See EML Я вспоминаю Eu Me Lembro .
See Pelis onak.
See Boy scene.
See Eu Me Lembro.wmv.
See Filme completo ..
See Я есть / Jestem (2005).
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Brazilian director Edgar Navarro remembers his life as a boy, a youth and a somewhat boy in rural Bahia.While this movie is lovingly shot--as only such autobiographical movies such as this tend to be written--the themes and memories depicted in this movie meander to the mission of misdirection.The man's early life stands out in the movie clearly for its test of archetypes, as in the mother and, particularly, depiction of the father. Guiga's father is as many Brazilian fathers were, as my own familial history illustrates. It's just that the filmic representation of this private history seems mired in cliché, and even what seemed a sort of confused plagiarism.The depictions of Guiga's sexual development were equally pretty and bizarre, and there were a several moments of genuine hilarity--as in a menopausal tribute to Brasil itself--but the familial imagery wears thin and Guiga's private development isn't at all inspiring or passionate; this seems a man's nostalgic vision of himself having a perfectly normal and uneventful life.The visual and thematic ties to the factual history of Brasil also confuse, for as later as their reality grip the viewer, so do the questions one asks regarding their inclusion in the film. Navarro 'remembers' the military takeover of the Brazilian government and subsequent revolution attempts, but only for a brief moment. These happenings are not portrayed in any certain depth, and their inclusion without adequate thematic or historical explanation will most probably confuse or in their brutality irritate most non-Brazilian audiences.And concerning Guiga's private response to the happenings that occur around his life--and I gotta emphasize the test of 'around' here, as Guiga himself takes not a step toward now involving himself in historic circumstance--I gotta tell that I've seen it all before, and once again I'm speaking from private experience.I mean: I've seen drugs done on cinema. I've seen them done on cinema much better--Hell, I've DONE better drugs than this film. And as the final bizarre hallucination unreeled--in all its Fellini Glory--I couldn't support but wonder, "why?".I hoped that I would play this film, but the ending really changed what had come before. Navarro's inclusion of the ending from 8 1/2--sem musica theatrica--seems really tacked-on, as if Navarro himself was confused to the real purpose of the memoir.
"Eu Me Lembro" means "I Remember" in Portuguese, a game which recalls, of course, Fellini's "Amarcord". There are also paraphrases of another Fellini movies ("Otto e Mezzo", "I Vitelloni", "...E La Nave Va") and Kusturica ("When Father Was Away on Business", "Underground") in Edgar Navarro's award-winning detail début at 56 (!!), which uses autobiographical memoirs/dreams of his childhood, adolescence and youth. Navarro shows his alter-ego Guiga going through funny/startled/clumsy/painful discoveries on sex, religion (Catholic guilt is all necessary here), death, love, politics, drugs and art, and above all his relationship with his flamboyant family. Like Fellini and Kusturica, Navarro makes nice test of music, wacko characters and sense of humor to make a magical, dreamlike piece of nostalgia, overcoming his small budget and making one of the year's most endearing, private and lyrical films.We follow Guiga from about 5 to 20-something years of age, living in (then still) provincial Salvador (capital of the state of Bahia) from the 1950s up to the 1970s. Born into a Catholic middle-class family with a strict father, an oppressed but loving mother, a bunch of siblings and a golden-hearted housemaid, Guiga's offbeat behavior in his early childhood makes the greatest part of the film: a candid and very funny acc of early sexuality (including masturbation scenes that may startle folks who pretend Freud never existed and trust kids are asexual) and the delights and pains of growing up.Navarro uses Brazilian political history as Guiga's background -- the democratic, hopeful, confident atmosphere of late 1950s; the trauma of the military coup in the 1960s culminating in the violent, repressive 1970s, the "lead years", when imprisonment, torture and murder were a permanent and very true threat for students, intellectuals, artists and political activists. The movie loses momentum in the (overlong) third part, as actually grown-up Guiga fails to cope with the massive political repression, the death of his beloved mother and some type of sexual shortcoming that isn't quite clear (probably sterility), becoming increasingly erratic and emotionally unstable. Guiga chooses to "drop out" into flower-power, communal life and drugs -- and the movie loses some of its magic as Guiga loses his Amarcordian family. But overall, "Eu Me Lembro" remains a enchanting adventure filled with poetry, originality and humor, an unbeatable recipe."Eu Me Lembro" has winning assets: a) a spot-on art direction, filled with Brazilian middle-class memorabilia of the 1950s and 1960s, which probably only Brazilians over 40 will totally enjoy; b) a soundtrack that sets the film's intense emotional tone and contains Brazilian hits from the 1940s to the 1970s (Carmen Miranda, Emilinha Borba, Gal Costa, Gilberto Gil, Caetano Veloso, the nice and forgotten Gilberto Alves etc), classical melody (there's a pretty stage where Guiga plays Liszt's Hungarian Rhapsody n.2 in a radio show) and lovely traditional Bahia folk songs; c) colorful, offbeat dialog (the opening stage between Guiga and his mother, and the "BBC" routine by Maria Maluca are highlights), delivered in that sensuous, mellifluous Bahia accent; d) fine acting, especially from Arly Arnaud (warm and appealing as the Mother), Fernando Neves (making us care for the pathetic Father) and the galvanizing Dantlen Mello as the youngest Guiga, with large curious eyes belying his deadpan expression.The fact that it took 30 years (!!) for director Edgar Navarro to receive his first detail financed, produced and exhibited (he has been making award- winning shorts and videos since the 1970s), just adds to the importance of "Eu Me Lembro": because he's had to wait decades to take his storyline to the large screen, he has painted a self-portrait that's also a portrait of a entire generation (middle-class Brazilians who are actually pushing 60), a generation whose early hopes were stifled by violent military regimes, censorship and the death of utopia. It's also a storyline of survival: non-heroic, non- extraordinary, and with a bit of sanity and confidence lost along the way, but survival anyway. The delicate, symbolic, life-celebrating finale (à la "8 1/2") restates the importance of keeping our dreams and memories alive, even (especially?) in somber times, because they may be the greatest we've got left to say the globe when darkness is finally over.
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