EssenceStory Well Deserved Praise

ReaderKenka Let's be realistic.

FrogGlace In other words,this film is a surreal ride.

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Harry Mertens (harrymertens) As a Dutchman it is hard to judge the historical content of the film. What I've seen was very interesting. Considering the fact it is made after a true story it makes it even more special. The film covers many aspects of life in Brazil in the thirties. Although it is often shown in broad lines it's convinces me. It made me think of the class struggle in my own country. In Dutch you say: als je voor een dubbeltje geboren bent wordt je nooit een kwartje (when you are born as a nickel you'll never become a quarter. In a way it is an optimistic movie. Despite of all the setbacks and jail sentences, the main character does not get broken. Madame Satá becomes a real success winning several prices in carnival parades and other events. I truly admire the actors, especially Lázaro Ramos who plays stunning. The camera-work is great. The special effects are modest and well done. The music in the film is beautiful. I really enjoyed this movie. This movie deserves a wide audience.

artguy822 Built on subtly-nuanced performances by an outstanding cast, this film is a real cinematic gem. From the period costumes to the cinematography to the music, everything fits together. Lazaro Ramos as Joao Francisco dos Santos gives a tour de force performance especially powerful given the range of emotions necessary for the role. But all of the actors shine, under the demanding, gifted direction of Mr. Anouz. In some very long takes, for instance when Laurita tells dos Santos of the death of Rehatindho, all aspects of the craft are called into play. It cannot have been easy to maintain for such a long take.The story is inspirational in the sense that the human spirit triumphs, love fulfills, talent overcomes in even the most sordid circumstances. Whether in Berlin or Brazil, life is, most certainly, a cabaret.

tommyg I felt a gap between the movie itself, and the closing credits in which later history about the Madam Sata character is narrated along with film clips of Rio Carnival. That gap is a jagged edge for me, and yet I cannot propose a smoother ending or smoother inclusion of the personality of Madam Sata into the main.Other than that comment, I was caught into the excellent casting, direction and editing. The documentary seemed to be somewhat detached in time although we knew the inclusive dates as it covered multiple issues of race, prejudice, anger, bigotry, self-identity -- and all things that are experienced or tested by humans in sexual drive and satisfaction. It is in the latter that we definitely feel the struggle, violence, growth and pride of Joao Francisco dos Santos as a strongly driven heterosexual man that ultimately yields to his comfort in cross-dressing while maintaining a jagged, devoted relationship with Laurita and her/his child.Wonderful mosaic

jgcorrea a perfectly mediocre, expendable picture about an old Lapa character. Lapa, FYI used to be the bohemian district par excellenceof Rio de Janeiro from the 20s through the 50s. This film takes place in 1932. The protagonist is a malandro (scally-wag) who was born in 1900 and died in 1976. He was sentenced twice. the second time for a first-degree murder. Although the cast is fine and energetic, there was no reason to invest in this kind of soft-core homo porn, with lots of tongues, sweat & pricks. I, for one, definitely do not see homosexualisty as an avant-garde attitude in principle. Satan was a poor misfit, but also a violent hooligan and a cowardly assassin, as this film, based on his own autobiography, actually shows . Indeed the film's success proves how low are current standards of undemanding movie audiences ... This is amateur filmmaking, badly scripted, poorly filmed (lots of socked closes & absence of tripods). The ocasional soundtracks compensates a little for that. We hear a vintage, lovely duo by Francisco Alves/Mario Reis singing Nilton Bastos' Se voce jurar, we have great Kitsch tenor Vicente Celestino singing Candido das Neves' immortal Noite Cheia de Estrelas. Satan himself, or rather herself does a curious impersonation of Josephine Baker, who by the way is also be seen in the excerpts from the original Madam Satan, directed by Cecil B de Mille in his most extreme, odd mood (the action of 'Madam Satan,' the original 1930 musical, takes place inside a Zeppelin!). May I add that I was at one time introduced to Madam Satan in person. This happened during a Baile dos Enxutos, which was not yet called a 'Gay Ball' then, at the teatro Republica, 1961. He was a discreet, short, middle-aged, short-haired mulatto in his early sixties. I never forgot his quick, perceptive repartee. He wittily remarked about two frolicking guys in my own mardi-gras group (the actor Heleno Prestes and his lover, theatre director Martim Gonçalves): "Bonecas tambem hein?" (sissies too eh?)