done with their films is amazing. Tarkovsky gives us a surreal look into a science fiction film that presents itself in a poetic and ambiguously metaphorical vision, while Soderbergh goes the more straight forward route, giving us a sleek and beautiful updated science fiction film, that stays true to the integrity of the original while pushing the narrative along by the help of its dramatic and humanized cast.

Solaris (1972)

5 out of 5 stars     A Classic Mind-Trip of a Film That Can Never Be Matched.

Solaris (2002)

4 out of 5 stars     A Beautifully Character Focused Remake.

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!