Rodrigo_Amaro Reviews

What You Take for Granted (1984)

Women at Work and the challenges they face

[8/10 · 19 April 2024]

A reflective piece combining real interviews with some moments of acting with all relating to how women struggled to find their place in the job market, specially concerning on fields dominated by men. From all kinds of backgrounds, races and jobs, they share their experiences, why they wanted those jobs (it goes from driving trucks and carpenters to being medical doctors, artists and philosophers, hard labor to more intellectual ones) and what prevented them from being viewed as equal as men, getting rejected at promotions and facing discrimination.

Michelle Citron's title for it feels a little enigmatic as there's not a clear indication as to "who" is taking things for granted, as neither the interviews address to us in such manner. With a wide perspective after 40 years of its release and seeing what has changed in between, I consider that the title addresses to all men (for obvious reasons) but also the women who now have a more comfortable path as for the careers they'll built and how many of them in the past were denied opportunities or faced countless battles just to earn a decent living. Yet for all the progress made and conquered by female, there's obstacles in between and a film like this serves to analyse past perspectives, how gloomy things were, how much has changed, and the things that haven't improved all that much.

Almost all kinds of issues were covered by the professionals here: discriminations, poor working conditions, toxic working environment, lack of respect, harassment and how they were perceived by male colleagues and bosses. Two of the interviewees appear in some acting segments, the unlikely but honest friendship between a doctor (Belinda Cloud) and a truck driver (Donna Blue Lachman), and how they cope with their problems at work, sharing about their stressful routines. Not sure if the film benefits of those moments all that greatly. I was more focused on the stories, despite the majority of them being very depressive and pessimistic; others were a little humored (the sculptor talking about her death threats to a co-worker who left her injured. She's very firm and funny).

I find it very worth seeing for its reflection of the topic, not only for female audiences but also male as well. It definitely raises awareness, empathy and consideration as what every woman goes through on working spaces, even if they don't face similar situations as the ones presented here, as there's always some difference of treatment depending on the field. It takes films like this to make us take a different look at things we perceive as routine, when in reality they should be changed a long time ago. 8/10.

Rhinestone (1984)

It's not that bad. It's just really awkward

[5/10 · 19 April 2024]

I almost feel bad in joining the band wagon on non-supporters of "Rhinestone" as there's already a large crowd that considers this one of the worst films ever made. Honestly it's not that bad and for a while it's a manageable little story inspired by those classic stories where a bet is made to take an ordinary person and turn them into something really special. "Pygmalion", "My Fair Lady" and "My Man Godfrey" had done that before - and film lovers will be angry that I'm including "Rhinestone" along those marvels.

The concept is the same but move to the craziness of the 1980's, make country star Dolly Parton bet that she can turn a rude taxi driver (Sylvester Stallone) into a country singer, and you get this almost insane picture. All the kinds of laughter can be found here: from ridicule, non-realistic situations, cheap lines and cheap sequences, and some small genuinely funny bits that sadly can't turn a fully incoherent mess into something worthy of a good review.

But it's not all that bad. It's one of those that can actually make you find worth liking it, it's almost good. Stallone and Parton have a somewhat fine chemistry (she's always a fun to watch, I must say); the dramatic song for the tough cowboy singer was incredibly hilarious (they should have sent that song to the Academy to compete in the category and I kid you not, despite the heavy competition); Richard Farnsworth as Dolly's dad was fun to watch as well, just as the guy who plays her drunk ex-boyfriend.

"Rhinestone" major problem was having a script so erratic that it's hard to imagine how on earth this could attract audiences. A country singer meets a taxi driver and they must unite forces to prevent her from having to sleep with her boss, guardian of her lousy contract and... that's the joke? To turn city mouse into an authentic country mouse who can walk and sing like a cowboy and become the new country star of Rhinestone - the club they play. And with a long series of formulaic situations, the story drags on and on. Blame it on Sly for "fixing" newcomer screenwriter Phil Alden Robinson's script (I'll never blame it on him as the legend tells that his original story was highly elevated).

It wasn't a total waste though it felt close to it, becoming dull and boring for a little while. And just to prove it wasn't all that bad, director Bob Clark has a true disaster: Baby Geniuses. Has anyone survived that wreck? I still have traumas. 5/10.

The Naked Face (1984)

A fine dramatic thriller

[6/10 · 19 April 2024]

Nothing new under the sun, or slightly something to that effect, in "The Naked Face", one of director/writer Bryan Forbes' final films. A quite fun dramatic thriller with some intriguing twists, some predictable turns but always offering good moments and unusual performances.

It's a great chance to see the eternal 007 Roger Moore being a little more vulnerable than usual, as he plays a Chicago psychoanalyst who gets accused of a series of murders that are happening around him and of people who know him. Two detectives are on his back: Elliott Gould plays the rookie who wants to give the doctor the benefit of a doubt; while the veteran (Rod Steiger) already has an agenda against the man for a past encounter on court. Obviously that the clueless doctor isn't killing anyone, but maybe some of his patients might be part of the mystery and off he goes to investigate by himself - always becoming a target himself.

