Cartola’s nose is disfigured from having started and yet not finishing plastic surgery. The early musicians playing samba often led risky lives, drinking heavily, occasionally using drugs, and playing all night. Cartola was a fit, thin, man whose face showed the wear and tear of his life. The film uses many clips of his performances and draws from interviews with him. Later, past middle age, he worked as a servant, although a celebrity. At one point, after early success he left Rio and became a mechanic, raising a family. Financial insecurity was a constant for Cartola, even after he was recognized. The first samba school was Deixa Falar (Let Them Speak) and was organized by Cartola. The film traces Cartola’s flamboyant and difficult life from these first performances to the organization of the samba schools, his emergence as a recognized composer, and the dramatic ups and downs of his late career. Me anyway.With direction of Lirio Ferreira and Hilton Lacerda, production of Clelia Bessa, and having in the cast Nelson Sargento, Nelson Motta and Marcos Paulo Simão, the film presents the life of Cartola (Angenor de Oliveira) who was a singer, composer and poet (1909-1980) in chronological order, beginning with the earliest developments of the samba in Rio de Janeiro, Brazil.Ĭartola is a key figure in the growth of the samba – one of the famous developments of Afro-Brazilian music that developed from Portuguese influence in Brazil. Nevertheless, it is an entertaining film that can make you think. This may also be because -as I noted earlier- humor and the seriousness of the problem do not go well together in my opinion. In my opinion, it creates an unbalanced and somewhat forced whole. I am not entirely happy with these choices. It is mainly his “buddy” Tahar Rahim, who now has to provide the necessary ventilation. At the same time, Sy's role is much less funny than in the previous film, although the scene in which Samba warns the flying plane to stop is absolutely precious. In that film, François Cluzet as a handicapped but cheerful aristocrat formed the counterpart to the pranks of Omar Sy, in this film the director opts for that role in the character of Charlotte Gainsbourg for a barren, vacillating bureaucrat on the edge of a nervous breakdown. It's clear that the directors wanted to build on Sy's unprecedented success in Intouchables. I can't imagine what it means to you to have to live as invisibly as possible on the margins of society day and night. On the one hand it is an often funny feel-good movie, but on the other hand I find the problem of illegal immigrants too poignant to treat it so lightly. I have been left with ambivalent feelings about this renewed collaboration between Nakache and Toledano and Omar Sy. Niettemin is het een onderhoudende film, die je toch wel tot nadenken kan stemmen. Dat kan ook komen omdat -zoals ik al eerder opmerkte- humor en de ernst van de problematiek naar mijn gevoel niet goed samengaan. Het zorgt naar mijn mening voor een onevenwichtig en ietwat geforceerd geheel. Ik ben niet onverdeeld gelukkig met deze keuzes. Het is toch vooral zijn “maatje” Tahar Rahim, die nu voor de nodige verluchting moet zorgen. Tegelijkertijd is de rol van Sy veel minder grappig dan in de voorgaande film, al is de scène waarin Samba het voorbijrazende vliegtuig maant om te stoppen zonder meer kostelijk. Vormde in die film François Cluzet als gehandicapte, maar goedlachse aristocraat de tegenhanger voor de grollen van Omar Sy, in deze film kiest de regie voor die rol in het personage van Charlotte Gainsbourg voor een dorre, weifelende bureaucrate op de rand van een zenuwinzinking. Het is wel duidelijk dat de regisseurs hebben willen voortborduren op het ongekende succes van Sy in Intouchables. Ik kan me er geen voorstelling van maken wat het voor je betekent om dag en nacht zo onzichtbaar mogelijk in de marge van de samenleving te moeten leven. Enerzijds is het een vaak grappige feel-good movie, maar anderzijds vind ik de problematiek van illegale immigranten te schrijnend om daar zo luchtig mee om te gaan. Aan deze hernieuwde samenwerking van Nakache en Toledano met Omar Sy heb ik ambivalente gevoelens overgehouden.
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