Rodrigo_Amaro Reviews

Acoustic Signatures: The Sound Design of 'Arrival' (2017 Video)

Making the unique sounds of "Arrival"

[8/10 · 10 May 2024]

I remember the 2017's Oscars (and who could forget after the "Moonlight" envelope incident?) when sound editor Sylvain Bellemare was announced as winner for his work in "Arrival" and thinking why such an odd selection as I remembered that film as being quite silent. The change of perception came after rewatching the film; seeing this special; and also the current trend of what the Academy is choosing for Best Sound winners (now only one category instead of mixing and editing categories). The trend is going for the minimalist use where the sound is no longer about just new techniques but mostly about how it can tell a story and how it important is its use or non-use ("Sound of Metal", "Zone of Interest" are some recent examples).

Bellemare and others share the concept behind the aliens sounds, the creation of them, and how the creatures have a particular sound design that it's unlike any other sci-fi created up until then where's usually used effects on words, monstrous sounds. There's also room for discussion on other sounds used, such as the dialogues revolving on computers, skype and phones. It's an interesting material for anyone who has an interest on working with movie sounds or have a great curiosity about Denis Villeneuve's film and that particular aspect of the film. 8/10.

The Razor's Edge (1984)

A lukewarm adaptation of Maugham's classic novel

[6/10 · 10 May 2024]

"The Razor's Edge" is a story about loss, gain and a man's soulful search for enlightning and the truth and beauty of life during the early days of the 20th century. It's the story of Larry Darell (Bill Murray, trying some dramatic chops for the first time), a WWI veteran who after a traumatic event decides to abandon a future marriage with a wealthy girl (Catherine Hicks) and a potential lucrative job working with his best mate (James Keach) in order to find a meaning to his life. He ventures around the world, working on hard labors, and also gets some valuable lessons on the mountains of Tibet. But he always keep coming back to his friends, ex-girlfriend and falls in love with Sophie (Theresa Russell), a problematic drunk with a tragic past, but someone whom Larry had some feelings before their difficult lives.

The treatment given to the classic novel by W. Somerset Maugham didn't translate all that well in this particular version (the 1946 film is amazing, and much to my surprise, very faithful) as it goes for excessive melodrama and a sense of humor that shouldn't been there at all. John Byrum's film, co-written with Murray, knows how to connect audiences with Larry as he is charming, eloquent and there's an almost innocence to this apparently lost man who needs to find some life significance after surviving the brutality of war and later on dealing with a prospect life like any other man had in the roaring twenties: a tedious job that pays, wife and kids, the guiding book of an apparent successful life. He wants more, though doesn't know exactly what it is but he keeps on trying, maybe he'll get "it" some day. The problem of Murray's Larry is the clownish acts, as if trying to conquer the viewer and not the characters he's interacting with.

But like many other films with such powerful themes, it's one of the cases where audiences either get the ideas of it all, with some form of embracing what it's trying to show or connect with its spiritual themes, or it's a total rejection of everything. I liked it, but it's one of those cases where I had to "brace myself for impact" as there are problems with the acting and the story presentation which condensates a lot of things (Maugham's character is inexistent and most of his moments were given to Larry), and added a few things that should be left for the viewer to imagine (the war battleground). But annoys the most are the girls in Larry's life, as the little charm they should have is non-existent and their acting didn't help. Denholm Elliott is always a class act to watch, and his Elliott Templeton is a little amusing to watch (I'd like to see Murray playing this character on a remake, he'd be perfect).

The book was a pleasure to read and it's a nice suggestion to anyone who couldn't understand the film. It's an okay film despite its complications.

It treated fairly with the existentialism of its leading character opposed with the other characters and their little lives. The glamourous art-direction, the great use of locations as opposed with the fabricated soundstages of 1946 version are all splendourous, alligned with the over-the-top and slightly effective score by Jack Nitzsche, one rally feels as if living between 1910's and 1930's. There's great values to show, learn and maybe live by but one can easily feel that there's something missing, some complexity that could be better developed. 6/10.

The Escape (I) (2017)

The existential challenges of life

[9/10 · 10 May 2024]

Existentialism and sci-fi at its best; pity it's only a short film - but a great one when it comes to its reflections. In "The Escape", a middle-aged man (Julian Sands) is offered by a mysterious man (Art Malik) the chance of getting whatever he desires. Whatever comes to mind or heart and he can achieve it but it comes with a price: he must give everything he owns and another more significant "payment" that I don't wanna disclose, gonna leave that mystery in the air since it's way too reflective and when audiences hear about that other thing, they'll find something new, intriguing and worthy of debate if you'd trade that in order to get everything you want.

Lambert (Sands character) begins to reflect of what he has to leave behind besides possessions: he's a married man going through some crisis with his wife (Olivia Williams), a young daughter going to college and a young son, who like him, wants to avoid responsabilities, and there's some work crisis as well. Obviously that he wants a way out of the complexities and obstacles of modern day life, get detached from everything and everyone and disappear to a dream life, or dream world, whatever that means. At times, we are like Lambert but to what cost we could buy a new reality, if ever possible.

