Sata

I found this movie mesmerizing, both due to the lead performance and the depiction of a time and place previously unfamiliar to me. A previous user comment said that Jaoa is heterosexual and that Lorita's baby is his. Just for clarification, he is not, and neither is the baby. I don't know how accurate this bio-pic really is in portraying the life of Jaoa Francisco vos Santos. But the character is a perplexing and complex mixture of violence and tenderness, talent and self-destruction. Clearly a victim of internalized homophobia and brutal class hierarchy, Jaoa knows he is destined for greatness, but can't keep his underlying rage from exploding all over everyone, friend and foe. It's dog eat dog in the slums of Rio, but Jaoa creates a family with a female prostitute named Lorita, her baby(on whom Jaoa dotes sweetly), and the greatly put-upon and abused servant, Tabu. Jaoa takes one step forward, then two steps back--straight in to prison, over and over. The real Jaoa Francisco vos Santos was a highly celebrated female impersonator and lived to the ripe old age of 76, despite an extremely punishing existence. I think the film reveals naked humanity, sometimes the viewer is horrified but can't stop peering into the wreckage.

I feel proud about the Brazilian cinema of the last years. Although facing many difficulties, mainly financial ones, the Brazilian film-makers are proving that it is possible to make a truly high level cinema here.

"Madame Satã" is just another example of this new Brazilian cinematography. Excellent photography, which really brings to the screen the mood of 30's bars and nightclubs from Lapa (Rio de Janeiro traditional bohemian neighbourhood, known also for its violence). The camera is "drunk" and "high" in many moments, in others is able to show tenderness in an ultra violent and uncontrolable character (the scenes where João Francisco takes care of Laurita's baby). The cast is excellent, with a great merit of young Lázaro Ramos, performing a character that has everything to lead to exageration or to a ridiculous acting; even though, Lázaro manages to bring to life in a realistic way someone who is a homosexual with feminine behaviour in some times and in other times is a scary fighter, who could deal with 3 or 4 opponents bare handed.

The main achievement of the film, though, in my opinion, is that the director wanted to show the personality of João Francisco, not worrying too much in telling a story. The plot is almost absent, we are invited to make part of João Francisco's turbulent, violent and difficult life through Lapa's gethos and bars, dealing with prostitutes, police, thugs and dangerous people. We can understand why Francisco,later called "Madame Satã" lived that way (even though we may not agree with it) , having in one hand the fascination for a fairy tale world of fantasy, with songs in French and taking care of a baby and in the other hand dealt with streetfights, robbery and eventual imprisonments in jail. If it is difficult for someone to be poor, black and homosexual in nowaday's Brazil, imagine in the 30's!

Great movie, great acting, great photography, great editing, the only thing I can do is give it a 10!

Madame Sata is one of the most colorful, agitating, controversial, shifting, restless, erratic films you could ever watch on silver screen. The protagonist is also the antagonist with his often irrational and aggressive behaviour, possibly a trademark of Joao Francisco himself on which the film is based on, although this could be one of the film's flaws. The characters are as lively and colorful as he is and the acting is quite well, too.



An activist and a pioneer in many ways in the Brasil of 1930's, he could be seen as a gay activist, a transvestite activist, a swinger activist, a one-man-show pioneer, a strong, willful, self-confident and proud individual who defies almost all possible rules, regulations and conventions of his time, and not because he wants to be standing out.



Although the story line and Francisco's character are quite fanciful and interesting, the dialogues seem to be pretentious, the character build-up insufficient and the editing quite confusing, causing the overall feel to be incomplete and puzzling.

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.

When I was a boy, Madame Satã was a legend in Rio de Janeiro. João Francisco dos Santos was born in the turn of the century, and was famous for being a very controversial person: homosexual, black, poor, artist, a very violent and excellent fighter and a symbol of Lapa, where he lived. This movie is the dramatization of the ten years before the creation by João Francisco dos Santos of the character Madame Satã, inspired in the 1930 Cecil B. DeMille's Madam Satan (unfortunately, this movie has not been released in Brazil and I have never had the chance to see it). 'Madame Satã' is another great example of the marvelous moment of the Brazilian Cinema. The direction is very precise, using old parts in the city of Rio de Janeiro specially in Lapa and Santa Teresa and a high level photography to recreate life in the 30's in Old Rio. The cast is fantastic, highlighting the performance of the stunning Lázaro Ramos, who is also the leader actor of the excellent and very recommended 'O Homem Que Copiava'. The story, as I previously mentioned, is limited to a short period before the raise of Madame Satã to the scenario of Rio de Janeiro and is very realistic, inclusive showing the homosexual activity of João Francisco. My vote is eight.

Title (Brazil): 'Madame Satã'