[Colin-H]

MAJOR SPOILER ALERT



What really struck me about this film was how it drew me into the world of Ciudade de Deus (the place). As the movie progresses, I became number and number to the Tarantino-esque violence. I can assume the residents must’ve felt the same way at that point.

I think this is a side effect of the nonchronological story telling. We see more violent crimes through Li’l Dice/Zé’s army than we would’ve had the story been presented chronologically, in which case the only major violence would’ve been Li’l Dice’s motel charade and the ensuing police pursuit.

There was no better choice than Rocket to narrate the story. He shared the same ambitions as his brother, Goose, and Li’l Dice, yet he knew that he wasn’t cut out for the thug life. (I thought the bit where he tried it on for size was humorous and excellent.) Had he had any less luck, he probably would’ve ended up selling fish like his father, but because of the breaks he got coupled with ambition and intelligence, he found his ticket out of the slum life. (He could’ve easily thrown away those opportunities like he did with Angelica and the girl from the bakery.)

Rocket also provided an outlet for our sympathy. Even though Bené and Li’l Zé were criminals, they were not unsympathetic characters. They were unhappy with their lives, and they were trying to do something about it. We have the objectivity and experience to know that what they were doing was wrong and would ultimately lead to their death, but to them, it was the best option.

I thought this was a great film, but I have a feeling that many people, as with Fight Club, will be unable to look past the violence, and that disappoints me.

[Robert Crawford]

This thread is now designated the Official Discussion Thread for "City of God" please, post all comments, links to outside reviews, film and box office discussion items to this thread.

All HTF member film reviews of "City of God" should be posted to the Official Review Thread.

Thank you for your consideration in this matter.


Crawdaddy

[Patrick Sun]

The look into human nature at its most primal, basic form is on full display in this film. Living life on the edge is the only way the characters in this film know how to live, and the choices they make to maintain their lifestyle are startling.

This is a really good film.

[Quentin]

I saw this film some time ago. I thought it was being touted as a 2002 film, and as such, I listed it as my #1 film of last year.

The film speaks for itself - I've rarely seen a film so well made and compelling. But, to think it is Mareilles' first feature...and done with non-actors (he "discovered" and "cast" his film with people off the street, then coached them in a makeshift "film camp" until he decided who would play whom)...is just amazing.

This film is a MUST see.

[Lew Crippen]

This is one of these films that (I think) opened only in L.A. and NYC in 2002. Most of the rest of us had to wait until recently to see this film. As I’ve already commented on it in the ‘2003 Foreign, Alternative and Independent’ thread, I won’t repeat them here.

But I was disappointed to see that City of God was not nominated for an Oscar. But then, I don’t know it was Brazil’s entry or not.

Great film—great cinematography.

[Jason Seaver]

Didn't even open in NYC/LA until this year - those of us that saw it last year were either in Brazil or at festivals.

And, yes, it was Brazil's entry, and its lack of a nomination is being ascribed to the older academy members who make up the nominating committee for Foreign Language Features being uncomfortable with the violence. Ironically, it will be eligible for consideration in every category but foreign language film next year.

[Lew Crippen]

Thanks for the info, Jason.

Quote:

And, yes, it was Brazil's entry, and its lack of a nomination is being ascribed to the older academy members who make up the nominating committee for Foreign Language Features being uncomfortable with the violence.

But not at all put off by death (by the thousands) and destruction in The Two Towers, the very graphic (and personal) fighting and killing in Gangs of New York, the random violence and killing, as well as the implied killing of the holocaust in The Pianist, the single (but sudden and graphic) murder in The Hours, or even the stylized murder of the husband (wouldn’t you have done the same?) in Chicago.

[Jason Seaver]

I gather the FLF nominating committee/group is much smaller and, if the charge is correct, skews older or some such than the ones nominating for the other awards. I don't get it, myself, but that's what I've been reading.

Personally, I think the FLF nomination process needs to be axed and the category subject to the same rules as the other categories - in recent years we've seen such absurdities as Taiwan having to choose between Crouching Tiger and Yi Yi, Talk To Her not being submitted because of politicking within Spain's nominating committee, City Of God not being nominated for some political reason in the Oscar committee, No Man's Land being nominated (and winning) despite a plurality of its dialogue being in English, and a fairly-acclaimed film being deemed ineligible because it was Palestinian and the Academy doesn't recognize it as coming from any country (what, is Israel going to nominate it?).

Of course, the downside to that would probably be the further Mirimax-ization of foreign film - everything released in the fall, kept under wraps unless it's nominated for awards, etc.

[Mark Pfeiffer]

It's one thing to be uncomfortable with the violence. I think it's something entirely different when the violence is being carried out by children. I suspect that was probably the mitigating factor with enough Academy members. The scene with two of the Runts being wounded and one being executed could have been more than some could take. Powerful stuff and a great film.

[Lew Crippen]

Quote:

I think it's something entirely different when the violence is being carried out by children.

True enough, but it is an accurate reflection of life in the favellas. It was not that long ago that the cops in Rio controlled the crime problem by systemically killing children.

[Phil Florian]

Just saw this film last night (in a packed theatre full of senior citizens, no less!! Take that FLF committee!). I haven't been engrossed in a film this much in quite a while. The fact that none of the folks in it were "actors" (if I can believe the press) but were recruited from the neighborhoods that this movie was talking about was amazing to me. They had gritty, natural and moving performances. They really held the screen. I think the content is much more important that style in this case, but the film had a wonderful style too. The 60's looking like a spaghetti Western (many of which were shot in the decade), the 70's had bits of the the blaxploitation to it while the 80's was the only portion that felt "real" (in movie terms, that is). The way they told the story with storylines that crossed over one another back and forth. It was all some great shooting that, content aside, it worthy of notice.

Content is what sells this film. The scene with the Runts will be one of those that will haunt me for a loooong time.
The fact that no matter how hard I tried, I couldn't completely hate Little Ze and I wondered why. The joy at realizing that someone made it out (so many of the 90's gang pics rarely showed any silver lining...it was nice to see a bit of that with this movie).

I am curious about how audiences reacted to the humor in the film