Many mysteries in the air, little solutions and it's up to each viewer reflect on what's shown and reflect on what one would do if given such possibility. It's nice that we don't know exactly what Lambert wanted as we can put ourselves in his shoes and figure out some great escape from whatever we want to avoid in order to feel fulfilled (call it X and that's where the man was sent). The audiences who likes challenges, questions and almost to none answers will greatly satisfied with everything presented, and the performances by the cast as well (Malik was my favorite, he steals the show as the "seller of a better future"). And if there's a wish I could make, it would be for a feature film of this story as there are countless of possibilities to be explored, the drama of it all is poignant and the sci-fi elements are intelligent without explaining too much. 9/10.

Phil Collins: Both Sides of the Story (1993 Music Video)

Another fine moment for the duo Collins & Yukich

[8/10 · 10 May 2024]

Another successful partnership between Phil Collins and director James Yukich, the video for "Both Sides of the Story" offers a curious view of elements and scenarios that follows the exact things and scenes as expressed by Collins song. Between his performance behind a dark set, Collins appears on the background of situations such as a couple arguing due to an infidelity as their children watch everything; a man being robbed on the street; and there's also a civil war scenario; the lyrics capture all of that while reflecting that to any conflict and any situation there's a side to all parts, and we try to find the reasoning behind crimes, discussions, wars, disagreements and urban violence.

It's a song that I wasn't much familiar with, and I got acquainted with it after finding out that a portion of the lyrics was taken from Lawrence Kasdan's "Grand Canyon" (a movie that I love to death) - it's a near verbatim quotation of the thief about having a gun and the respect he gets with it. I simply love it when musicians get inspiration from the movies, either with a line, a description and in this case it truly works with effect while the robbery scenario is presented by having many robbers and many victims playing on the same scenario, created with a spin of the camera which changes their faces - great editing here.

Great song and video, though the latter isn't so much of a memorable experience if compared to many others done by the duo Collins/Yukich. 8/10.

A Tour of the Inferno: Revisiting 'Platoon' (2001 Video)

A great revisit to a classic war film

[9/10 · 9 May 2024]

If there's a movie that truly deserves a revisit now and then "Platoon" is such a movie. In fact, it's thanks to that film that I always find some time to rewatch movies that failed to appeal to me on first view. I admit it, I couldn't stand it for a brief period as it stayed on what I call "movie jail" (It stayed there for four years, then I got a rewatch and I loved it). I've been rewatching now and again and its message resonates deeper as each view and each year goes by, now added with this making of interviewing Oliver Stone, Willem Dafoe, Charlie Sheen, Tom Berenger and others sharing their stories about the filming and how it basically launched their careers.

A pretty good special that contains all the needed elements for that kind of material, proving all the making of stories that one reads on trivia section of the film; the arrival of cast and crew in Philippines exactly when Imelda Marcos regime was deposed; the intense boot camp training that made the actors feel what it's like to be a soldier on combat; the usual stuff in between humored talks. The surprises come from Stone's memories and comparison with his personal experiences on Vietnam; and a meeting with Vietnam veterans where he previewed a rough cut of the movie, a meeting arranged by his technical advisor/actor Captain Dale Dye.

It's great to watch, as it's one of the best specials of its kind that I ever seen, but there isn't much behind the scenes footage - another documentary was made years later after this one that contains that (to be seen) and most of what's shown are archive footage from the Vietnam War period (a less experienced viewer might confuse as it being taken from "Platoon"; and the soundtrack was way too loud during interviews and that hurt a couple of interviews.

The special provides many great insights on one the most acclaimed films of all time and fans of the movie will have a delightful and memorable time with it. 9/10.

Fito Páez: Track Track (1987 Music Video)

Dark, somber, beautiful. Fito at his best!

[9/10 · 8 May 2024]

Like many, I got to know the song thanks to Paralmas do Sucesso version in the early 1990's and also their clip. But when I heard this version many years later and noticed how dark it was, compared with the cover, something intrigued me, conquered me and I end up hearing the full album by Fito Páez, "Ciudade de pobres corazones". How is it possible that one particular song with same lyrics (different in language but nearly similar) could have different outcomes, meaning, ways of expression through its sound? If Paralamas brings a soulful, hopeful and enthusiastic shout to life, with Fito we have a cry and a despair where everything feels wrong and "Dá-me tu amor, solo tu amor" ("Give me your love, only your love") goes as a desperate plea for love amidst the problems, one last fire burning: to find hope. Yet, despite the differences, both version work in a spectacular manner.

I don't need to go about how that dark and edgy 1987 album came out and the horrible tragedy that happened in Fito Páez life that brought to a major shift in his sounds and lyrics. But please, do listen to that album, it's amazing. The promotional video made for "Track-Track" is very basic while selling a man trapped into an insane world. It goes in a repetitive manner where Páez appears performing the song while clutching himself on a fence; him holding a strecher on a mental institution with a corridor that seems to go on forever, on top of that stretche he appears on a TV (that previous image), and only at the end we have a break from those patterns as we see the man performing with his band.