The film is adapted from a novel by Sidney Sheldon, one of the most cinematic authors of all time, and it's probably a fair adaptation of it (I read it ages ago and didn't even knew there was a film made). For fans of him, it's a pretty decent job since he knew how to create mystery, create series of shady characters and throw some love in between - there isn't much here but since Anne Archer is the sole main female presence you can guess that her patient character will get attracted to Moore's helpful doctor. And if he's a delight to watch as he doesn't throw punches or shoot anyone, his nemesis isn't, and single handedly almost destroyed the picture. And trust me, it's possible.

Rod Steiger and his intolerant detective is something to be seen to be believed. His hystrionic acts go from amazingly bad to hilarious over and over as he charges against Moore, the dead patient's sexual orientation and many other things. Overacting non-stop, and it's hard to imagine someone like him being in charge of an investigation, ignoring procedures and being hostile to the people who could help him - specially the $50 dollar shrink. And I abolsutely loved his toupee (funny as hell). If not paying much attention to this character, one can enjoy the film very easily.

Many things to like about it but it's one of those cases where you can't expect much. The few thrills work, the mystery too. Yet the result of it all, why those killings were happening and always giving the appearance that the doctor was the monster is almost ridiculous.

It may convince less demanding viewers. And one thing is certain: the very final scene may anger you, or you may have some good laugh out of it. 6/10.

Phil Collins & Marilyn Martin: Separate Lives (1985 Music Video)

One of the greatest music videos of its kind

[10/10 · 19 April 2024]

This is the kind of film soundtrack music video I love to see where the song performers recreate ideas from the movie where it's played. They don't make more of those clips. The case in question is the power ballad "Separate Lives" performed by Phil Collins and Marilyn Martin, one of the two themes from Taylor Hackford's "White Nights", being the main theme the one sung by Lionel Richie "Say You, Say Me", Oscar winning song with a video of its own. Hackford and Collins aren't strangers from each others as they previously collaborared with the music video for "Against All Odds", another great triumph for both but here it's where things reach a higher level (though this clip was directed by James Yukich, a regular Collins director).

The duet takes place inside a similar studio where the characters played by Gregory Hines and Mikhail Baryshinkov are stationed in Siberia, but here instead of the memorable choreographies from the dancers/actors, Collins and Martin sing by the piano, evoking all the memories of a love that seemed so far gone yet so close to the memory, which combines with the love dynamics coming from the actors characters with their on-screen lovers (played by Isabella Rossellini and Helen Mirren). It took some time for this song conquer my heart (as I don't like the way it is played on the film, coming from a tape), but once it got me, it remained as an all-time favorite ballad. And seeing this music video was really special, bringing back many memories from a very special movie.

Why I have some special care for soundtrack videos when they go a next level besides just sharing clips from the film being promoted? To see how original and fun the idea can work for the musical performers and for us in the audience. It's a wide exposition of elements, song, soundtrack, a couple of dialogues from the film and clips as well, which works a lot better than just showing snippets between a group/artist performing the song and/or the clips. And this one of the first to enhance the idea of what a soundtrack video should be, just like the spectacular "A View to a Kill" for Duran Duran, where the band "interact" with James Bond on a mission at the Eiffel Tower. Amazing not only in their categories but as a whole. 10/10.

En el infierno del Chaco (1932)

Early reports on the Chaco War

[6/10 · 18 April 2024]

The Chaco War, a dispute between Bolivia and Paraguay between 1932-35, received an important early coverage by Argentinean filmmaker Roque Funes. The territorial conflict presents Paraguay's point of view with the first battles, military campaigns, the treatment of the wounded soldiers, and the many encouragments received by authorities and the nation's president.

"In the Hell of Chaco" has a significant importance of presenting an early register from Paraguay's cinema, one of the few surviving films from the period and the war was covered in other projects as well, and also an important register of a then-ungoing war in South America, a rare event for the whole territory during the 20th century.

Seeing the project is so-and-so, as it gets tiring for a while, and there are times it gives the impression of not being a documentary but rather something specifically acted. Maybe we have to take into consideration that it's a mix of both, as we watch some moments from the battles, the planes used in it - though we never seen them much in action.

While the titles detail everything we're seeing, we are shielded a little from the exact nature of the territorial conflict, and it gets a biased position since it tells one side of the story without following the other, and several times there's a propaganda style showing praise for the Paraguyan military.

Must say that it's visually impressive for its period and for being a magnificent example of powerful South American cinema from an early period, both for its report, some memorable and haunting images - a wounded soldier being treated, with his stomach receiving a series of stitches is unforgettable; the nurses devotion; and the animated maps presenting the conflict's location. A must-see classic for enthusiasts of silent documentaries. 6/10.

