Marighella: How hard can be only enjoy a good and well told story?

 

Direction: Wagner Moura

Cast: Seu Jorge, Bruno Gagliasso, Luiz Carlos Vasconcelos, Humberto Carrão, Bella Camero, Rafael Lozano, Jorge Paz, Adriana Esteves, Herson Capri.

Screenplay: Felipe Braga and Wagner Moura

Production: Wagner Moura, Andrea Barata Ribeiro, Bel Berlinck

According to many more people than one would expect, any film in Brazilian cinema that isn't that sleazy comedy like the ones that Leandro Hassum (an overrated histrionic comedy actor in Brazil) stars, in ends up becoming synonymous with left-wing leafleting. Sometimes such a label is correct, but sometimes it is pure prejudice, and there are cases where there is a certain biased propaganda, but not only that, there is also a story. And, in Marighella, which opened on November 4th in cinemas in Brazil, the story is well told, and the bias is not intended to manipulate the viewer, but only to say: "that's what I think, for me it's like that, I'm not hiding you, I'm not fooling you. This is my side. You can have yours. But this is mine. I'm just introducing you, not forcing you to agree."

I am not going to talk here about national politics or the period in which the film takes place. I will simply talk about the cinematographic work. Maybe I can give my opinion about one situation or another after writing everything about the production.

Wagner Moura's first-time and competent direction

Wagner Moura has extensive filmography as an actor, and has worked with brilliant directors. It would be too simple to say that he only observed the work of others and emulated José Padilha's style in his own feature. Not quite. There's Padilha's "nervous camera" and a bit of breaking the fourth wall, but Moura's feature film isn't only about that.Follow-up shots, which, although they have become commonplace recently, are mostly well-used here.

Although I have to admit one detail that bothered me a bit. Sometimes, the camera gets too close to the actors, to convey the idea of ​​insertion into the narrative, and even understanding why the feature, in some scenes it irritated me and, given the length of the film's duration, two hours and thirty-seven minutes, it seemed excessive. The right thing, for me, would have been to cut some of these interventions, or to streamline the plot extension.

However, if I was asked "Dry where? How?" I couldn't answer anymore. The story is well told. The distinction between historical facts and fictional alterations is well delineated.

However, changing the name of the police chief who existed (Sérgio Fleury - it makes me shiver and shudder just to write the name), chased and killed Marighella (but not only him), to a random Lucius, did not please me, even though I understood that, perhaps, Moura wanted, at the same time, not to make room for this real figure, and not to extend further, which would be almost impossible, while there would have to be explanations about the man and his "function" (if he is to be a torturer and executor is actually a function).

The frantic action, the tension that permeates the entire film, and the anxiety of knowing how it will all play out (because it ends, we all know how it ends, the facts, we all know) are very well managed by the director, who manage to be much more sober than I expected.

Why are some critics sulking?

The film is not a biopic in the conventional moulding. It's not about Marighella, it's about his fight. And even this fight is not fully recorded. A period is chosen, a cutout that symbolizes the whole reason for being of the "revolutionary movement" of which it is the leader. Such a choice has its good and bad sides.

Not only focusing on the title character, it may give some a confused idea of ​​why so many, especially young people, follow his orders and commands so blindly. But, looking at it in a positive light, when opening the range of comrades, it is clear that, for many, living in a dictatorship was not living, it was just existing, so wishing and fighting for a revolution is just a sensible choice.

My impressions were that, in a few scenes, in which everyone is around him, he emanates that charismatic and even seductive aura that we see so much in popular presidents, artists, and religious leaders. Marighella was not an ignorant, a brute. He knew how to use his oratory gift well, he was a congressman, poet, writer, so he knew how to use words very well. In a chaotic situation like the time, his leadership sounds comforting to others.

What I see from critics who are cursing the film, in general is, or rather are (because they are two distinct poles):

*The movie should be more incisive and say more about what it's about.

In that case, I'm just sorry, because what they're looking for would be perhaps the worst thing that could be done, and it would have the opposite effect that they think. Speaking clearly: These critics are the ones who want to be radical leftists and wanted the feature film to do that for them, and as a result, would snatch the population to support their ideologies. I must warn you, colleagues, that this would not happen, and I say again: it would have the opposite effect.

And also:

*Wagner Moura, who is openly on the far left, an extremist, does only political propaganda dressed up as an action thriller.

When I see, hear or read this category of criticism, I already hope that the next sentence is "without had watched the film", because anyone who has seen the work does not make a statement like these miscreants who call themselves critics are doing. Wagner doesn't really hide which way he leans to, and yes, the film would be better if it had a more neutral, more ambivalent view, but that doesn't make it remotely a left-wing pamphlet. "Bacurau" (another brazilian film) is much more intense in this sense.