As a great mind said "Make your pain and turn it into art" and I think Fito did that, he really immersed himself with everything going around him, pain, agony and rage and threw it all into a mix that reflected his hurt, possibly questioning his own sanity. If the imagery of it all looks confusing, chaotic, ugly and very dark with its blue tones everywhere, there's reasons for it. He fights with the fence while singing, and he carries the stretcher, at times helped and other times all by himself to the point of vomiting in one shot, and it repeats over and over while small changes. The inner chaos of living in a violent place that repeats itself time and again, in a suffocating manner, that the few sane minds can only think, cry and plea for just a little love, something to make them going on living. This video captures the spirit of its lyrics, the feeling of it all without borrowing its elements from it. It's perfect, and the song is quite unique, memorable, hearfelt and the sounds of everything conquer very easily. Latin America at its greatest. 9/10.

Spandau Ballet: Communication (1983 Music Video)

Fun music video

[8/10 · 7 May 2024]

This almost obscure track by Spandau Ballet got a pretty decent and fun music video to watch with its confusing yet appealing storyline revolving on private investigation, some mystery and action, and lots of chases. "Communication" should have a wider audience, not sure if it had one back in the day except for the band's fans after their smash-hit "True".

A fun video, acted by the band members, with some classic touches from crime/thriller films of the period. But, what sells the most is the catchy song, a very underrated song that escaped the radar of many listeners out there. One of those songs that are easy to like. 8/10.

Pixies: Here Comes Your Man (1989 Music Video)

A successful and memorable video

[9/10 · 6 May 2024]

The creepiness of its presentation, editing and effects are also part of the charm of "Here Comes Your Man" video, which obviously includes one of Pixies greatest hits with its colorful sounds and lyrics. Not sure how it stands out today, but growing up and getting to know the band with this crazed idea was really something some years ago.

A band performance with mismatching sounds, as Black Francis does not sing the song and he just moves his mouth forming a big "OH", or band members appearing with enlarged foreheads and faces, moving in a slow manner at times - all creepy but funny as well. It doesn't have anything to do with the randomness of its lyrics, but the unusual factor works with brilliance. And if the song got its success (Pixies biggest), is thanks to a colorful and amusing video like this.

A true classic from the late 1980's, and the word classic is not used lightly. It was that big of a deal (no pun intended on Kim). 9/10.

Chvrches: Over (2023 Music Video)

Catchy and enjoyable song

[8/10 · 5 May 2024]

If I ever have to be greatful for internet or music app advertisings then I have to be very thankful as one of those annyoing ads brought me to this fun-sounding song. Around 2023 and a certain app had a repetitive promo with the chorus of Chvrches "Over" but without telling who was performing the song. I tracked it down, and somehow I got hooked by it because of the promo, as the song was catchy. What came after hearing it fully and seeing this video was a song that not only has some 1980's style (of which I love) but also some reflective lyrics as well. It goes with a sad and tired intent with its wording but the sound, the beat of everything makes it up for a pretty song to dance.

The video is alright giving the appearance of being without cuts, with the group performing on a strange scenario that from the upper view it makes it look as if they're small figures on a keyboard. Nice drone usage too that gathered some nice visuals.

I'm glad about the ads - though I hate its excessive repetition. But, without it, I'd probably wouldn't know about the music or it'd take ages to finally get to know it. 8/10.

The Cure: Pictures of You (1990 Music Video)

Powerful song, unique video

[8/10 · 4 May 2024]

For a long time I was intrigued on why the video for "Pictures of You" had to go in such a strange fashion of elements. Here, The Cure performs the track on a snowy hill that goes from daylight to night-time with snow falling harder as hours go by. Besides their act, at times a man with a camera films them all, and there's a person wearing a white bear costume, moving around in the background.

Like me, you may ask, what does has anything to with a heartbreaking song about nearly faded memories of a lost relationship? Well, it doesn't have anything to do with it, and in fact, it doesn't even sell the song all that greatly except that you can almost find some connection. Since the concept moves from the idea of a band playing together to more playful times, and when the camera pans back to reveal the natural space and instead you can spot a designed set, it relates with the "I almost believe that the pictures are real" bit from the lyrics, and snow in description and etc. I love its atmosphere, its quiet moments and how it was shot by Tim Pope with a series of Super8 cameras.

Crazy to think that it got away with its 8 minutes long, as back then videos had a "ruling" in order to get some airplay and a few ones succeed it greatly, but it's such a powerful song that whatever video could made it'd still cause an impact. Another remarkable song from "Disintegration", the perfect Cure album, in my book. 8/10.

The Cure: Fascination Street (1989 Music Video)

Another good performance by The Cure

[7/10 · 3 May 2024]

A powerful song from the spectacular "Disintegration", the video for "Fascination Street" moves in mysterious dark ways, like many of the produced videos to promote the album. A routine performance from the group with a dominating static, reduced camera movements and Robert Smith is featured prominintely in close-up shots, singing the song. Controled used of lights in the small set that makes us imagine the song title as there are signs and a phone booth in the background. Nothing wrong about it, except that we don't have some artistic presentation or something that sticks in your mind like many previous Cure clips. But that bassline kills me everytime. 7/10.

