The different scenarios of life that make up the wider-story are presented in Pulp Fiction style chapters, complete with on-screen titles for each different story component. Horrible and cheap in all aspects, including pain and suffering. And what a confrontation it is, although details will not be given away here. Like Scorsese's Taxi Driver the violence is abhorrent, but admirable from a cinematic perspective. He is a social victim, period. That strange butterfly-cold-revolving sensation in your stomach reminds you that you are not comfortable. I walked away afterwards, beaming.
The City of God is a marvel, and a highly recommended film to watch, but not recommended for the over-sensitive or easily distressed. This movie has nothing to say about Brazil, nothing to say about the rise of crime in Rio's shantytowns, and ultimately nothing to say about any of its characters. Er will sich nur seiner Fotografie widmen. However, this is our reality. There are many moral challenges the audience is forced to confront, including the many shades of villains that accept a certain degree of criminality in order, at least in part, to do some good in an environment where the worst are very bad indeed and even the police are generally known to be more corrupt than some of the drug-runners.
I guess she thought going to the meat packing plant and watching cows being slaughtered would probably be entertainment at the same level. The street kids are interesting but really brutal, so be prepared. The rooftops of 'City of God' in the '60s remind me of Soweto. It is quite unfair that foreign language movies are rated so high, just because they are not American. This film announces the presences of a truly talented filmmaker, Fernando Meirelles. In short, this is a superb achievement, and is easily one of the best films of the year, and of the decade so far. The one character who might have acquired some depth and around whom the entire movie should have been built is Knockout Ned, a bus driver who turns into a murderous gangster.
Rocket has watched these two gain power for years, and he wants no part of it. Not one time did I check the clock to see how far along we were in the film, even though I was on a time constraint. A bunch of other guys get killed before we have any chance to figure out who they are. Cidade De Deus is essential viewing, and is cinema at its most brilliant. Now somebody could argue that this is actually the way that many people handle such savage situations, and so this movie is just portraying them in a realistic way. Cidade De Deus deals with dozens, even hundreds, of characters, and so it is only a minority that we become attached to. It is a vindication of Christianity against the attacks of the heathen in view of the sacking of the city of Rome by the barbarians, at a time when the old Græco-Roman civilization was approaching its downfall, and a new Christian civilization was beginning to rise on its ruins.
I haven no objection to the theme of the movie. That is the role Meirelles responsibly takes as film director. The frantic camera looks like a documentary. Nur sein bester Freund Bene kann ihn einigermaßen zur Vernunft bringen. Only the true greats manage to cater to these two needs of cinema, and this is one that does.
For those fond of Grand Guignol, this is a perfect movie. But do stop to think about it for a minute afterwards. Simply pathetic, filmed as an elegant commercial edited with rather annoying camera movements. The editing is very frantic, which makes you feel like you are on the streets of the City of God, and the direction is flawless, seamlessly blending the many elements of the story. The lack of perspective in life of the children, unemployment, ridiculous salaries, lack of education, lack of the faith, all of these factors contributes for the formation of the next generation of drug dealers and bandits.
City of God's fancy cinematography did not appeal to me. In the 60's, this area was isolated, without any infrastructure. The way you breathe or don't reminds you that you're not comfortable. But of course, the whole movie isn't like this because the director is too busy showing off his technique to worry much about how the scenes connect. I was riveted all night - I completely ignored my friends! This movie makes you feel uncomfortable, puts you on the edge of your seat -- you are right into the middle of the City and you too are caught up in it's violent temptation. It is strange, because a person who does not live in Rio probably may think that this movie exaggerates in some aspects.
From start to finish, Meirelles gives us a solid yet exciting film. There are certain people who have developed a very negative view towards Hollywood movies and U. This film has been sold as a kind of triumph of the human spirit, yet it's no more than a typical mobster movie sited at Jacarepaguá. Whether you consider this a good or bad thing is a matter for personal choice. Close ups, sweeping scene shots, freeze-and-zoom shots, and a frenzied handheld approach are all trademarks that will be recognisably traceable to Scorsese, having been used throughout his career.
But I really wish the approach to present the themes was different. This technique is used heavily in the first twenty minutes of Cidade De Deus, with the freeze frame trick being used to introduce the story's main characters alongside the dialogue of narrator, Rocket. You are outside, and you know it. In the end, this feels as plastic and stylized as any gangster rock video, and carries the same emotional weight. Die Jüngeren beobachten und lernen schnell - zu schnell.