The performances

As the dedicated actor he always was, Moura as a director gave space to his colleagues to do their best, and most did.

I saw in Isabela Boscov's (the best professional film critic we have in Brazil) review that she found Bruno Gagliasso's performance, who plays police chief Lúcio a bit exaggerated and who believes it was the director's instruction, since, in her view, the actor is naturally more restrained.

I do not agree. Bruno's performance is not over-the-top, it's awful.

Forced, caricatured, terrible. And I don't remember seeing anything restrained in anything he's done before. Not that I generally dislike Bruno's work. However, rarely, when I watch it, do I see the character in question. It's always Bruno trying to be something else. I am well aware that this is an opinion that many do not agree with, and that's okay. I am not a deep admirer of many whose careers are constantly being cheered on. This same problem, of seeing effort before acting, I also have with other darlings, such as Leonardo DiCaprio and Saiorse Ronan.

This is just horrible

However, if with Gagliasso he only felt distress in every scene he appeared in, the rest of the cast divinely compensated with incredible and visceral performances.

Humberto Carrão, exceptional, Bella Camero, very well (only a little affected here and there, but nothing in excess and I don't think most people will notice that), Herson Capri, in a participation as fleeting as it is well done, and his last scene, in the newspaper office, answering her daughter's phone call, and what happens afterwards, no matter how short and succinct the sequence, without sentimental outbursts, brought me to tears. Adriana Esteves, always phenomenal, Jorge Paz — an actor he didn't know — brilliant, and Luiz Carlos Vasconcelos, stupendous as is normal for him. And, of course, Seu Jorge, who is already a beloved and well-known figure both on screens and on radios, is ravishing. The man really has an unequaled talent and charisma, both for acting and for writing and singing.

The film knows, most of the time, how to lead to emotion, but sometimes it fails in inflammatory speeches, for not seeming well what such a character would say at that time, even if in the real facts, those exact words were said. The old story of Caesar's wife not only having to be honest, but sounding honest. It's not enough to be true, you have to know how to sound true.

Photography is another positive point. Adrian Teijido (the film's director of photography) knew how to ensure that it didn't get too raw, but also that it didn't slip into an excessive refinement that could convey artificiality.

In short:

If it's a good movie, if the script is well written, well executed and well directed, why not go see it?

Why don't you share the director's political vision? Sorry to inform you, but probably your favorite director (Brazilian or not) has the same position as Moura, and the vast majority of artists from all over the world and from all areas (theatre, music, audiovisual, writing), too. Reading "My Fight" (manifesto-book written by Adolf Hitler) doesn't turn anyone into a Nazi, watching Marighella certainly won't turn anyone into a communist.

Whether or not you agree with the guerrilla, go see the movie. Prestige national cinema. Draw your own conclusions about the work.

                                                                                                                 Grade: 7.0

 

Some notes:

Living in such a polarized country and with such an absurd, painful and even cowardly political history is a challenge for someone who is neither so there nor so here. The author of this blog is neither blue nor red. I don't want dictatorship back (Oxalah free us all!), but I also have no appreciation for more socialist policies. I admire Wagner Moura as an actor, and now I really appreciate his direction (although I know it needs a little more refinement), but I don't share his political views and opinions.

I believe that the artist's duty is only to make art. "But then you can't have an ideology? Can't an artist express himself about politics?"  Sure, they can. However, it should not demand the same position or the public, doing manipulative and cathartic work, with the purpose of gathering followers for causes that they deem correct, or colleagues, creating little things on social networks or even personally. In my opinion, these artists should change industries and go into politics or become activists altogether. They will even feel more useful and will actually "find themselves", so to speak.

And finally, what, in my opinion (which can change, as I evolve and learn) is causing a lot of confusion is:

The country's big problem, and unfortunately it has become the world's as well, is expecting one person to change everything on his own. It's not possible. Not in a democracy. It is necessary that in addition to the president, his ministers, secretaries, and also senators, congresspeople, mayors and governors (also judges of federal courts) put the interests of the population above their own and work together. And, as difficult as it is for some people to admit this, the truth is that there is no perfect ideology that will save everyone and the planet. It is not by following booklet A or B from end to end that we will have a country and a developed, fair and egalitarian world. It is much more a matter of common sense, concessions, sober reasoning and empathy that will lead us to the sustainable and dignified future we want for ourselves and future generations. However, for this, it is necessary to let go of the ideology that is so dear to them. Until then, we will experience this polarized turmoil that surrounds us.