Pixies: Dig for Fire/Allison (1990 Music Video)

Unusual video medley but okay

[6/10 · 3 May 2024]

A little unusual seeing two singles in one video and composed with the intention of being a medley from one idea to another, giving the appareance of one take - the final shot of "Dig for Fire" as Pixies is walking out to a stadium opens for "Allison". I only knew the latter song and video, as it was played solo on music channels; the first song didn't impressed me at all as it's too repetitive; "Allison" is a favorite of mine with its quick mode and it feels like a sitcom theme, very fun to hear.

The first bit revolves on a motorcycle theme, some strange imagery that later has the band members walking out to play the second song and that's where the act becomes interesting, as each of them play their instruments very apart from each other, forming a circle inside the huge football stadium. Okay video, but far from the spectacles of mismatched sounds and giant foreheads shown in "Here Comes Your Man". 6/10.

The Cheat (1984)

A seductive and reflective thriller

[8/10 · 2 May 2024]

A superb, nearly brilliant crime thriller about a forbidden love affair, the false moralism of an apparently open-minded society and a man torn apart between his stable family life and his male lover, a possible suspect on a murder case. Yannick Bellon's film deeply explores the ambiguities of life, romance and sex in a reflective, open matter, at times humored but also very dark.

Police comissioner Michel Verta (Victor Lanoux) is called to investigate the mysterious murder of a gay emcee at the Bordeaux docks. At the club the old man used to work he meets Bernard (Xavier Deluc), a young musician very acquainted with deceased, and soon after questioning a fascination takes hold of both. Though Michel is a happily married man, he isn't new to the game in meeting men for sexual relations, and we're told of that right from the very first scene and the story is very smart and keen in showing that he deeply cares for Bernard rather than using the young boy as a bait to catch a killer. This isn't Friedkin's "Crusing", but it easily could be.

Instead of deeply involving us with the investigation, the film focuses on how those two can keep their relationship of a low-profile in order to not attract attention to a prominent and respective figure as the inspector is, also a very careful man since his other affairs were always one night stands that no one suspect about. Yet, he loves his wife and daughter, and his job, but he also knows that Bernard has that special quality one longs in finding on a person and he cannot imagine a life without him. And there's a killer on the loose and the musician might know who he is, so there's danger all around as they become more and more intimate.

"La triche" ("The Cheat") is a very gripping film, no question about that. Lanoux and Deluc are incredibly talented performers and their scenes together are easily the best moments in the film, both in dialogues and intimacy. It's a very seductive and potent film about the problematic and differences between love and passion, real commitment or just mutual interests and the line between all those elements could fool a smart man like Michel, and confuse an impressive streetwise like Bernard. And if there's one great topic debated with a fine intenstity here is the question of sexuality and how labels should never been applied to a person, as Michel's family have trouble with a proper definition when the affair is revealed. And the big question thrown at us: to cheat on himself in order to live a reality one does not completely like, or to throw away everything, to have real love but also feel as an outcast?

But it doesn't go without faults or things that needed a better presentation. I liked the fact that the crime and the investigation ended up being on a second plan, as the problematic love affair is far more interesting to follow. But the problems arise on both ways as 1) it almost feels as there wasn't a clear motivation for the murder; 2) showing the killer right from the get-go hurt the mystery of it all, as I believe audiences would love if Bernard could be the one; and 3) the total lack of audacity in showing the couple being really intimate.

They don't kiss at all, and the two bedroom scenes shown gives us almost nothing. For a film that dares to walk on controversial themes (at the time), the director made it all too clean and cute, there was no risk. And it's not a matter of being a 1980's product, as the previous year French cinema had the sexual audacity from "L'homme blessé", a film that I didn't like for countless problems but I liked the scenes of sexual nature. Mrs. Bellon's film gives us some moments and nude photos from a magazine, but we have to believe in the male couple and their talks, rather than the physical contact.

A true glorious film, exciting and thrilling, and very easy to recomment despite many downbeat elements (but those one could see a mile away as true products of its period. I just felt it was a little too rushed with its conclusion). 8/10.

Le juge (1984)

A decent and honest dramatic thriller

[8/10 · 2 May 2024]

Inspired by real events, "Le juge" ("The Judge") tells the story of a hard-working honest judge (Jacques Perrin, "Z", "Cinema Paradiso") in his quest to bring a powerful mobster (Daniel Duval) to jail. This isn't your typical judge who stays only in court to hear the case and convict the person, as he also goes to questionings, take depositions and assists on manhunt for suspects and witnesses along with a ruthless and more seasons police inspector (Richard Bohringer).

Philippe Lefebvre's first cinema film is a raw, realistic and honest look on the challenges faced by the judicial system and the police system while trying to bring criminals to justice, facing perils, technicalities brought by influent lawyers who'll always find ways to save their clients, and threats from all comrades, as evidenced by a superior of the judge who keeps questioning his methods and preventing from doing his job. It's the kind of game that even when winning and making a society more safe, it doesn't bring a total sense of peace. The cops go, detain the suspect, evidence is found but when it's time for prosecution and condemnation, there's always the risk of justice not being served for whatever reason. The judge knows his system and its flaws, but he tries very hard to show that no one's above the law, even if he has to risk his family and his life safety.