Paul McCartney & Stevie Wonder: Ebony and Ivory (1982 Music Video)

Nice duet

[7/10 · 17 April 2024]

One of those songs that is often referenced but not much played out there. I listen quite rarely, must say, it's one of those things that I remember from time to time. Yet one must praise a little the efforts put by McCartney and Wonder as one of the nicest duets of the 1980's, as addressing the importance of tolerance among races - though most find it corny the analogy it makes with the piano keyboards. The video shows the diversity of the performs but also made its point with their clothing, which shifts from black and white in between shots. Fine concept, though it's not much of a highly memorable video from both artists. 7/10.

Toquinho: il viaggiatore del sogno (1991 Video)

Hilarious!

[6/10 · 16 April 2024]

This is one of the most unusual happy accidents I ever had while searching for something to watch, and it certainly made my day. Popular music composer/singer Toquinho performing in Italian - and he has a couple of albums on that language - with a song that somehow fits the scenario revolving on a young girl at school, who gets distracted by her walkman playing the song much to the displeasure of the teacher. But everybody gets to dance afterwards and the video was so funny that I had to watch one more time.

Song: Toquinho makes a curious mix with the Italian language and a sort of dance sounds from the music, with a chours that reflects the native people of Brazil. It's a little hard to go through such combination but the more you hear it the more you like, and it gets stuck in the head.

Video/Concept: it's amazingly hilarious and I don't know how to start. A class with only female students, and we're dealing with some convent, and besides leading girl who "disturbs" the classes they all look unfazed or bored when its time to perform either the dance or talking with the teacher. It's weird to accept that a song like that could cause such a reaction from the girl, and it's even weirder that she was bored in class since the teacher, despite its tough guy demeanor and always annoyed with everything, is kinda hot. Maybe those dated glasses didn't help her much. And speaking of him, he's quite a great actor and it's too much fun to see his character change of mood on the second half of the clip. It's hilarious. Too bad I don't know who he is and if he pursued career.

At first I was weirded out by everything. But I played it again, and again, and I end up accepting everything. It was fun, I had a great time and it certainly saved my day from boredom. 6/10.

The Stone Boy (1984)

Erratic but it conquers viewers with some heartfelt moments

[6/10 · 15 April 2024]

On a superficial level "The Stone Boy" could be seen almost as "Ordinary People" but on a rural setting. Trade the accidental drowning for a hunting accident but again we have an exemplary older brother dying and leaving a younger one feeling the pains of it all, and again each member of the family tries to cope with themselves during grief and afterwards. Extend the number of family members, add a series of situations, and remove the shrink character and you have a confusing and emotionally drained film that somehow hits some right notes. You can learn from it, specially if paying attention to all the mistakes the characters make throughout the picture.

Jason Presson is Arnold, the boy from the title, and he enters into a very withdrawn and quiet mode after accidentally shooting his older brother during a duck hunting. Then we have the parents, where the mother (Glenn Close) tries to console him in her careful way as the father (Robert Duvall) just avoids him, prefering to leave the boy spend some time with his grandfather (Wilford Brimley). The little sister facing her early teens is unimportant, for them and for us as we don't get to see any personal crisis of hers. And if those folks weren't enough, there's the uncle (Frederic Forrest), who cheates on his pregnant wife while consoling the dead man's girlfriend and he blames the infidelity on poor Arnold.

Lots of people around yet Arnold's is all alone. It's no mystery why he doesn't talk much with anyone or even why it takes some time before he finally break down and cry. The hardness of that rural environment keeps everybody at a certain sense of composure that they have to endure everything. Everybody's all emotional unavailable except when there's some conflict involved, and deep down they would leave that house, that town and go find themselves somewhere else, apart from everything and everyone they know. They can't find ways of dealing with themselves.

But there's some comfort. The best scenes of "The Stone Boy" revolved on Arnold and his grandfather. Most people see those things happening in reality and most movies as well, about the generational arc that skips the parents and unites the oldest with the youngest in amazing ways.

They connect just fine and that's where you see the most tender and most comprehensive parts of the story where you end up caring for them, and ignoring everyone else. The duo can count on each other while the rest are trying and failing to keep a family together. It gets to such a critical point that a total stranger (Linda Hamilton) becomes a helpful listener to Arnold's pain - best scene in the movie, I think.

It's not much of a heartwarming film, neither a painfully depressive one. It swings between those modes but not entirely to the point of causing some pain or bringing some tears - the characters are so detached at times that for a while you're not invested on them. I brought "Ordinary People" to the discussion for a reason, specially if we consider the one character who tried to mend things for the depressed teen yet there's none similar in here: the psychatrist. Obvious that Arnold's case should be accompanied by a therapist, even someone in the field should attend his questioning by the police (a terrible scene that might look unbelievable to some). How on earth those parents feel they can solve everything with distancing and controlling/supression of emotions. It happens, I know, and perhaps one of the reasons the film doesn't flunk is because seeing a different and unusual perspective one can see the validation (or not) of those parents approach in dealing with grief, loss and getting back to some normalcy.

A fine cast was assembled by Christopher Cain, with some nice performances but seeing young Presson and veteran Brimley together was one of those sparkling moments that elevated the film's quality to a memorable degree. I might forget the picture, but I won't forget their scenes. 6/10.

