quinta-feira, fevereiro 05, 2004
Olha só que interessantes esses trechos de uma crítica estadunidense do Madame
Madame Satã contains a scene from the 1935 Josephine Baker film Princess Tam Tam in which Baker throws off her pumps and they hit a stiff-looking old white man in the face; Ainouz is aiming for a similar effect. Hustler, murderer, and queen are just three of the labels alternately modeled and discarded by dos Santos, known simply as João (Lázaro Ramos) in the film.
(...)
Just as Candy Darling and Holly Woodlawn inspired Lou Reed to pen "Walk on the Wild Side", Madame Satã was treated to a song ("Mulato Bamba") by composer Noel Rosa.
(...)
It's almost always nighttime in Madame Satã, street noise is ever present, and songs spill from one scene and room into another.
(...)
One angry exchange between a washed-up cabaret singer and João – "The nigger's gone crazy!"; "No, Madame, he hasn't!" – illustrates that his violent anger is a sane reaction against double-edged prejudices that never fail to erase some parts of his identity while singling out one aspect for abuse. Having apprenticed under Todd Haynes on Poison, Ainouz is similarly suspicious of biographic linearity and folkloric definitions, and though convinced of dos Santos's importance, he isn't concerned with making him likable. But in denying the built-in restrictions of various storytelling forms, Ainouz winds up providing a brief glimpse of a long, full life. Madame Satã is a unique series of snapshots in motion, but it could have been so much more.
fonte: http://www.sfbg.com/37/41/art_film_carnival.html
Madame Satã contains a scene from the 1935 Josephine Baker film Princess Tam Tam in which Baker throws off her pumps and they hit a stiff-looking old white man in the face; Ainouz is aiming for a similar effect. Hustler, murderer, and queen are just three of the labels alternately modeled and discarded by dos Santos, known simply as João (Lázaro Ramos) in the film.
(...)
Just as Candy Darling and Holly Woodlawn inspired Lou Reed to pen "Walk on the Wild Side", Madame Satã was treated to a song ("Mulato Bamba") by composer Noel Rosa.
(...)
It's almost always nighttime in Madame Satã, street noise is ever present, and songs spill from one scene and room into another.
(...)
One angry exchange between a washed-up cabaret singer and João – "The nigger's gone crazy!"; "No, Madame, he hasn't!" – illustrates that his violent anger is a sane reaction against double-edged prejudices that never fail to erase some parts of his identity while singling out one aspect for abuse. Having apprenticed under Todd Haynes on Poison, Ainouz is similarly suspicious of biographic linearity and folkloric definitions, and though convinced of dos Santos's importance, he isn't concerned with making him likable. But in denying the built-in restrictions of various storytelling forms, Ainouz winds up providing a brief glimpse of a long, full life. Madame Satã is a unique series of snapshots in motion, but it could have been so much more.
fonte: http://www.sfbg.com/37/41/art_film_carnival.html