It's a quite effective dramatic thriller but far from memorable as the theme is practically worn-out by now, and done with more gusto. It works a great deal thanks to a honorable performance by Perrin, always a pleasure to watch, and the glorious presence of Michael Lonsdale playing a drug dealer who refuses to rat on his mates. The few thrilling sequences shown are a delight to watch with some fine car chases, and the attack on one of the potential informers,is also brilliantly executed. But it's more of a dramatic work that becomes a little repetitive, and for a time you always feel hopeless that such big case will come out as the mobster is a very clever man, and his lawyer even more daring with his debates with the judge.

It's very downbeat but it's completely honest in what it has to show. It's the kind of thing you'll always hear on the news if you follow particular cases here and there. As for Perrin's character, you can count on your fingers how many judges tried to act like he did in the movie, a man full of integrity and some recklessness, deeply involved with his work and who tries to keep things by the book, with some unorthodox ways but always bringing results. It's the hero we needed, but one we hardly ever get. 6/10.

Mike Oldfield: Étude (1984 Music Video)

A unique soundtrack video for "The Killing Fields"

[9/10 · 1 May 2024]

A quite unusual surprise of a music video, this one for the track "Étude" composed by Mike Oldfield and used as part of award winning film "The Killing Field", sells the film, the music theme and its own particular art as it does not revolve exactly by just showing clips from the film as soundtrack videos tend to show. Instead, we have a unique concept where a lone Asian child watches the film on TV, then later on a bigger screen on top of the TV, and he also observes a series of black-and-white photographs that ends up displayed around the nice apartment.

The tense and dramatic clips from "The Killing Fields" and the art of photography (one of the central themes of the film covering journalists and photographers covering the Khmer Rouge massacre on Cambodia) contrast with great effect with the image of the peaceful kid observing the chaos on the screen while the tidy place is all peaceful and quiet, except for the oriental-like theme playing in the background. It's a fine theme, presented in one of the quietest moments of the war/drama film, but if I had to choose one of Oldfield's themes from it to have a music video made for it, I'd choose the nerve-wrecking "Evacuation", a track that I grew to like and pay more attention in subsequent views of the film and outside of it as well.

Typically, instrumental music score from films don't get the chance to have clips made for it, outside of fan tributes on the internet. This one was done way back, Oldfield's team and they manage to accomplish some great results that leave audiences curious in seeing Roland Joffe's film and also enjoy the beautiful composition by Oldfield. 9/10.

Aumenta que é Rock'n'Roll (2024)

Charming, fun and nostalgic picture. A Maldita is alive!

[9/10 · 30 April 2024]

Five years on the run and it was worth waiting (I've been hearing about it ever since the pandemic when there was never a year of release attached to it). "Aumenta que é Rock'n'Roll" chronicles the development of radio Fluminense FM with its brodcast of rock music in the early 1980's when the genre wasn't so popular but always had a loyal fanbase. The programming not only included English/American classic rock, but it also launched the careers of Brazilian rock artists such as Cazuza, Blitz, Legião Urbana, Paralamas do Sucesso, among others.

A Maldita ("The Damned) as it was known, was idealized by two youngsters who wanted to change the music scene, to present what the youth generation of the 1980's liked, thought and consumed. They were Luiz Antonio Mello and Samuel Wainer Filho (Samuca), played by Johnny Massaro and George Sauma, respectively, two rock enthusiasts that were offered the opportunity to bring something new to Radio Fluminense on the FM waves and bring audience and profits to the station which was falling apart both in audience and its precarious installations of broken windows and faulty equipment. As novelty, Luiz has the fixed idea of not repeating songs during broadcast on the course of a day, and he only hired female broadcasters, a rare feat at the time (even today, I must say).

What comes is a series of humor and drama revolving on Luiz and his team finding ways to charm audience, his boss and potential sponsors doing so much with very little. And also time for a little romance with Alice (Marina Provenzzano), a stubborn but hard-working broadcaster. It serves its cinematic purpose, but I didn't care for it all that much.

The film's greatest asset comes from the period depicted (1982-1985) and how music, society, culture and politics went through a tremendous multitude of changes, and how that little radio was part of that, later on becoming a phenomenon when they get the opportunity to cover the first Rock in Rio. It's an authentic film, and very idealist when it comes to its depiction of that youth, and it's done in such a charming, nice manner that one would want to be part of that, or have that kind of similar experience where you suffer with countless problems, little to no money yet you have all the best comrades, and you have fun while doing everything.

It's not like it's showing anything so wildly new to the genre of biopics or the radio media, but it certainly charms the audiences very easily, and once you're invested in it nothing can stop you from enjoyment. The appeal it got me was in witnessing the early days of the many bands I love to hear, the soundtrack from many hits from the decade and the new themes composed by Dado-Villa Lobos; and it's all done with great enthusiasm.

Plus, it was an untold story that needed to be put on screen.