Com o Andar de Robert Taylor (1988)

Dark memories

[7/10 · 15 April 2024]

A short film on the power of memories and how they affect our perception of life, our way of life and how we perceive important parts of our lives that seemed so far gone to the point of becoming almost harmless - but they never are. "Robert Taylor's Way of Walking" tells us about a former exiled man (Ênio Gonçalves) who returns to Brazil during the amnesty and recollects some events during the hard years of military regime when he was a political activist persecuted by authorities, and he fell in love with a beautiful young woman (Cláudia Magno) who helped him with his cause.

In between the memories, as he revisits a changed town that he can only remembers what used to be there, his recollection brings back mostly the last day he met his girlfriend while they were on the active, and later on he got arrested and tortured; and also the last meeting with her after his release. He holds some good memories from the place, but those haunts him back to the tragedy of a lost relationship, almost the loss of his life.

I don't know how Roberto Drummond's short story was told, and if he actually explains or describes the title which relates with the Classic Hollywood film star (the film doesn't explain either except for a film the lead character watches, of which we can only hear and get its title on a cinema marquise). The short film creates some division of everything that for some brief moments one can imagine that some of the man's memories as being a projection, a fantasy of how he imagined things happening. Or they could also be the real thing. We'll never know, and that's the beauty of it all.

The challenge on viewers is to find some reality on such memories, if real or not, or if the perception of them was altered because he wanted a definition on things that could explain why he was arrested and if the girl had a part on it. He needs that definition since nostalgia isn't helping him anymore.

A well acted piece, with some nice suspense touches but at times it feels like there's something missing. 7/10.

Barão Vermelho: Bete Balanço (1984 Music Video)

Fine clip but pity we don't have bits from the movie

[7/10 · 15 April 2024]

Another great Barão Vermelho song at the top of their game and one of their most well-known hits, "Bete Balanço" received a luekwarm music video that fills us with some mystery, the outstanding music as performed by Cazuza and group but they missed one golden opportunity: to be a soundtrack video, as the track was in fact composed for the film of same name, starring Débora Bloch and Lauro Corona. If it happened that the film wasn't ready, just by casting the leading actress to appear in the video and interact with the group (they also appear in the movie) it would be an interesting promotion for both the song and the movie. Instead it's just a case of regular performances, the band members appear walking around on dunes, beautiful women appear here and there, and Cazuza dominates everything with his presence in between close-up shots. It certainly sells the song but doesn't offer much on visual terms. 7/10.

Ordeal by Innocence (1984)

Enjoyable but the godawful soundtrack is a mess

[7/10 · 15 April 2024]

The real treat of "Ordeal by Innocence" is the absence of Agatha Christie's famous detectives Hercule Poirot and Miss Marple trying to solve another mysterious case. Our hero in this intricate journey is Dr. Calgary (played by Donald Sutherland), a geophysicist who returns to an English county to simply return a lost wallet from a man he helped two years earlier. But when he gets there, to the Argyle estate, he discovers that the young man was not only dead but was in fact executed by authorities after the brutal murder of his mother. Case closed for the family but not for Dr. Calgary as he can prove he was the alibi for the man and that a killer may be on the loose and within that large rich family. It's time for him to re-open the case, but not becoming himself a potential new victim but other people as well.

It's a nice little movie conducted by Desmond Davis, with fine performances from Sutherland, Christopher Plummer, Faye Dunaway, Sarah Miles, Michael Elphick, Diana Quick, Michael Maloney, Annette Crosbie, and Ian McShane (who steals the show). The story has an adequate progression in slowly developing the mysteries and the suspense of it all is fun to watch, and I loved the fact that this doctor turned investigator wasn't so the spectacular man who knows everything beforehand as usually Dame Christie used to write, he's prone to mistakes and misjudgments yet his quest for justice is interesting to watch. The deeper he gets into the Argyle family secrets (from adoption to incest and a fight for heritage), the more intriguing and peculiar it gets - and dangerous too. I absolutely loved the ending, very satisfying and surprising.

It's fine and watchable except for one thing that may destroy the enjoyment to some viewers: the music score. Has to be the worst soundtrack ever given to a film - or at least very close to that effect. For absolute ridiculous reasons, the studio decided to replace the score provided by Pino Donaggio ("Dressed to Kill") and went instead with jazzman Dave Brubeck and compositions that were not made for the film, it's materials he already had released. It simply does not fit the movie in no possible way. It's laughable when you see Sutherland being chased by a car or some killing is about to happen and you have full jazz themes being played out, very loudly. It's not that the music is bad (Brubeck is a very talented musician) but it does not have to be in the picture. It's awfully distracting and almost ruin the experience - I couldn't help but laugh or shake my head time and again.

Obvious that more demanding viewers won't find much excitment or curiosity in it, but I still find it quite enjoyable, one of those things you watch on lazy nights when there's nothing better to do or maybe you don't want to rewatch anything and definitely needs to look back at some forgotten film. This one's quite right for those nights. 7/10.

Phil Collins: I Don't Care Anymore (1983 Music Video)

I deeply care about the song.

