|
CITY
OF GOD Rating:   Director: Fernando Meirelles Co-Director: Katia Lund Producers: Andrea Barata Ribeiro, Mauricio Andrade Ramos Writer: Braulio Mantovani Director of Photography: Cesar Charlone Cast: Alexandre Rodrigues, Matheus Nachtergaele, Seu Jorge, Leandro Firmino da Hora Visit the IMDB page for full cast and crew |
 |
Review by: Ryan
Kugler
11/20/02
I've seen a lot of crime films in my day (some great, some awful) and although City of God (Cidade De Deus) tells a story that we've all seen countless times before (drugs, gangs, murder, redemption), it tells it in a new and unforgettable way. This violent and gripping account of a rough, poverty-stricken city in Brazil is as raw and as real as it gets. While audiences might be turned off by some of the brutal and unrelenting images (which generated a few walkouts at the screening that I attended), those that make it to the end will be rewarded with one of the most memorable cinematic experiences of the last decade. It's that powerful, it's that good and I can't wait until January (when it will get a theatrical release) to see it again.
More than anything, City of God is in love with the art of cinema. It's an expertly woven tale (that beautifully uses such techniques as split-screen and non-linear storytelling) that spans a couple of decades in the life of Rocket (Alexandre Rodrigues), a kid growing up in a tough Rio neighborhood (that makes Mean Streets' Little Italy look like Disneyland). The film starts out in the 60s and it's through Rocket's eyes and his involving narration (which guides us along his harrowing journey) that we get to know his city (referred to as the "City of God") and the people that inhabit it.
In the early scenes, we get to know Rocket, his friends and some of the local thugs (who commit a crime that kicks everything into gear). While this material doesn't exactly remind one of the warm nostalgia of Stand By Me, it's definitely more light and innocent than what we get once we crash face first into the 70s.
In this new decade, we are re-acquainted with all of the characters and see that Rocket is still a good kid, who has managed (for the most part) to stay on the straight and narrow. In fact, he's more interested in photography than the thug life (he'll later find a nice balance between the two worlds). Unfortunately, things quickly go straight to hell as he gets pulled into one bad situation after another (starting as soon as he takes an interest in the drug trade). He also finds himself caught up in the middle of a couple of rival gangs (one of which is led by one of the most vicious characters I've ever seen). The gang fights (which take up a large majority of the last hour) are insane to say the least and resemble the battle scenes in Black Hawk Down.
Can Rocket avoid the obstacles placed in his path and actually make something of his life, or is he doomed to go down the same dead-end street as the others who grew up in the City of God? This is the question at the heart of the film, and because the story and filmmaking are so uncompromising and daring, I was never sure what that answer would be.
The story about the making of this film is almost as interesting as the end result. Director Fernando Meirelles (Katia Lund received a co-director credit) hired an entire cast (over 100 parts) comprised of unknowns. He then worked with them for several months (doing improv and such) and when it came time to film, he used hand-held cameras and shot on location to capture the documentary-like realism that this based-on-a-true-story called for. It's this aspect of the film that most reminded me of Larry Clark's Kids, especially since they both take a realistic look at out-of-control youth. In City of God, we see kids that can't be any older than ten, smoking dope and shooting guns (something that will be a major turn-off to some, but for me, it's what made the experience all the more powerful).
Besides the great locations and expert direction, there are some amazingly real performances (especially by the always-engaging Rodrigues, pretty much the only sympathetic character in the whole film). This is a true ensemble piece and there isn't a single performance that doesn't ring 100% authentic.
Masterpiece isn't a word that I throw around too often (in fact, to date, I don't think I've used it in any of my reviews). With that in mind, City of God is as close to a masterpiece as I've seen all year. This powerful crime epic deserves all of the acclaim that it's currently receiving on the festival circuit, and if there's any justice in the world, it will have some presence at next year's Academy Awards. This is what filmmaking is all about and it's exciting that we have a new voice in Meirelles to show us the way.
(A Miramax Films Release. Opens in New York and Los Angeles on January 17. Expands to more cities at later dates.)
(Screened at the 2002 AFI Film Festival)
|
|
|
|
|