You care about the characters even when they're being totally erratic, and there's plenty of room for laughter (my favorite bit is the broadcast with the hot mic on and the female broadcasters are trashing their boss and talking about sex toys, much to the despair of everyone). The wholeheartedly speech made by Massaro when presenting the project to his staff, the importance of being considered "damned", a contrarian, is also another fun highlight, just as the superintendent character played by Orã Figueiredo, the serious guy in the story, who has some funny bits, and he's the one that despite apparent opposition, deep down you know he trusts Luiz and believes in his passion for this new radio.

To those who lived the era or are enthusiasts of that particular musical scene, it's a must-see film without regrets. But a warning: there are a couple of anachronisms that might bother the most careful viewer, some were done as an artistic licence but others were mistaken done during editing and/or lack of better research; or maybe bother with the cliched acts of the rock artists featured. All in all, a very nostalgic time travel to the colorful dreams and ideals of freedom, expression, love and, obviously, rock n'roll. 9/10.

Snow Patrol: Open Your Eyes (2007 Music Video)

My eyes were wide open!

[9/10 · 30 April 2024]

One must give some credit to the editor of this video for Snow Patrol's massive hit "Open Your Eyes". He basically went after an almost obscure short film directed by Claude Lelouch in 1976 ("Rendezvous"), put the song with Gary Lightbody's voice and the band playing as soundtrack, and somehow the idea of such combination worked to a great effect.

Some memories of mine: back when the song came out I had a real contempt for it as it was awfully repetitive in an irritating manner, and it was playing everywhere (another memory comes when Warner Channel used for the trailer of whatever season of "ER"). But when I saw the intriguing video to promote the song, the endless continuous shot from inside of a car running through the streets of Paris without stoppping, as if there were no traffic lights, I was conquered. I always dreamt of seeing such thing in a film (back then I didn't know too many movies and my point of similar reference was Polanski's end credits for "Frantic", also shot in Paris), and to see places I don't know in a touristic manner. That kind of observation is fascinating and appealing to me. Cut to a decade later and I find out that it was filmed way back in time, the editor just put the music.

Yet, it all fits. Obviously that a Parisian person will know to identify what changed in the place (if it did), but the film is in such great quality that one thinks it was made in the 2000's. My view of the song and such images goes to the sense of longing for a special someone, the ways and miles run to reach such person and be with her/him. So, it's because of the clip that I end up enjoying the song a lot more and that's how you "create" something remarkable for audiences, you change perceptions and come up with something meaningful, memorable, poetic and romantic.

That editor knew how to generate something and choosing Lelouch's film to the song was key. Without that choice, it'd be another video of a band perfoming, or maybe some storyline that would tell the emotions right on the nose, too obvious. Here, we have a perfect combination of elements. 9/10.

Marillion: Kayleigh (1985 Music Video)

Memorable and cool song

[8/10 · 29 April 2024]

One of those music videos from the 1980's where the music was so special, cool, great to hear over and over, that you could get away with showing anything that it wouldn't affect anything, it wouldn't cause any major difference. It's a small video consisting of lead singer Fish and Marillion performing "Kayleigh", with some small acting bits where Fish interacts with a beautfiul woman, as a kid interacts with a girl giving the notion that their childhood friends that always loved each other but both parts end up breaking each other hearts.

It's cute and alright, but we're only in it for the song, a true classic from that decade and for Marillion as well (to become a known name), which also popularized the name of many baby girls ever since - I also remember the name because of Amy Smart in "The Butterfly Effect".

It's greatly filmed too, and it contains some visual references from what Fish expresses with the lyrics, as there is a chalk-heart (melting) on a playground wall, and a few others. It's a delicious song to hear despite the break-up theme. Pity that a bit from the guitar solo was cut from it (and many radio stations use this exact video version on brodcasts).

Maybe with a little story presented, even if done in those cheesy 1980's way, it'd be a more memorable video. But I'm totally fine what what I got. 8/10.

À Meia Noite com Glauber Rocha (1991)

A curious and fun tribute to two great artists

[8/10 · 29 April 2024]

Highly interesting and appealing tribute to two artists in their respective fields, and made by a filmmaker who knew them both. Ivan Cardoso's experimental tribute to filmmaker Glauber Rocha and artist Hélio Oiticica combines several clips from Rocha films (and other titles too), Hélio's appearance in the short "H. O." directed by Ivan, presenting the amazing similary both artists expressed with their works, their views on art and Brazil as well.

The famous passionate speeches (ramblings to some) of Glauber on the state of cinema and art in Brazil fill the sounds as we watch a series of his classics such as "Deus e o Diabo na Terra do Sol", "Terra em Transe" and many others fill the screen in a crazed but curious manner - as the man and his films were; and also Oiticica's view on the creator of art and what he's trying to accomplish with his art. Also good to share that Glauber directed Hélio in a couple of films as well, so they had a friendship, and sadly both died less than year from each other (Hélio in 1980, Glauber in 1981).

Those who enjoy the works of both artists or ones who like to take a look back at the state of Brazilian visual arts we'll find in "À Meia-Noite com Glauber" a very interesting and artistic piece. But I wonder why Cardoso only mentioned the film director and not the artist on the title. 8/10.