[8/10 · 14 April 2024]

The song, the song and the song again. "I Don't Care Anymore" is worthy seeing because of its song with Phil Collins singing his heart out as he copes with a former lover badmouthing him to everyone they know. The quintessential shrug song is actually filled with emotions and one can use it as a mantra to ignore any bad situation felt. Obvious that a song like this couldn't have some concept or some acting involved, but since it's such a powerful track Collins chose best to deliver a performance with his group. The great detail that captures our eyes comes from the unusual transition where he begins playing the drums and then he's suddenly put at the center stage to just sing (great editing in this moment). A fine act, but could use those superimposed effects just a little less. 8/10

8/10.

Dan Hartman: I Can Dream About You (Version 2) (1984 Music Video)

A lovely alternative version

[9/10 · 14 April 2024]

A 2nd clip was made in order to promote the artist behind the song instead of just being a promotional material for "Streets of Fire" of which "I Can Dream About You" is part of the soundtrack. While the film appears in the background (the 1st clip), here Dan Hartman plays a hard working bartender who tries to get the attention of a beautiful woman (Joyce Hyser) in the crowd.

An interesting idea that knows how to sell the romance ideal from the song. What prevents the music video of becoming a far greater idea was the lack of a rival for our hero, to match with the film idea; and the lack of a more appealing editing and camera angles when he finally takes the lady to dance with him, all filmed from the same angle and it's a little difficult to see both on the same frame (stunt double used to dance, probably).

But those are little complaints, they don't hurt the idea neither the enjoyment of such high-spirited clip with a great energy to share. And the song is a favorite of many, I think. 9/10.

Dan Hartman: I Can Dream About You (Version 1) (1984 Music Video)

A classic full of good energy

[9/10 · 13 April 2024]

Of the two clip versions released to promote both the main theme from Walter Hill's cult "Street of Fire", this one is the most well-known as it got more airplay (at least here), if compared with the other one that uses the images of this one on a TV in the background as Dan Hartman appears performing.

It's basically the actual performance of "I Can Dream About You" that appears in the film, with the "fake" group The Sorels acting and singing instead of Hartman. A black rock/pop group with the touches of the 1960's style dubbing a white guy, and lots of folks (myself included) were really fooled because of the video as Hartman does not appear in it. I won't say it's just the scene being played out, it was greatly edited and probably the whole performance and dance routine goes different than the actual sequence shown in Hill's film, or at least it gives the impression of providing more images (if you seen "Streets of Fire" you'll notice that there's a whole other action, dialogues as the climax with the song takes place).

Yet, besides being the better known music video it's also the better as it greatly sells the whole atmosphere and strong energy from the action/musical picture, the dance choreography, the acting/dubbing of the song were all amazingly done and you get all the great memories from the film. Plus: this main theme is one of the easiest and strongest smash hits of the 1980's, a theme that most people like hearing, know it's from a movie yet they never seen it.

A true classic in all possible ways. 9/10.

Le grand rendez-vous (2020)

Alright but it doesn't reach the greatness and simplicity of the original

[7/10 · 12 April 2024]

It's easy to understand the low rating on this short if considering the people who watched the original film, made by Claude Lelouch in 1976 while racing his car through the streets of Paris in one long continuous shot. Those who haven't seen it might not find anything so spectacular as well. But it has its triumphs, some beauty and reasons for enjoyment, though it'll never reach the level of greatness that other short had. Bottom of line: less is (and was) more.

Lelouch recreates a similar concept of a long shot of a driving car moving through a nice place. The spectacle comes from F1 driver Charles Leclerc racing a potent Ferrari through the amazing streets Monaco, during the Covid pandemic lockdown of the city. A nice view of everything, a great capturing of the speed that feels as if seeing something going on lightspeed (if it was possible to record such a thing).

It's quite alright but the difference from the classic (besides the place setting) comes from the use of a musical score (and not just the motor running); the presence of Prince Albert and a florist firl (Rebecca Blanc-Lelouch) as if some sort of plot would come out to give a reasoning for the project, and they ride with Leclerc; and it's not a single shot as the images are edited showing the view from the outside of the car, along with images from inside the car, as opposed with the camera showing just the streets and places where Lelouch was driving in the 1970's. With those distractions the experience gets reduced to a commercial of Ferrari rather than an exciting experience of feeling the speed.

I enjoyed it a lot, though not as much as the original film (best known to current audiences as the Snow Patrol clip for "Open Your Eyes" where they just included the music on those images). 7/10.

Harry & Son (1984)

It tries too much and fails at everything

[5/10 · 12 April 2024]

The male response to "Terms of Endearment" fails badly at all levels as it's neither charming with its chaotic humor and neither fully satisfies as a drama. It breaks my heart to see Paul Newman being lead actor/director/writer of a piece so strange, trying to be too many things all at once and not delivering a single right note that makes us care for it. It's one of those cases that you may enjoy the performances (as he got a great ensemble with Ellen Barkin, Wilford Brimley, Judith Ivey, Ossie Davis, Morgan Freeman and Newman's wife Joanne Woodward), enjoy some of the situations but you won't feel relating with anybody and won't learn anything from it, as the mountain of cliches pill up with almost no reward.