H.O. (1979)

Hélio Oiticica shows his art

[6/10 · 28 April 2024]

An experimental and artistic look at the work of artist Hélio Oiticica (1937-1980), a known representative of the Neo-Concrete Movement, which proposed that art wasn't just an object and it challenged usual conventions of what is about and what could be done with.

With the creation of his Parangolés (capes, flags and/or banners made with fabrics and plastic that included poems or social/political quotes) used on dance performances where the spectactor can join the act. Here, filmmaker Ivan Cardoso captures some of those performances, some of Oitica's view on art and the idea of being an inventor, and the short also introduces his artist friends on brief meetings and music bits from classic sambas and even The Rolling Stones.

A more versed crowd on Oiticica and his works will find a great source to admire him and fulfill their curious minds about the man and his works, specially those who enjoy experimental works where the intention is merely to present everything in a non typical fashion or a highly elaborate manner. Also a great opportunity to see the artist outside of his experimental shorts done during his New York days, and meeting with Lygia Clark (also part of the movement), Caetano Veloso and others. It marks his last project while living, soon after his return to Brazil in '79 he passed away in the following year, from a stroke. If the controversy about his return were truth, revolving on dealing with authorities heckling about his sexuality, no wonder why he got so sick.

If following the exact idea of the artistic movement, depending on how you absorb that craziness of it all with a lack of cohesion in its presentation, the better you feel the experience. It's not about finding a meaning, it's about how everything shown appeals to you and the feelings that are taken out of you. I'm okay with that as I enjoyed the mystery of it all, and many of Oiticica's talks about what he was trying to conceive and trying to be. All valid expressions of an artist and creator.

But it wasn't a case of being deeply invested. The sound goes to some atrocious noising, and that fixed notion of wanting to understand anything is hard to be conquered. Let's just say I wasn't bored by it, therefore it gets a praise from me. 6/10.

'Amadeus': Music from the movie Amadeus (1984 Music Video)

A sublime, rich and glorious film trailer

[9/10 · 27 April 2024]

The story goes that Orion Pictures didn't have much of a budget to make a trailer for "Amadeus", so instead they worked with the concept of mixing the greatest musical talents of the 1980's (and a little back) and establish a comparison with the theme presented in the film, the music gods of the 18th century.

What do you get from here? A fascinating tribute to countless MTV music videos that puts Michael Jackson, Madonna, Billy Idol and many others, along with stars F. Murray Abraham (Salieri) and Tom Hulce (Mozart), and the extravagance of both worlds resulting in a fun and memorable spectacle that greatly sells the film. Classical music was exactly like pop/rock, world domination case and the artists got treated like rockstars (power, fame, money and debauchery). If you haven't seen "Amadeus", give yourself a chance to witness the marvel of a movie made by Milos Forman, adapted from Peter Sheffer's play.

Back then, it was just a trailer that connected with some parcel of the audience - sadly, it didn't help all that much if we consider that "Amadeus" only got a brighter momentum after the Oscars, and even so it didn't get a massive box-office. To the audiences that came later, it's a fascinating and colorful look back at a period when MTV was king and music videos and film trailers mattered a great deal. And considering that film trailers are rare here, this one is a true knockout and one of the greatest ever created. Just a pity that the copy available on the net is on a very poor quality - but it doesn't ruin any enjoyment. 9/10.

Lucidity (IV) (2017)

Some dreams are wilder than others...

[9/10 · 26 April 2024]

"Lucidity" challenges viewers into the wild possibilities of controlling one's subconcious and how they could reflect into our awake state - if possible. The teenage hero of the story (played by Johnny Berchtold, from Netflix's thriller "The Passenger") attends a class by a very eloquent professor (Kris Black) who teaches about some experiments that students could do right after dreaming (take notes, create some pattern with something from your life, etc). The timid boy's dreams revolves on a pretty girl (Tetiana Donets) he has a crush, and her jock boyfriend (Trevor Roszkos), who always end up beating him. But, can things really go different for the better or for worse?

Very easy to like as it deals with one of the major mysteries of mankind (the power of dreams and how our subconcious work, positively or negatively), and one topic that attracts with many people out there and many great movies had been made about it ("Inception" and "Jacob's Leader" being masterpieces). The trick here was way too quick but effective, as the story unfolds yet it doesn't answer much about what's real and what's not. Very subjective depending on the viewer. It all feels like a trailer for a potential film and I'd like to see that happening, with expanded scenarios, obviously, and the great Berchtold as the lead again. He's really good at playing tormented characters who express plenty without saying a word. 9/10.

Hi-Fi (1999)

Enigmatic but highly interesting

[8/10 · 26 April 2024]

Words can't describe the experience and the greatness of Ivan Cardoso's "Hi-Fi" as he combines many art forms into one piece. There's music, use of sound effects, dialogues, bits and pieces from poems and films such as Rene Clair's "Entr'acte" and Orson Welles' "Citizen Kane", dada art and others. Anyway, it's chaotic but it's appealing, mysterious and greatly composed. It's one of those cases where one tries to find some meaning, or maybe dig deep into what Cardoso could possibly be saying about life and art, but one might not find anything but a random gathering of elements that don't make a whole. It's more about feeling than thinking but all criticisms are valid.

I was incredibly impressed by such composition as they fit well together, despite the different decades each art work was composed.

It feels as if being made ages ago, but it was edited down and inserted with new images in the late 1990's. "Hi-Fi" is one of those pieces you imagine being played out on a large screen at some art gallery or even could be used as a background scenery to a nightclub or some wide space for a party since one would experience a great showing where guests could analyze the images, enjoy the sounds and absorb everything about it, and discuss it too. The variety of thoughts and sensations shared with another person would be interesting to hear.

A very expressive work with a curious fusion of elements, art beyond thought. 8/10.

O Baiano Fantasma (1984)

Watch "O Homem que Virou Suco" instead

[3/10 · 25 April 2024]

To quote Godard, "To best way criticize a movie is to make another movie". Since I cannot do that, I must assume director Denoy de Oliveira did exactly that when he made "O Baiano Fantasma" as he told almost the same story as the one told in "O Homem que Virou Suco". And he used the same leading actor José Dumont as a simple Northeast man who moves to São Paulo to pursuit a better life condition but instead he gets involved in some shady business and gets confused as a criminal hunted by the police. Godard isn't wrong with that idea as it has been proven that similar themes are often reworked, sometimes it works and other times it doesn't. This 1984 film was wronged in almost everything that the 1980 succeed.

By turning Lambusca (Dumont) story into a wildly crazed comedy without some drama and relevance to life, we simply don't care about anything that happens to him or the other characters. It's not as if the situations were unbelievable or ridiculous, neither a case that it tries to make fun of things that aren't funny. It's simply not funny and it's hard to get a decent laugh at everything. The only amusing bits revolve on whenever the jurídico ("legal") team is called upon. They're not lawyers, they are a team from the debt collectors scheme that is used whenever they need to roughen-up with all the customers who won't pay their protection fees. Lambusca ends up working for such team and because of that threat a man end up dying from a heart-attack and trouble ensues.

João Batista de Andrade's film "O Homem que Virou Suco" is not mentioned lightly by me. It offers a humored yet dark, realistic and almost fantastic view of the countless problems faced by Northeast migrants living in São Paulo. It shows how gritty the cultural clashes are and makes many valid statements about the different regions. It's very memorable and fun to watch, unlike this forgettable film that avoids the cultural clashes and just gives stereotypical characters all the time, even the ones who are from São Paulo are mere charicatures of some variation that doesn't feel right, others aren't presented in a good manner, like the Italian merchant played by Renato Consorte (him and the tough guys singing some Italian song were funny). And Dumont was brilliant in that movie; here he's just okay but Gramado folks liked him enough to grant a Best Actor award.

I liked the presence of Rafael de Carvalho (in one of his final films) as the lunatic character he plays is someone we feel sorry, as he felt duped by all the progress from the big city and went literally crazy simple because some authority took away his "peixeira" (big knife). "Back in my city, everything was solved under the knife. Here, they said the government would take care of everything for you and I wouldn't need that knife" he says at a given point, or something similar to that effect. Without the knife, he was a nobody drowned with problems and could no longer react to the new reality around him. One almost think why he just didn't bought another knife, but that's beside the point. It's a small character that doesn't affect Lambusca or anyone, but it's such a powerful old man that if the movie was done about him we'd have something great to watch.

If Denoy's idea was to make something lighter than the other film he didn't succeed. Without the comparison, just the film by itself, does it work? It might but only for those who enjoy cheap humor, dialogues that go by slangs for almost its entirety, or those who don't like deeper themes being worked. Won't say it was so terrible but it didn't improve the mood of a day, neither made me care or laugh about its goofiness. This was just situation comedy and going for the laughs, no elevated social criticism. 3/10.

Jim Diamond: I Should Have Known Better (1984 Video)

Nice ballad and video

[8/10 · 24 April 2024]

The ultimate song dealing with a man saying sorry about the mistakes he did in the relationship with his girl/wife has this video on that mode, as we follow a record producer who worries about his wife and kid, the time spent apart of them as he probably did something wrong, and now he's torn apart with many sad feelings and thoughts, as he watches Jim Diamond and group perform the music to include on the album. Yes, that man should have known better...

It's a really corny video clip, but kind of cute as well and the idea sells great and quite imaginative as it sells the artist along with the idea of a little story revolving one someone from his crew (sure, we have the actors but for a moment we can imagine that Jim knew someone in that situation, which inspired him to write the song). I won't say I'm a big fan of the song but I tend to hear from time to time and enjoy it greatly, as Diamond was an amazing performer, also known for his work with "PH. D."

Thumbs up to the video and music - I'd like to know who were the actors, as they were all great. On a downer note, I rewatched the video on the singer's official channel, and they used a different version of the song whose sound was so crystal clear and different that it "killed" the enjoyment for a while. The original sound, those drum echoes and the synthesizers effects do not appear on that version and it's a shame. If you have the chance to hear the original on some video compilation, the album version or maybe dig deep on the web you know what I'm talking about. It's dated but it's cool, the true sound essence of its era. 8/10.