The relationship between a sick father (Newman) and his young son (Robby Benson) is given an awkward treatment as they swing back and forth between good buddies to unknown figures to each other who bicker for pointless things, or at times because the idealist promising writer fails to sustain a work. I sort of related with the sensitive kid failing at all the works he applied since he's totally wrong for it, and only writing could help him to come out to life (but his writing sucks, the little it was shown).

Why "Harry and Son" is so weak and never fully works? Newman's character is too stubborn, deeply rooted in his own persona and only thinks about himself; and even when he gets a new chance at love, with the advances from a friend of his deceased wife, he becomes a rude figure. With his son, it gets wildly confusing as to what he really wants from the boy, reaching a point where he kicks him out of home just because his room was a mess, and if one looks back at their very first scene, having a dinner by candlelight and having a nice talk, they never were the kind of men who were against each others throat. As the father's disease is never mentioned (neither treated) I assume he has a brain tumor that makes him such an erratic man, who barely generates any sympathy from the audience.

But what irritated me the most was the bizarre balance of comedy and drama, as none of them are convincing or interesting. Take the famous dish breaking scene where the guys invite the sister/daughter and her husband to lunch and Newman presents his daughter with some fancy dishes from the family and makes a whole "prank" that the estimated dishes break, much to the woman's horror, and ours as well. It goes from slightly funny, to heavily dramatic as she leaves the house, moves back to funny as Newman falls on the same prank while cleaning everything, a chase ensues around the house and then moves to more drama as he feels sick. It's the kind of thing it'd work in literature, here it just try so hard in getting a rollercoaster of emotions that you don't know for whom to care or reject. The whole film goes in between too much drama, too much comedy and it hardly gets right at any of those.

For a higher analysis, "Harry and Son" proves that some people will never grow or they'll never have the ability to change; others will have changes forced upon themselves way before their times and all the learning must be done quickly. But I've seen with such proof. As a personal project for Mr. Newman, this lacked coherence, passion and heart. Like his character, a demolition crane operator, he crashes everything down in what could be a good film. 5/10.

Leo Jaime: Sonia (Sunny) (1983 Music Video)

Fine video but this clean version of the racy song is a mess

[6/10 · 11 April 2024]

It's a laughable pity what Leo Jaime was forced to do with this clean version of the originally conceived song "Sonia (Sunny). I'm not talking about the video, which is slightly amusing with the story presented, but the actual song that made the original one sexy, audacious and hilarious turn into a ridiculous censored version that almost doesn't make any sense while telling the story of a guy infinitely and insanely horny for the title character. The album version is a thousand times better than the sanitized version, which modifies lyrics and intention to a cringe degree.

Jaime plays a dual role as a performer of a teen party where he's also a teen character trying to get the attention of a pretty girl, and between dancings and some craziness going around. It's not MTV quality material and production but one can have fun with the scenarios presented.

As for the song, I can't see a reason for enjoyment because of how it could work when we know the "dirtier" version is way more fun (no video was made for it, for obvious reasons). Either way, one will never look at Bobby Hebb's original "Sunny" the same way again. 6/10.

U2: Pride (In the Name of Love) (Original Version) (1984 Music Video)

Good but doesn't help much the song

[7/10 · 11 April 2024]

From the series 'only in it for the song', "Pride (In the Name of Love)" has one of those band performances that makes you forget the song and its important context. A tribute to Martin Luther King Jr., U2 has made one of their most significant pieces, no doubt about that, but the video impress us very little while showing the Dublin docklands, and kids and elderly watching the group performing on a stage. Greatly photographed I must say.

Yet the song has everything to appeal with its sound and lyrics. On video terms, it's one of their least memorable and as evident of such there is another video made. 7/10.

The Doobie Brothers: What a Fool Believes (1979 Music Video)

Doobies at their best moment

[7/10 · 10 April 2024]

"What a Fool Believes" took Doobie Brothers above the stratosphere as an instant hit of the late 1970's, a song perfect in possible ways, music and lyrics (from the duo Kenny Loggins and Michael McDonald), and becoming a classic yacht rock song. It's also kind of divisive moment for the group as McDonald as the leading singer propeled them to become a more known band compared to the Tom Johnston era, and with his blye-eyed soul vocal style Doobie's act became a completely different thing that the rock sounds of its origins - both great in their unique way, but gotta admit that the groovy brought on with Mike made them a bigger act and later on he got a fantastic solo career. And it's such a big musical moment for them, from the album "Minute by Minute" that they got a music video to promote the single.

Not much of a spectacular music video as it's just a performance from the band on stage, with many split screen bits and effects where McDonald's face appears with the other band members as he sings and plays the keyboard. The unique thing about the video is that the song plays out in a different manner than the version used in the album/played on the radio. It's not like a live act but there's some difference from the original version. Anyway, always great to listen to it and that's why it gets a praise from me.

A little fun fact: this Grammy award-winning song was originally conceived for James Bridges' film "The China Syndrome" where it'd be the only music to appear in the film, instead of Stephen Bishop's "Somewhere in Between" that memorably plays at the opening credits. The story says "What a Fool..." was rejected by producers (Michael Douglas was one of them) for reasons unknown and the rest is history as which played out more in 1979. But I'm a big fan of both. 7/10.

Kenny Loggins: Footloose (1984 Music Video)

A major edit from the movie

[7/10 · 9 April 2024]

The massive title track composed for the hit film "Footloose" managed to get a pretty decent music video that certainly hits its mark of selling the film directed by Herbert Ross as a song full of energy, great beat and fun to dance along with leading man Kevin Bacon as all the greatest moments of him appear on the screen.

The sad part is that Kenny Loggins is completely absent from view as the clip concept revolves uniquely on the movie, there's not even Loggins musicians to make a performance for it and that idea of just editing down a whole picture without making a little extra something for a video can disappoint viewers, or worse (in this case) don't even allow audiences to get to know the person behind the song.

It's a fine video that pass today more as a film tribute rather than a creation of its period. It's all well put together, such as the solo act presents Bacon's rant dance moves at night, but it's too simple of an edit and they manage to cut the song near the end. 7/10.

Blue City (1986)

Higly enjoyable if not taken so seriously

[8/10 · 8 April 2024]

"Blue City" is one of those films you give it a pass in order to enjoy the couple of good things it has to show, ignoring a little the many obvious moments and motifs. It's highly entertaining despite lacking in anything new to say or show, and perhaps its greatest asset comes for showing the sinister ways and moves of Judd Nelson being used to play the hero, for a change, and he's quite enjoyable as a drifter who returns to his hometown to find out who killed his rich father. Coming to his aid, there's an old friend (David Caruso, quite funny) and his sister (Ally Sheedy) and you'll probably know she'll be his partner in bed, and that family will be put in danger as he's a reckless, uncaring dude who only thinks about himself.

Walter Hill signed the script but didn't direct - thankfully. It's not like you're seeing the typical violent flick he used to do in the 80's but certain charateristics remained (unusual stubborn heroes, darkly funny lines). What might kill the enjoyment of this are several erratic moments and even the final morals of it all (some things are easily forgiven, and if that's the case then love really conquers all). But the way everything is put together and how it goes before your eyes is so enjoyable, attractive and thrilling that you don't pay much mind to what's wrong with it. There's worse out there and this one manages to leave in great spirits, as having a pretty decent time watching it.

Was I bored with it? Never. Scenes like the robbing scheme where Caruso and Nelson disturb the greyhound racing or the motel shootout offer a great reward. Even the hammy performance of Scott Wilson, as the rich man you know is the bad guy, can offer some entertaining value. And Paul Winfield is always a pleasure to watch. It's one of those films you can't take so seriously, and I guess that's the problem it had and has in attracting viewers or getting some positive notes about it. It was done on autopilot, and it must be seen on autopilot or not expecting too much. 8/10.

Ziraldo: O Eterno Menino Maluquinho (2007)

The genius who made us love reading

[9/10 · 8 April 2024]

Here's my words of gratitude to this incredible artist and educator whose words and drawings were the first contact with reading and literature of many people out there, past, present and future. To simply say Ziraldo was THE man is not enough. Through his countless artistic creations revolving on childhood memories, and even social/politial works, he revealed a world of possibilities, fantasy and inspired many other talents who followed his steps and legacy. And hearing the man talking about any possible subject was always fascinating, his enthusiasm for everything and the many people he worked with, other great cartoonists and artists, it was always special almost as if seeing a child talking.

In this special documentary, Ziraldo talks about his childhood memories and how they served as inspirational material for many of his works (including the memorable "Menino Maluquinho"), and also a little about his early days while becoming a cartoonist/writer, a major life passion. There's a little of acting involved with two actors who play him at a young age but they're just there to fit the narration described by José Mayer and there's no major interaction on their part.

What made my heart fill with pleasure and my eyes twinkle in delight was hearing all his thoughts about the importance of reading and writing, and the cause of education. Reading, as he viewed, should be considered as people's sixth sense since without it a person is not fully developed, it's vital - yet it always gets underappreciated or given little importance as he says that the problem comes from the fact that schools hardly ever find a way for young children and teenagers to love and embrace reading, it's something that feels "forced" upon students and once they grow they feel "free" from reading as an obligation. I agree with this sentiment, it is a fact. Most only love reading after going to college or if applying to more intellectual jobs.

He also talks about the real inspiration for the nutty teacher ("Professora Muito Maluquinha") as an 16-year-old teacher of his that he enchanted her students by reading classic novels and giving comics for them to read, and through observation of her concentration with reading, later on getting to know words and letters, that class learned everything with her. His early experiences with reading, also came through his mother teachings in how to connect the letters in a sounding manner then forming words, and whenever he goes way back in those memories, how they were useful for his comics, finds a way to connect with audiences in a fun way.

If I enjoy writing and reading, it's because of talented folks like Ziraldo and Mauricio de Souza, who introduced me to the world of letters, words and comics way back in time. 9/10.

Arena: Dire Straits (1980) Season 6, Episode 2

An intimate Dire Straits moment

[7/10 · 7 April 2024]

The little perils of internet brought me to this documentary as it was filed as being Dire Straits "Alchemy" concert. It felt weird watching it as it had too many interviews and little music on it, and only when the final credits rolled in that I noticed a different director name attached and that's how the confusion ended (but there were hints and details shown that were alerting me yet I paid no mind). No loss, though it's something of little gain as it was one of the most depressing materials related with a rock band, musical group or a concert. But it allowed me to see the Straits in a different light.

This "Arena" special presents the group at a somewhat peak of their game during the recording sessions of "Making Movies" and on tour as well, and at the time of filming David Knopfler was still part of the band. The film balances between live performances, some rehearsals of future singles and plenty of interviews with Dire Straits and their manager.

The latter part is what almost puts everything down - my judgement is slightly cloudy as I was hoping something else and since there weren't neither a host or some voice-over to tell exactly what they were about to show it made the experience a quite sad to watch. The majority of interviews deal with the pressures and obstacles of being a highly successful band and none of them were ready for such success.

It's not like they're complaining about everything, it's more a state of reflection of where they were at the moment and where they could go from there.

As brilliantly put by David, near the end of the film, they needed to reavaluate things a little, take some break from the countless gigs in order to find themselves and find a meaningful way to be more creative with their music. When you see this piece you totally understand why he left the band soon afterwards. And it makes one wonder if he had stayed with them a little longer during the "Money for Nothing" era, with their most successful album and tour.

The music presentation/concerts are fine, great performances but a couple of tracks are played out in a short/fast manner and it wasn't because of the editing, it's the guys themselves who short everything up.

It's a curious look at the group, a truly fine piece as it offers not only a closer look at a successful band and how they dealt with everything (and those moments, while sad looking, offer some great insights for anyone dreaming of becoming a musician. As they explain, they wanted to make and play music, but the unexpected fame and success can go in a different way with many up's and down's), but we also have some fine moments of memories and joy as the musicians talk about their first contacts with music (Pick Withers and his dream of drumming for a marching band was hilarious). It's all good. 7/10.

Alphabet City (1984)

Painfully boring and empty

[4/10 · 7 April 2024]

The only good attraction of "Alphabet City" comes from the acting of the cast, specially leading man Vincent Spano playing a smart drug dealer trying to save his family and friends lives while conducting some final businesses as his boss goes after him. The story tries to seduce us with the urgency of an one night timespan where our hero runs all night through a dangerous part of New York ciy that goes by the film title.

Problem is that the film fails to connect us through the whole thing because there's not a good story to tell, with terrible character development and even worst action (if there was one). It tries to create a sort of mystery behind why this guy is being hunted when it could have reduced that element (explaining it sooner) and added the dangers and drama of it all as he find ways to his mother, his sister, his artist wife and their baby. The cryptic dialogues trying to sound complicated and accurate about criminality never fully convince.

Spano's acting makes the film tolerable as he has the charm and charisma to play a streetwise dealer who has his own set of rules to stay alive and help everybody he loves. He holds himself a lot before using of violence, unlike many men of his trade who has killing as their game. I enjoyed the performance not only because he carries the movie in a fine manner, but also it makes a nice contrast to his previous role as a shy buddy of a gang leader in "Rumble Fish". Seeing him in those roles is a testimony of his range, and makes one wonder why he wasn't a bigger star. Michael Winslow from the "Police Academy" franchise could also land a memorable role if the part was written with a heavier dramatic tone rather than the comedic, as he plays the dealer's best friend, a talkative street dealer who is also a junkie. They help each other when needed but he's always the one flying high in another dimension.

It was hard to like and hard to care over this one as everything moves in a strange manner, shifting between genres and never satisfying as a whole. For the life of me, I could not understand/see that whole business joint that the police raided (at first there was a house, then suddenly it's a whole building that leads to a labyrinth kind of place); neither couldn't see the sexy moment of the film since it's weirdly choreographed and badly lit. Besides its erratic presentation of everything, it doesn't show any new variation on the criminal world and its rules. It may be of some curiosity as it shows a different part of New York filled with poverty, misery and faceless cops as all kinds of crimes are committed. It isn't a total waste of time, but at times it sure feels like it. 4/10.

Abstrações - Estudo nº 1 (1960)

An early abstract animation from Brazil

[6/10 · 6 April 2024]

A festival of colors, shapes and abstract forms directly into the celluloid is what forms "Abstractions - #1 Study", made by Rubens Francisco Luchetti and Bassano Vaccarini. It's an interesting early experiment made by the duo, not only for the technique but also by itself as it is one of the first animated films made in Brazil, or at least the oldest I've ever seen. If considering the title there might be others made during the period or beyond, but this is the one that survived and we have the chance to see it today. The version I saw had a classical score in the background but for the way it was edited it's likely that it was not originally used - the music stops before the images. A fine experiment. 6/10.